Rozenburg Pottery Holland, W.P. Hartgring Art Nouveau Mantle Clock, 1904 More Information
Rozenburg Pottery Holland, W.P. Hartgring Art Nouveau Mantle Clock, 1904
W. P. HARTGRING
ROZENBURG POTTERY The Hague, The Netherlands
Blackbird mantle clock 1904
Handpainted earthenware with exotic foliage and a bird, porcelain face, gilt bronze surround, original clock mechanism.
Marks: H (artist’s monogram) 534, Rozenburg den Haag trademark, date mark symbol for 1904
For more information see: Art et Décoration, vol. 8 (1900) 193, illus. p. 189 (A. Sandier, La ceramique à l’Exposition); Kunst und Kunsthandwerk, vol. 3. (1900) 395, illus. p. 392; Art et Décoration, vol. 9 (1901) 56 Abb. S. 54 (A. Sandier, La Ceramique à l’Exposition II); Der Moderne Stil, Julius Hoffmann, Vol. 3, (1901) Taf. 53.; La Kunstgewerbeblatt Neue Folge, Vol. 12. (1901) p. 95, Abb. S. 82,89; “The International Exhibition of Modern Decorative Art at Turin – The Dutch Section,” Enrico Thovez in The Studio, vol. 26 (1902), pp. 204-6; Kunst und Kunsthandwerk, Vol. 7 (1904), p. 568, Abb. S. 574-5, (K. Ruge, Kunst und Kunstgewerbe auf der Weltausstellung zu St. Louis); Art et Décoration, vol. 17 (1905) p.86 Abb. S. 77, 88 (G. Mourey, L’Art Decoratif Hollandais); Sprechsaal, Vol. 38, (1905) p. 517 (W.H. Zimmer, Die Weltausstellung in St. Louis; Rozenburg, Monographie einer Manufaktur 1883-1917, Marjan Boot et al. (Munich: Verlag Künst & Antiquitäten, 1984); Sammlung Bröhan: Kunsthandwerk 1-Jugendstil, Werkbund, Art Deco, Glas, Holz, Keramik, (Berlin: Karl H. Brohan, 1976) p. 367-380.
Louis C. Tiffany / Tiffany Studios Dogwood Blossom table lamp c. 1906
LOUIS C. TIFFANY (1848-1933) USA
TIFFANY STUDIOS New York
Dogwood Blossom table lamp c.1906
Stained glass shade in shades of pink, white, gold and green glass with rich brown/green patinated leading and a matching base with a rich brown/green patina.
Signed: TIFFANY STUDIOS NEW YORK (impressed bronze tag on shade); TIFFANY STUDIOS NEW YORK, 2588-1, Tiffany Glass & Decorating Company cipher (impressed on base)
Related model illustrated: Tiffany at Auction, Alastair Duncan (New York: Rizzoli, 1981), p. 98, illustration 268
Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail
Signed: GP 2000-68
H: 9 1/4″ x D: 6 1/2″
Price: $5,500
Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.
Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.
The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.
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