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  Tapio Wirkkala / Nils Westerback, Pendant Necklace, Lap-gold (18K gold or higher) pendant head with a rigid necklace, marked, 1970

  TAPIO WIRKKALA (1915-1985) Finland
  NILS WESTERBACK Finland

  Pendant Necklace 1970

  Lap-gold (18K gold or higher) pendant head with a rigid necklace
  Makers: Tapio Wirkkala and Nils Westerback
  Marks: 750, three crowns symbols
  Model illustrated in: The Art of Jewelry, Graham Hughes (New York: The Viking Press, Inc., 1972), p. 135; Scandinavian Design, Charlotte and Peter Fiell (Köln: TASCHEN, 2002) p. 675; Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala – eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 194, fig. 342 and p. 370

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  Hayno Focken / Modernist round covered copper box c. 1935

  HAYNO FOCKEN (1905-1968) Germany

  Round covered box c. 1935

  Hand-wrought and hand-hammered copper with brass details

  Marks under the foot: HF (conjoined monogram)

  For other works by Hayno Focken see: Metallkunst: Vom Jugendstil zur Moderne (1889-1939), ed. Karl H. Bröhan (Berlin: Bröhan Museum, 1990), illus. 177, p. 183; Avantgarde Design 1880=1930,Torsten Bröhan & Thomas Berg (Köln, Benedict Taschen, 1994) p. 116; , (Berlin 1937) S. 43f, Abb. 37, Abb. S 128, S 146, Sl 243; Die Schaulade 15 Ausg. A (1939) Abb. S. 197, S. 204, S. 213; Die Schaulade 16 Ausg. A (1940) Abb. S. 44, S. 51., S. 54, S. 71, S. 83. S. 89; Die Kunst 84 (1941) S. 136, S. 139-39; Die Schaulade 17 (1941) Abb. S. 13, S. 41, S. 82, S. 229;

  H: 4 ¼” x Dia: 4 7/8”

  Hayno Focken (1905-1968) was an eminent German metal artist. He completed his training under Professor Karl Müller (1888-1972) at the design and arts school on Giebichenstein Castle in Halle (Saale), which was strongly tied to the ideals of the Deutsche Werkbund and the Bauhaus. In 1932 he established his own workshop in Lahr/Schwarzwald and continued his work until shortly before his death. His artistic work always stood out with a strong preference for large, organic forms, a similar manner of surface design and the same adherence to the principle of handicraft. Even his artist signet was modelled on the simple, square castle mark. In the 1950s he became one of those significant artists who had a major impact on contemporary metal design. The foundation of his creative work was a masterful understanding of proportions.