Product Description
Michael Powolny / Wiener Keramik Vienna Secession “Putto” vase c.1910
MICHAEL POWOLNY (1871-1954) Austria
BERTOLD LÖFFLER (1874-1960) Austria
WIENER KERAMIK Vienna
Putto mit Füllhornvase c. 1910
Glazed white earthenware handpainted with black enamel.
Marks: MP (impressed artist’s monogram), WK (impressed firm logo in a square)
Exhibited: Frühjahrsausstellung Österreichischer Kunstgewerbe in Österreichisches Museum für Kunst und Industrie (today the MAK museum), Vienna, 1912.
Model illustrated: Deutsche Kunst und Dekoration, Vol. XXXI, October 1912 March 1913, n.p.; Deutsche Kunst und Dekoration, Vol. XXXIII, October 1913-March 1914, n.p.; The Studio Yearbook of Decorative Art 1913 (London, 1913), p. 218; Wiener Keramik, L.W. Rochowanski (Leipzig and Wien: Thyrsos Verlag, 1923) n.p.; Michael Powolny: Keramik und Glas aus Wien 1900 bis 1950, Elisabeth Frottier (Vienna: Böhlau Verlag, 1990) 1912 photograph with the horse sculpture displayed in vitrine from Frühjahrsausstellung Österreichischer Kunstgewerbe, illus. 4, p. 15, illus. 16, p. 33, cat. no. WV 132.
H: 8 9/16″ x Dia: 5 3/4″
Price: $8,000
Michael Powolny / Wiener Keramik Vienna Secession “Putto” vase c.1910
CZECH CUBISM / ART DECO
Panel-cut vase c. 1912-25
Clear cut lead crystal with amber overlay in conical form with a band of chevron cut designs around the upper third; the conical form above a flaring, paneled foot
For more information see: Czech Cubism: Architecture, Furniture, and Decorative Arts, ed. Alexander von Vegesack, (New York: Princeton Architectural Press, 1991); Art Deco: Bohemia 1918-1938 (Milan: Electa, 1996); Czech Art Deco 1918-1938 (Prague: The Municipal House, 1998) pp. 74-75.
H: 7 1/2″
EMANUEL JOSEF MARGOLD attr. (1888-1962)
J. & L. LOBMEYR (founded 1823) Vienna, Austria
FACHSCHULE HAIDA Bohemia
Vase c. 1911
Stylized birds perched in highly stylized scrolling vine motif, abstract geometric circular forms and concave carved “windows”, “Schwarzlot” technique further accented with gilt highlights
For more information see: Das Böhmische Glas 1700-1950, Band IV Jugendstil in Böhmen, Alena Adlerová, c.s. (Passau: Passauer Glasmuseum, 1995) pp. 202 – 210; Glaskunst der Moderne: von Josef Hoffmann bis Wilhelm Wagenfeld, Torsten Bröhan (Munich: Klinkhardt & Biermann,1992),
***The “Schwarzlot” technique is finely pulverized iron that is in liquid form and painted as the graphic design. The piece is than “fired” and the painted surface creates a soft iridescent metallic charcoal grey surface. This technique also has a similar coloration to the liquid form metallic used in the silver / jewelry technique “Niello”. “Schwarzlot” was a labor intensive technique used in artistically painted glass in Bohemia immediately following the turn of the 20th Century and through the 1920’s.
H: 7 1/4″ x Dia” 4 1/2″
Price: $6,450
Emanuel Josef Margold (1888-1962)
The architect, designer for the arts and graphic artist Josef Emanuel Margold was trained as a carpenter at the College for woodworking in Königsberg an der Eger. He then studied at the School of Applied Arts in Mainz Anton Huber, then at the Academy of Fine Arts Vienna in the Master School of Architecture at Josef Hoffmann. 1908-10 he carried out works in Bohemia and Austria. He then became assistant Josef Hoffmann at the master class and employees of the Wiener Werkstätte. During the study period Margold participated in numerous Ideenwettbewerben. The Darmstadt publisher Alexander Koch became aware of him and published from 1907 Margolds designs in various journals.The 1911 Margold was appointed to the Darmstadt Artists’ Colony and established a studio in the Ernst-Ludwig-Haus. He made numerous designs for all areas of arts and crafts such as jewelry, porcelain, glass, fabrics and wallpapers. Documented from this period are also several residential and office equipment. His cookie jars made of sheet metal for the manufacturer Bahlsen from Hanover, which he made from 1912 to 1918 were known. In Darmstadt, he designed the establishment of the lamp business August Wilk and designed grave times in the expressionist style.In 1929 he moved to Berlin, where he still designed several houses in the style of the new style. In 1938 he became a professor at the School of Applied Arts