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  Christian Thomsen / RC Denmark Rare “Frog and Dragonfly” Art Nouveau vase 1901

  CHRISTIAN THOMSEN (1860-1921) Denmark
  ROYAL COPENHAGEN

  “Frog and Dragonfly” vase 1901

  Glazed porcelain with a frog in 3-D sculptural relief looking at a dragonfly seated on a calla lily leaf looking up at the blossom.

  Form number 280

  Marks: ROYAL COPENHAGEN, CROWN, 465/250, 3 wavy lines (Royal Copenhagen) insignia, inscribed A. 250

  For more information see: Musterbuch KPF, um 1930, Illustration number 204; Porzellan, Kunst und Design 1889 bis 1939, vom Jugendstil zum Funktionalismus (Berlin: Bröhan-Museum, 1993) p. 467, ill. 435; Sammlung Bröhan: Kunsthandwerk 2, Metall, Porzellan (Berlin: Bröhan Museum, 1977), pp. 222-285.

  H: 9″ x Dia: 3 1/2″

  Christian Thomsen was employed at the Royal Porcelain Manufactory (Royal Copenhagen) in 1898, and was employed there until his death in 1921. Thomsen is said to have had a huge impact on Royal Copenhagen’s success throughout the 20th century. A large part of the recognition by the Royal Porcelain Factory has enjoyed over the years, they can thank Christian Thomsen for. He produced more than 100 different figurines, especially he had a fondness for agricultural characters, children figurines, figurines inspired by Hans Christian Andersen’s fairy tales, fauns and trolls, and not least charming animals and bird figures.

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  Carlotta Corpron, Light Cubes, Gelatin silver print c. 1947

  CARLOTTA CORPRON (1901-1988) USA

  Light Cubes c. 1947

  Silver gelatin print, patinated steel frame

  Signed: Carlotta M. Corpron, Denton, Texas, RM6 #1081.47 (stamped on back)

  Framed size: H: 13 ¾” x W: 16 ¾”

  Price: $40,000

  Corpron became a teacher at Texas Woman’s University in 1935 and in 1942 she led a light workshop at Texas Woman’s University for photographer Laszlo Moholy-Nagy. Although he praised her rapport with her students, Moholy-Nagy did not encourage Corpron’s independent photography. More influential on her work was the arrival of Gyorgy Kepes, who came to Denton to write a book in 1944. His interest in Corpron’s work prompted her to produce several series of photographs that were the most original of her career. At his suggestion Corpron experimented by placing white paper cut in simple shapes within a perforated box that was open at one end. When flashlights were shined through the holes onto the paper shapes, interesting patterns of light and shadow were reflected. The resulting abstract photographs comprised Corpron’s “Light Patterns” series.

  In her “Light Follows Form” series she extended her exploration of the modeling properties of light to three-dimensional form. In this series, she used light filtered through Venetian blinds or glass to dramatize a plaster cast of a Greek head. She also experimented with solarization, a process in which already exposed negatives are exposed. Works such as Solarized Calla Lilies (1948) convey a surreal elegance, but Corpron favored more original methods of expression. She regarded her “Space Compositions” and “Fluid Light Designs” series as her best work. In the former she used still-lifes composed of eggs, nautilus shells, or glass paperweights, usually combined with a curving reflective surface, to produce an illusion of receding three-dimensional space. She emphasized distortions of form that occurred in her egg photographs by experimentation during the development process. Her work is included in the collections of the Museum of Modern Art in New York City, the Art Institute of Chicago, the New Orleans Museum of Art, the Dallas Museum of Art, and the Amon Carter Museum in Fort Worth.