Werner Mantz, Untitled, Silver gelatin print 1929More Information
Werner Mantz, Untitled, Gelatin silver print 1929
WERNER MANTZ (1901-1983) Germany
Untitled 1929 (vintage)
Silver gelatin print, patinated bronze frame
Signed: W. Mantz 1929 (in pencil on back)
Framed size: H: 8 ¾” x W: 11”
Price: $42,500
Werner Mantz is regarded as one of the most gifted architectural photographers of the twentieth century. His talent in this field we recognized early in his career and he received numerous commissions from a variety of prominent architects, first in Germany and later in the Netherlands. His work in Cologne especially, from the mid-1920s to the early 1930s, forms a definitive statement of the Neue Sachlichkeit movement in architecture.
Works by Werner Mantz can be found in the collections of the Metropolitan Museum of Art in New York, The Museum of Modern Art in New York, The Art Institute of Chicago, Tate London and many more.
Rose Cabat/American Studio Ceramics Rare “Feelie” Porcelain Vessel, c. 1980-85
ROSE CABAT (1914-2015) USA
Rare and important large scale “Feelie” c. 1980-85
Thin walled porcelain vessel with a silky satiny matte drip glaze
Signed: incised CABAT on bottom
For more information on Rose Cabat see: Rose Erni Cabat Retrospective 1936-1986 (Tuscon, AZ: Tuscon Museum of Art, 1986)
H: 3 5/8″
Price: $1,650
Rose Cabat was an American studio ceramicist living in Tucson. Considered one of the most important ceramic artists of the Mid-century Modernist movement, Cabat is best known for her innovative glazes on small porcelain pots called “feelies” which she developed in the 1960s. Her organic forms often resemble the shape of onions and figs, and her glazes range from organic to jewel tones. Cabat was born in 1914 in the Bronx, New York, began to work in ceramics in the late 1930′s, and moved to Arizona in 1942, where she continued to make innovative ceramics.
Feelies:
Feelies are described as onion, fig, cucumber, and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. Rose Cabat had developed a silky satiny glaze, and it wasn’t until around 1960 that she had hit upon the first of the appropriate form, svelte and sleek to match the glaze. She exclaimed, “Now this one’s a feelie.”, coining the term. Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, “craft fair” style coiled heads and wind bells. She is quoted as saying, “The old things did not look good … I wanted simpler shapes that went with the glazes.”They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. The nature of the neck is such that it is closed, so narrow that it cannot hold anything. Cabat would reply when asked why the necks of her feelies are so narrow, “A vase can hold weeds or flowers, but can’t it just be a spot of beauty?”
Karl Schmidt / Hagenauer Werkstätte Sterling nude sculpture c. 1965
KARL SCHMIDT (b. 1948) Vienna
HAGENAUER WERKSTÄTTE Vienna
Sculpture c. 1965
Handwrought sterling silver repoussé in the form of a nude with blowing hair
Marks: SCHMIDT WIEN MADE IN AUSTRIA 925 (silver standard) KS (artist initials)
For more information see: Metallkunst, Karl H. Bröhan (Berlin: Bröhan Museum, 1990) pp. 200-205; Werkstätte Hagenauer 1898-1956, (Vienna: Österreiches Museum für angewandte Kunst).
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