Hand wrought and hand hammered silver cone shaped covered pitcher form with a green PVC handle and spout over silver cylindrical arching forms
Marks: Wolfgang Gessl (script impressed signature), WO.GE (in a rectangle), Swedish assay mark for Stockholm, 925 (silver guarantee in a rectangle), X10 (in a rectangle), 2/9 GD 452
Illustrated: Gold and Silversmith Wolfgang Gessl: Exceeding Geometry, Kerstin Wickman, p. 19.
H: 8 3/8” x W: 8 ½” x Dia base: 5 ¼”
This is No. 2 out of the edition of 9 models.
Price: $22,500
Wolfgang Gessl was born in 1949 in Vienna, Austria and trained as a goldsmith with Professor Hans Angerbauer. Upon moving to Sweden, Gessl studied under the eminent silversmith Sigurd Persson at Konstfack, the National University of Art, Craft and Design in Stockholm, Sweden.
Wolfgang Gessl has had fifteen solo exhibitions including shows at The National Museum, Stockholm and The Royal College of Art in London. His metalwork has been widely exhibited in Sweden, Europe and the U.S and his pieces can be found in many private collections throughout the world. He has taught at Konstfack for more than twenty-four years, and continues to live and work in Stockholm.
Max Cartier, Paris (born 1935, Film Director, Sculptor) 18K yellow and white gold signature “wrapped” bass or cello sculptural brooch. Signed: Max Cartier (script signature) on lower front right, French maker’s mark with an A L in a diamond poincon, French mark with a M C in a diamond poincon for Max Cartier (2x), French Eagle’s head touch mark for 18k gold (2x), c.1980
Josef Hoffmann Table for J & J Kohn, Vienna Secession c.1915
JOSEF HOFFMANN (1870-1956) Austria
JACOB & JOSEF KOHN Vienna, Austria
Oval occasional table c.1915
Model no. 960/4
Ebony stained beech
Marked: original Jacob & Josef Kohn paper label
Illustrated: Jacob & Josef Kohn: Bentwood Furniture, der Katalog von 1916 (München: Verlag Dry, 1985), p. 69;
Against the Grain: Bentwood Furniture from the Collection of Fern and Manfred Steinfeld, Ghenete Zelleke, Eva B. Ottilinger and Nina Stritzler (Chicago: The Art Institute of Chicago, 1993) p. 88.
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