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  Jan Van Der Vaart / Dutch Avant-Garde Pottery “I-beam” Vase, 1991

  JAN VAN DER VAART (1931-2000) The Netherlands

  I-beam vase 1991

  Matte bronze glazed stoneware

  Signed: 91 VD VAART (incised)

  For more information on Van der Vaart and his work see: Jan van der Vaart, Ceramics, Marjan Unger, et al. (The Netherlands: Stichting Harten Fonds, 1991); Jan van der Vaart Multipels 1967-1997, Allaard Hidding (Leeuwarden: Keramiekmuseum Het Princessehof, 1997), illus. 88, p. 88.

  H: 9 1/2” x W: 10 1/8” x D: 5 1/2”

  Price: $8,000

  Jan van der Vaart, born in 1931, is one of the Netherlands’ best known potters. He was not only a trend-setting artist and industrial designer, he also taught an entire generation of Dutch ceramicists while teaching at the Rietveld Academie in Amsterdam (1968-1990). His work is in the collection of many Dutch museums, the Victoria & Albert Museum in London and the Museum of Modern Art in New York.

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  Walter Bosse / Austrian Keramik Art Deco Glazed Pottery Bookends c.1930

  WALTER BOSSE   (1904 – 1979)  Austria

  Bookends    c. 1930

  Hand-painted and glazed earthenware

  For more information see: Walter Bosse:  Leben, Kunst, und Handwerk, 1904-1979, Cherica Schreyer-Hartmann, Hans Hagen & Johanna Hottenroth (Vienna: Verlag Christian Brandstätter, 2000), Wiener Keramik:  Historismus, Jugendstil, Art Déco, Waltraud Neuwirth, (Braunschweig: Klinkhardt & Bierman, 1974), pp. 114-115.

  H: 5″ x D: 4 1/2″ x W: 5 1/4″

  Price: $2,250

  Walter Bosse (November 13, 1904–December 13, 1979) was a Viennese artist, designer, ceramist, potter, metalworker, and craftsman noted for his modernist bronze animal figurines and grotesques.

  Walter Bosse, born November 13, 1904, in Vienna, was the son of artists Luise and Julius Bosse. His father worked as a portrait painter at the imperial court. Walter Bosse attended the Wiener Kunstgewerbeschule (Vienna School of Applied Arts) from 1918 to 1921, where he studied ceramics under Michael Powolny, and ornament under Franz Cižek. He then attended the Münchner Kunstgewerbeschule (Munich School of Applied Arts). During his schooling he was given the opportunity to sell his work at the Wiener Werkstätte by Josef Hoffmann, who became a mentor to Bosse. Bosse opened his own shop in Kufstein in 1923.

  Bosse’s work grew in popularity and a number of his pieces were shown at the International Exposition of Modern Industrial and Decorative Arts in 1925. He started designing for Augarten Porcelain Works (1924) as well as Goldscheider (1926) and Metzler and Ortloff (1927). In 1931, to meet increasing demand (especially in America), Bosse opened up a bigger shop in Kufstein, but by 1933 he started to feel the effects of the economic depression. By 1937, the Kufstein works were closed.

  In 1938, now divorced, Bosse moved back to Vienna where he founded Bosse-Keramik (Bosse Ceramics), which expanded under the new name “Terra” to include glass, toys, textiles. and a variety of craft items for the gift market. In the late 1940s, Bosse began experimenting with brass by giving his ceramic figures a metal coating to protect them from breakage. In the early 1950s, Bosse began his “Black Golden” line of brass figurines. He transitioned all of his efforts to brass. The figures became popular worldwide.

  Despite Bosse’s success with his brass figures, it was still a difficult time for him financially. In 1953, partly fleeing from financial troubles, he moved to Iserlohn where he set up a new shop and continued production. Bosse also collaborated with Karlsruhe State Majolika Works on a number of pottery animal figures. In 1958, he designed for Achatit Schirmer in Cologne. Bosse also turned his efforts to small, everyday items such as letter openers, keyrings, corkscrews, and pencil holders, all of which bear his distinctive “black and gold” look. A number of these Bosse designs began to gain widespread popularity internationally.

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  Willem Brouwer Dutch Art Nouveau / Arts & Crafts Pottery Vase c. 1905

  WILLEM COENRAAD BROUWER  (1877-1933)  The Netherlands
  POTTERIJ VREDELUST  Leiderdorp, The Netherlands

  Vase with handles  c. 1905

  Brown glazed red clay with tan light brown cut out overlaid and sgraffito decoration in a stylized organic motif, two applied looping handles

  Marks: Brouwer  139 (incised)

  For similar work see: Dutch Decorative Arts 1880-1940, eds. Titus M. Eliëns, Marjan Groot, Frans Leidelmeijer (New York: Battledore Ltd.,1997),p. 56; Leven in een verzameling: Toegepaste kunst 1890-1940 uit de collectie Meentwijck (Laren: Singer Museum, 2000), illus. 76, 77, p. 74.

  For more information on Brouwer see:  Art Nouveau en Art Deco in Nederland: verzamelobjecten uit de vernieuwingen in de kunstnijverheid van 1890 tot 1940, Frans Leidelmeijer and Daan van der Cingel (city unknown: Meulenhoff/ Landshoff, 1983), pp. 80-82.

  H: 6″ x Dia: 5″

   

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  Aaron Bohrod / F. Carlton Ball, Monumental, Hand Thrown Pottery Eve Vase 1952-56

  AARON BOHROD  (1907-1997)  USA
  F. CARLTON BALL  (1911- 1992)  USA

  “Eve” vase 1952-56

  Monumental glazed stoneware vase with a brown and cream beige glaze with sgraffito decoration of four stylized nudes.

  Signed: A. Bohrod  F.C. Ball (inscribed)

  Illustrated: Aaron Bohrod: Figure Sketches, Edwin E. Elliott and Howard E. Wooden (Dodge City, Kansas:  Gall and Shaull, 1990) p. 17, fig. 32. A Decade of Still Life: Aaron Bohrod (Madison, Wis.: University of Wisconsin Press, 1966) p. 41.

  H: 20 3/4 x Dia: 12 1/2″

  Price: $29,000

  ***Aaron Bohrod himself considered this vase his most important work in ceramic. This exact vase is illustrated in “A Decade of Still Life: Aaron Bohrod” in a bisque state. There is a stable firing crack that is visible on the base (see photo) near the Bohrod signature which happened in the firing, but in no way affects the structure of the piece. A letter from Aaron Bohrod himself describing this piece and the history surrounding it also accompanies the vase.

  For more information see: The Potter’s Art in California: 1885-1955, Hazel V. Bray (Oakland: Oakland Museum Art Department, 1980) pp. 56-57.

  A painter of cityscapes, landscapes and trompe l’oeil paintings, Aaron Bohrod lived in Chicago from birth until 1948, when he moved to Madison, Wisconsin. There he was a member of the University of Wisconsin’s art faculty. Bohrod was a graduate of the School of the Art Institute of Chicago, and he also attended the Arts Students League in New York.

  Aaron Bohrod was an American artist who was nationally known in his lifetime. He was the subject of frequent exhibitions and gallery shows in various locations, generally focusing on a particular chronological period of his artistic production. The recipient of numerous prizes and awards (including two Guggenheims and the purchase prize at the “Artists for Victory” exhibition of 1942-43 at the Metropolitan Museum in New York), he was both proficient and prolific as a painter, sculptor, printmaker, ceramicist and as an illustrator. In addition, he was the author of several books on art and an autobiography. Although he studied at the Art Institute of Chicago and the Art Students League in New York with a number of well-known and influential teachers, the one who exerted the most profound influence on him was John Sloan, who taught him to value both the Old Masters and the visual reality of the urban American scene. Bohrod returned to Chicago after studying with Sloan in New York “determined to do in my own way with my own city what Sloan had done with New York.” (Bohrod’s stylistic development has been typically characterized in terms of his early relationship to the gritty urban realism of the Ashcan School with which Sloan was associated and his later magic realism style with its virtuoso and meticulous technique and witty visual repartee, almost as if they were two separate and unrelated developments. Although his own description of the origins of his unique still life approach in his autobiographical book, A Decade of Still Life, may have guided critics to look at his oeuvre in this way, a closer assessment reveals clear connections between the earlier and alter periods. Before 1940, for example, he had created a prototype of the still lifes that were to become his hallmark. By the mid 1950s, he began to dedicate himself to the creation of paintings that are by turns resonant, mysterious, evocative and humorous. The studied and careful detail of the bricks on the buildings foreshadow the care that Bohrod will lavish on each of the carefully observed and realized objects in his later still lifes, while the anecdotal detail predicts the accumulation of objects on which his later work depends. The polished and masterful technique of this later work also suggests the Old Masters to whom he was introduced by Sloan.

  F. Carlton Ball (1911-1992)
  F. Carlton Ball was born in Sutter Creek, California, He studied art at Sacramento Junior College before enrolling at USC. He graduated from the University of Southern California in 1933. He later did graduate studies under Glen Lukens at USC. He taught at several colleges/universities, such as the CCAC (his first position in 1935), Mills College, University of Wisconsin at Madison, University of Southern Illinois at Carbondale, USC University of Puget Sound and etc. From our research, we believe his last teaching position was in Tacoma, Washington, at the Tacoma Community College. Primarily known for his throwing, he did combine his pots with the decorative artistry of his first wife Kathryn Uhl Ball and most importantly, the Wisconsin artist, Aaron Bohrod. He exhibited at the Association of San Francisco Potters, 1952 Los Angeles County Fair’s 6000 Years Art in Clay and the Crocker-Kingsley of Sacramento, California, to mention a few locations. Exhibited at the Nationals in 1941-1949, 1951-1960 and 1966.