is well known for his delicate and tender studies of children. His
are mainly studies of adolescents or animals, though he also made a
number of portrait
busts and reliefs.
He was engaged for many public commissions.
work is 38cm high and is a study of a young child. Arms crossed
across the torso they are wearing a loose fitting tunic with a wide
kneckline and is signed in the bronze and numbered in latin
numerals, I/VI which intimates this is part of a series of cast
I was told it was purchased directly from the artist.
face has a real sense of feeling even a look of nonsulent melancholy.
The child seems to be wearing a cap. But then again it could be a
bobbin tied in the hair. The child seems to be bound in the pose not
able to motion. Gazing out in sadness. Though I feel there is a
deeper underlying meaning to the chosen pose, with its Pierrot-esque
feel, that the artist wished to convey.
Ehrlich (I always have to check that spelling) came to Britain in
1937 presumably to escape the Nazis. He had served in the Austrian
army during WWI.
George Ehrlich (1897-1966)
Born in Vienna Austria in 1897.
at Kunstgewerbeschule, the Vienna School of Arts and Crafts under the
architect Strnad, 1912-15.
served in the Austrian Army during the First World War. He initially
trained as a draughtsman though would study the art of etching.
one-man exhibition at the Galerie Hans Goltz, Neue Kunst, Munich,
1920. where he lived 1919-21.
then moved to Berlin 1921 where he lived until 1923.
began to make sculpture in 1926. First public commission Vienna 1928
Bettina Bauer, painter, 1930. His sculpture included in the Austrian
pavilion at the Venice Biennale 1932, 1934, 1936 and again 1958.
then moved back to Vienna where he lived until 1937.
to London as a refugee in 1937 and took British nationality. Awarded
gold medal at Paris World Exhibition 1937.
naturalised British citizen in 1947.
life-size bronze Bull for Municipality of Vienna was constructed
the Sculpture Prize of the City of Vienna 1961; elected ARA 1962.
Arts Council organised a solo exhibition in 1964 which opened at the
Aldeburgh Festival in June 1960 Then onto Garratt Green School,
Wandsworth, London 1961.
Born in Vienna Austria in 1897.
from 1963 in Italy and Austria, and died in Lucerne.
Exhibitions include : regular exhibitor at Royal Academy from
1940; Arcade Gallery, London 1945 (solo); Leicester Galleries, London
1950 (solo); Lefevre Gallery, London 1953 (solo); Sculpture in the
Home, Arts Council 1946; LCC 1948, 54; SB1951; AC 1957, 60, 61; VB 1958; Middelheim, Antwerp
Collections include: Tate Gallery; Arts Council; British
Museum; Victoria and Albert Museum, London.
include : Two Sisters 1944 for Essendon School for Girls,
Hertfordshire; Boy and Girl with Puppy for Hastings High School,
Burbage, Leicestershire c. 1956; Sarel House, Bethnal Further
reading: ‘London Commentary’, in Studio, August 1955, Vol. 150,
E. Tietze-Conrat, Georg Ehrlich, (London, 1956)
Haskell, Georg Ehrlich, Bruton Gallery, Bruton, Somerset, 1978, (exh.
from Whiteley (2001) with additional information from Hall (2004) and
from Judith LeGrove.
Wealth at death:
£29,129 0s. 0d.
Probate date: 15 February 1967
Its that time of the year again. January, its the customary time to pay your tax as many of you self
employed antique dealers out there may realise
So this is also the time of the year
to.....take stock, literally.
Well when I say take stock I mean take
stock of what needs to be sold to pay the tax owed, if any.
It is with deep regret that I put my
little bronze beauty up for sale.
This has never been stock in fact
but a personally owned sculpture that I have held dear for decades.
The beautifully patina-ed bronze
measuring some 50 cm on a Brocatelle marble square base has been like part
of the family to me.
It has been there with so many house moves.
But now taking fresh stock of my
musts and needs at the present time I have indeed decided to sell.
I started off collecting Art Deco
bronzes of note but I have never been able to better this bronze.
Whether fond of Art Deco or not the Neo-Classical style is as
attractive as any.
Which is the reason I have held on to it for so
This sculpture modelled in Contaposto
pose is as good as it gets. Combined with it being a Venus. It ticks
a lot of boxes in a lot of peoples list of wants. As it has mine for
so long. She is 54cm high and has the most amazing patina. Please
don't buy it.
Bauer (1868 – 1961)
Born in Düsseldorf he began his training at the local Arts School,
he then continued at the Museum of Decorative Arts.
1890 he studied at the Academy in Berlin, first with Ernst Herter,
then in 1892 with Gerhard Janensch and Peter Breuer.
was a member of the Düsseldorf artist association ‘Malkasten’
and created public monuments and architectural sculptures. For
example at the Girardet Bridge spanning the canal of the Königsalle
in Düsseldorf and numerous monuments. Sorry No Longer Available
I have had this beautiful pretty little vase for over a decade.Many
have tried to prise it away from me but up to now I have not given in
to the lure of....money. I keep thinking where am I going to find
It is decorated so simply with floral decoration applied in enamel
over a earthenware base. It looks like the flowers are swaying in the
Its only 17cm high, and as a potter I can tell that the thrower has
just patted the rim down creating a ever so delicately placed dimple
around the neck of the piece where it becomes more rotund, that just
gives it a little something extra.
Now even after all this time and without too much research I have to
admit I don't know who the exact decorator is. I would love to think
its a Ernest Bussiere piece but it could be Louis Majorelle or
Lachenal. What I do know is its a little gem.
Signed K G Luneville that is the mark for Keller and Guerin.
In 1728 Jacques Chambrette established the first earthenware factory
in Lorraine, in Lunéville besides the river Meuse, not far from
formulated a new type of earthenware called "terre de Lorraine"
in 1748 based on the study of English potteries.
He had great economic and artistic success.
The factory was awarded the status of Manufacture Royale de Fayence
by the Ducs of Lorraine in 1749.
The Lunéville manufacture was ti rival the expanding English and
German ceramics centres and Chambrette managed to successfully export
his wares to Italy, Germany, Poland, Switzerland and even The
1786 Sébastien Keller bought Luneville from the Chambrette family
following the bankruptcy of the pottery manufacturer in 1785. For the
next 137 years, the Keller family controlled the company. In 1832,
Sébastien Keller's son aligned with his brother-in-law Guérin to
give birth to the mark K&G (or KG) from the names Keller and
Guérin and during the following
century, Lunéville was the seat of "Keller and Guérin"
Between 1700 and 1800 several faience manufacturers installed their
companies in a tight network in Lorraine. The factories produced
everyday utilitarian and decorative objects.
Since silver dinner services were prohibited by the king (who used
the taxing of such objects to finance his wars), faience
manufacturers were able to sell wares more easily.
The artisans were inspired by their surroundings; Subjects were
decorated with naturalistic styles, faience was decorated with
flowers, insects, real and fictitious animals and exotic figures.
They produced faience dogs, which were placed in the halls of houses
( the French have an expression "to stare at each other like
faience dogs"). Later on Chinese decorations, introduced by
Jesuits who brought back examples from their often dangerous
missions. Jacques Chambrette, who suffered from the high taxes that
were imposed on him in the ducal region that was controlled on behalf
of the King of France, coveted the episcopal area, which was
connected to France, but where the influences of Louis XIV were much
In 1758, Jacques Chambrette started a second faience factory in
Saint-Clément, which lies in the Diocese of the Bishop of Metz. In
the 19th century the originally German family Keller, soon allied
with Guérin. This gave new life to the factory by industrialising
This was an era in which Lunéville and its surroundings provided
very skillful workers.
The area around the faience factory, under patronage of Sainte Anne,
1900, there were around 1,100 employees. The factory's products had a
worldwide reputation and participated successfully in various fields
of art and industrial exhibitions.
During the design period we know as Art Nouveau Keller and Guirin
employed some of the most gifted designers Louis Majorelle and Ernest
Bussiere were to create some of the finest designs. Lachenal would
add to the design base of the company. In 1922 Édouard Fenal,
originally from Pexonne and Badonviller, bought the factories of
Lunéville and Saint-Clément, so employment was guaranteed in
Lunéville and Saint-Clément.
New designers were brought in to cater for the new wealth that was
around and the new style that we now know as art deco rushed in with
its geometric lines.
Mougin Brothers would help to bring the whole area into a new style.
The Second World War marked a recession.
The name Geo Conde is often seen on wares.
St Clement produced huge quantities of crackle glazed animaliar
following the French tradition of sculpting the animal form that went
The production of these in ceramic made them more affordable. Some of
these animals were of varying quality some having slightly strange
colour combinations of deep reds and blues that are highly
In 1979 a new group was further developed by buying out the
Sarreguemines ceramics complex. Édouard's son, Gilbert, was in
charge of the group which also comprises Salins, Vitry-le-François
and Digoin. The Lunéville production stops in 1981.
Only the factory of Saint-Clément is still operational by1999.
In the renovated buildings nowadays small and medium sized
companies are still working.
Recently the work of one of the most
remarkable craftsmen has become sought after again. The appreciation
of his work has never wained in the eyes of those who understand the
art of the ceramist but here in England we have for so long
concentrated on some of the work of rather average makers such as
Susie Cooper and Charlotte Rhead. And of course Clarrice Cliff.
Though Charlotte Rhead came from an illustrious family of ceramists.
The Rheads were indeed a skilled bunch. But there is not many who
can compare to the legacy that is left behind by Theodore Deck.
What he did was de-industrialise the
art of the potter running a workshop with around a score of
craftsmen. He was inspired by the middle east and his Persian Ware is
indeed now highly valued. It may not be clear as to the influence ha
had on British ceramics but I see similarities with some of
Burmantofts and by far the most important company in the style of the
middle East Mintons.
Deck wrote a book called “La
Faience”. I must get a copy of this book as I am informed by Peter
Hyland that there is detailed technical information.
As a ceramist myself I have a thirst
for the information that potters have or did have in the past. I suck
this knowledge up, but the skill in interpreting the techniques are a
different matter and trial and error is something that I have learned
to take with a rather large dose of patience. Having glaze recipes is
only half of it.
Josiah Wedgwood was a chemist first
Deck's book La Fiaence was read by some
of the best Louis Solon who began at Sevre before moving across the
channel to Mintons, admired his writings.
Fiance the word derives from the town
of Faenza in Northern Italy but Deck thought the word to be clouding
the real historical sense of the fact thet the Persians were making
fiaence long before the Italians. We now see some of this Persian
ware was indeed Turkish, a style now called Iznik. Any type of
earthenware decorated with an enamel or coloured glaze was accepted
as Fiaence at the time
Deck was born in Guebwiller in the
Alsace region of France. This was about 12 miles north-west of
Mulhouse at the foot of the Vosges mountains. Mulhouse is the town
where Christopher Dresser died. He will always be known for his
designs for Mintons. His father Richard was a silk dyer. At secondary
school near Belfort Theodore showed a particular love of chemistry.
At 17 in 1840 he was forced to return home to Guebwiller to continue
the family silk dyeing business along with his brother Xavier.
It didn't work out and he left for
Strasbourg where he became a stove-makers apprentice.
Cast Iron stoves covered in ceramic
tiles were commonplace in France and Germany. In the crowded
marketplace the need to make something functional stand out was
paramount to selling ones wares. He learned from his mentor Hugelin
the art of using different coloured clays to inlay tiles. This style
was kown as Saint Porchaire.
He was not to be kept still in the
evenings he studied sculpture with Andre Friedrich.
He recalled how he had been fascinated
by a painted terracotta figure he had seen on a school trip to
Switzerland and when he asked who made it he was told “A potter”.
He must have liked the sound of this.
He went on his own in 1844 at the age
of 21. The art of the stove maker was to travel and show off his work
and he was noticed by manufactures who wished to employ him as he
travelled through Germany learning local skills and styles along the
He made his way to Vienna where he made
large stoves to for the Palace of Schonbrunn. He then went on to
Budapest, Prague, even Berlin.
In 1847 he returned to France and began
to work for Madame Vogt one of the leading stove makers. In 1848 work
stopped at the factory when the Second Republic began. He retrned to
Guebwiller and set up a small atelier to make vases and decorative
objects, oh and stoves. It didnt work out too well for him and in
1851 he returned to Paris where Loius Napoleon had quietened down the
Madame Vogt's daughter Madame Dumas was
his next employer where Deck became foreman. The Exposition
Universalle of 1855 saw the Dumas factory exhibiting mosaic tile
panels in many colours.
Mintons also exhibited that year with
their “earthenwares and stonewares enamelled or glazed majolica.
Deck would have seen these. He may also have found out that Minton
had been developing low coloured glazes applied to earthenware body
creating their majolica. Herbert Minton had seen Palissy ware on a
visit to Rouen in 1849. Leon Arnoux had joined Minton in 1849 and
became Art Director.
In 1856 he ventured out again with the
help of his brother Xavier set up a new atelier at 20, rue
Fontaine-au-Roi relocating to Boulevard Saint Jaques eventually
moving from stove facings to ornamental ceramics and figures.
Had that school trip stayed with him all
The Henry Deux had been mastered by
Deck during his training and it was re-adopted.
The style was based on 16th
century book binding designs. The potter Avisseau also reproduced
this style that was taken up in the 1860's by Charles Toft at Minton.
He showed his creations at the 1861
Salon des Arts et Industries of 1861 and then the London
International Exhibition of 1861. He displayed a copy of a 107cm high
piece that was known to be in the Alhambra Palace in Spain before
1400. This vase is now in the Victoria and Albert Museum, acquired
He was now firmly rooted in the middle
east for his inspiration. Publications were now being made available
showing drawings of Islamaic decorative stylles.
Recuil de dessins pour l'art et
l'industrie by Orientalist Adalbert de Beaumont it was reissued 20
years later in 1859.
Owen Jones Grammar of Ornament would
have been available to him in Paris.
It had reproductions of Arabian
decoration and design.
The 1862 Exhibition saw him well
After moving rue de Vaugirirard in
1867 saw the more experienced Deck show
off his technical quality that had been improving all the time.
He now employed trained Paris Salon
artistes we in Britain would be less familiar with these artistes
such as Jean Louis Hamon and Joseph-Victor Ranvier who painted in a
Neo-Grec style. Ranvier would become his chief artist.
Felix Braquemond had worked for Criel
Sevres and Haviland.
The artistic director of Christophle &
Cie known for their gold and silver work, Emile Reiber supplied Deck
with various shapes.
Proceeds from a piece of
“collaboration” was always divided equally between Deck and the
artist. Solon called this an “unprecidented collaboration.”
Solon published The History and
description of Old French Faience in 1903.
In it he accounts Deck tells us the
conditions were far from a sweatshop but were most ideal. He says the
gatherings of artists of the Bohemian persuasion all gathered anxious
to see the results of the last firing.
The V&A acquired several more
objects and his reputation was growing wildly. His work often showed
semi-clad nymphs some of which show a foretaste of W. S Coleman's
work for Minton.
It is not known if the artists
influenced each other but Colin Minton Campbell Director of Minton
appointed Coleman in 1871 and was known to admire Deck's work.
Mintons were exhibitors in the 1867
Paris Exhibition and he purchased some of Deck's work, for his own
He was offered the chance to half share
(without any capital) in a pottery he planned to build....in Leeds.
Deck preferred to stay in Paris and
Could this wealthy industrialist be
John Holroyd who in 1863 bought the firm of Wilcox & Co Sanitary
Ware near Leeds and in 1870 expanded the factory to trade as
Burmantofts came close to Decks Persian
ware it is an interesting thought what might have been.
He continued to experiment some of his
shapes were now becoming Chinese in inspiration with naturalistic
designs on white ground. His move into high fired porcelain in 1868
became cost pro-hibitive and were discontinued.
Deck stood in Municipal elections in
Paris just after the outbreak of the Franco-Prussian War which saw
the siege of Paris. Armistice was signed in 1871 but at this time
Alsace was taken over by Prussia. He decided to stay French as many
In 1873 he scored notable success in
Vienna being awarded Medalion d'Honnneur.
This is when Edmond Lachenal was
mentioned prominantly on his stand.
Edmond would go on to found his own
factory. His son Roaul would continue his work through the 30's into
a more geometric style.
Deck now had a shop close to the Grande
Opera on Rue Halevy.
So it was the period we now call
Aesthetic Movement that saw a seed change in styles and inspiration
came from all over the world not just the middle east and new artists
and industrialists were always looking to exploit the prevailing
taste. This melting pot of design was being formed and it is easy to
look back now and talk about it in sequence, but at the time a
movement was in force that could not be stopped and wealth was
available to purchase. History was, literally being made.
It was said in contemporary account
published in the Pottery Gazette that his pottery “stands tranquil
and as silent in its radiant garden as if its gay creations were all
the work of magic”.
Round furnaces were noted and the
Director kept the composition of the green-grey Deck Clay secret.
In La Faience he says he could not give
fixed formula's on Faience body as it depended on locality.
The Gazette reporter was in no doubt
to the overall quality of the enamel, meaning of course the glaze
saying. “Extroadarily lustrous, reflecting the light from every
protruding boss angle, and curve, as if from burnished glass”.
Deck's love of chemistry enabled him to
write with fluidity but merely reading about it does not give a
craftsman the level of skill he had. You have to do it.
All potters should bow down to the
techniques laid down by Deck.
Many of his glaze recipes are printed
in his book but as previously stated that's only half of replicating
By 1887 many other companies had
formulated their own Persian Blue but it was thought it was derived
from inspiration of Theodore Deck.
Long before I know Le Bleu Deck I knew
Lachenal Blue from my buying trips to France.
I have an unavoidable attraction to
its distinctive velvet sheen. I did not notice so much at first the
patterns of deck mixing these in my mind with traditional Iznik
pieces. I have purchased pieces by Lachenal that may have been from
Deck's own atelier by style.
I do not own La Fiaence yet but the
inspiration from which I choose to write, is from the well
researched account of Deck's work by Peter Hyland for the Northern
Ceramics Society Journal Volume 33.
Peter writes about Deck's move into
Gold ground inspired by seeing the mosaics in St marks in Venice
where he exhibited in 1873.
He tells us how he mixes glaze and
creates lustre, texture and even the way he applies. Yes if it was
The 1880's sees more of his Chinese
ware accompanied by Japanese.
In 1878 Deck was nominated Officier de
la legion d'Honneur.
In 1880 he exhibited a flambe glaze by a
Sevres were conduction flambe
experiments by official ministry. The Commission de Perfectionment
that had been set up in 1872 described Deck's 20 exhibits as
remarkable and unforgettable.
In 1887 he was offered the post of Art
Director at Sevres on the departure of Charles Lauth at the age of
64. He felt he had to accept even with ill health.
Xavier his brother was entrusted with
the day to day running of production.
Deck, a practical man found it hard to
cope with the tradition and management structure at Sevres. The
aftermath of Lauth's departure saw him caught up in the middle of
politics at Sevres.
He was accused of using his postion to
enhance his own factory, but he stook at it exhibiting his Grosse
Porcelaine in the 1889 Exposition Universalle.
He died in May 1891. His remarkable
brother Xavier continued the business and exhibited at London's
Grafton galleries in 1893, in Paris 1896 and in Brussels 1897, all
Without Deck's innovation it did not
move with the times into, art Nouveau that cut across Europe at
blistering speed. Xavier died in 1904 and the pottery closed. It was
demolished two years later.
As a national figure Theodore was given
the honour of burial in Montparnasse cemetry where so many of Frances
cultural innovators were buried.
In 2013 he was featured on a postage
Decks gravestone was designed by
Auguste Bartholdi, who designed the statue of liberty. It
incorporated faience panels in Deck Bleu and was inscribed 'erpuit
coelo lumen'-translated it reads.
“He snatched the light from the
The headstone was encrusted with a
portrait medallion by Ferdinand Levillian.
There were other potters of course but
they must all acknowledge Theodore Deck.
I bought this, what I could call, historic document some 20 years ago, possibly 1998, on a street market in the
town of Orleans France.
Those were exciting times, Britain had
only just joined the economic union and customs were opened up so France was a storeroom full of Art Deco that I could use to generate stock with a more classic line than some of what could be called more average British design.
I was over in France at least once a month.
to eat out all the time and of course you have to have a glass of
wine with your meal while there. Y'know perks of the job. We roughed it a bit but it was enjoyable. there were hardly any tourists then. Before the cheap no frill airlines invaded.
Somehow or other this book has stayed with me
all this time.
I recall the morning I bought it well.
I had slept in the van the night
before, on the front seat, with Colin the window rattler who snored his head off in the back of the van. I woke up more tired than when I went to sleep.
The early bird catches the worm, and
It was also the day that I found an original Hispana Suiza
car mascot in good condition.
That I sold to a local motor museum in
I wish I still had that too, its very rare and the more they
have been reproduced the more valuable the original has become. James
still has it too. When he closed the museum down he showed me it.
knew he had something rare he kept it for his own collection.
This colourful printed folio of designs, I was
surprised to find, was by Paul Iribe.
The idea for the publication had been suggested by Maurice
Constantin-Weyer and printed in Paris.
Knowing some of the work of Paul Iribe
who was an all round designer of furniture fashion and art, it went
against the grain of his work. I was confused initially.
It was angry and and had a real punch
Then I thought, well wouldn't you be angry.
It was published in 1934 and the first hundred copies were kept for
the artist. Now, I say its called Parlons Francais which is ironic
because I did not speak very good French myself and missed the point
initially. That it is called Parlon Francais and not Parle Francais.
Yes here it seems, Paul Iribe is
speaking for the French in his mind.
1934 was a mere 15 years after the
treaty of Versailles which was signed in 1919 the year after the
cessation of the conflict of the First World War that saw so many of
his compatriots die.
I have not done any research about
whether the artist was there in the trenches, but he was definitely
there in spirit.
The language of the art with its captions is
vitriolic and holds no punches.
It is hard to imagine now today, with
the vile comments on social media becoming commonplace, but here in
1934 this is about as strong as you could get.
And from a man who
designed ladies clothes, who was in fact at one time the partner of
It opens up another side to the man who designed the
famous Nautilus Chair, examples of which are on view at The Waldorf,
Many other examples of his designs make small fortunes
when they appear in the, usually, upper class salerooms.
So this was a man with sensitive
desires to furnish the stately modernist Ocean Liners that traversed
across the Atlantic.
That were sponsored by the State, The Republic
And yet here he was in 1934, counting
the cost of the First World war and it looks to me, projecting the
death that was about to befall his country in 1939, some five years
after its publication when the Nazis invaded.
This is a man who was not scared to
upset the establishment.
I don't understand all the Parle or
recognise a lot of the named and shamed but I know enough to see that
he was fuming with rage.
Rage at the people who were trusting the
Nazi regime when they were about to cross the borders, once again,
and this time make it all the way to Paris.
I am not looking any further into the
history of the war time occupation, of France.
I don't have the time in my head this week as the 100 year anniversary of the end of hostilities comes
about this next week. It is a sad time to reflect.
I will be too busy remembering those fallen and
some of those that fought, I knew.
My Grandfather was there. Last year I remembered Passchendaele and those I did not know.
Stained Beech Bent and solid wood
frame. Turned legs.
This is a chair with balls.
Designed 1905-08 by Joseph Hoffman for the cafe at the Caberet Fledermaus which opened in October 1907 in Vienna .
Fledermaus translated simply means flying
mouse, or Bat.
Its wickedly simple construction makes this chair, one of the most
influential designs of the early 20th century.
Noted as model no 728 in J & J Kohns furniture catalogue.
It is hard to now
believe that this piece of early modernism was made during the Art Nouveau
and Arts and Crafts period. One Hundred years ago.
Its simple construction lends it to mass
production, something that both Thonet and Jacob and Joseph Kohn were the
predominant manufacturers of.
They were always on the look out for
interesting shapes and at the time of putting this chair into
production and were largely responsible for making
affordable furniture for the masses.
Gerbruder Thonet had put into
production Model no14 in 1859. This chair is still in production
I have sold several Model no 1 which was manufactured in 1866
and this rocking chair still seems worthy of a trendy loft apartment
today originally manufactured with its woven cane seat and back into its solid and bentwood
Chair design also owes a debt of
gratitude to the wrought iron semi cantilevered chair that was shown
at the great exhibition of 1851. Thought to have been designed by
R.W. Winfield & Co it still has a deep buttoned upholstery seat
and arm pads that sat on a slatted frame.
This was being produced, in
a slightly altered guise in Germany by L & C Arnold and it must have influenced many.
The construction of chairs was altered
by fashion and at the turn of the 20th century simplicity
was required in certain circles and this was a democratisation of
furniture bringing simple style into the homes of many.
While Louis Majorelle and Galle were
making works of art in solid mahogany with gilt mounts and exhibiting
them to an international audience. The quiet revolution was taking
When Marcel Beuer designed B33 in 1927
made from tubular steel with a simple leather seat it was manufactured
by the progressive company Gebruder Thonet in Frankenberg from 1929.
It is still being manufactured today.
Would there have been a Bauhaus without
Joseph Hoffman? Probably not.
Palais Stoclet designed by Hoffman was a turning point in
architecture for many.
Hoffman met Charles Rennie MacKintosh in
1902 and the combustion of ideas from two continents certainly fuelled
the fire in the bellies of the Wiener Werkstatte of Vienna. Hailed as
a genius by the Viennese. MacKintosh would die largely a forgotten man
in his own country but be held as a everlasting beacon of hope in
The Die Fledermaus chair was originally
painted white and these original chairs now command a kings ransom
but this version is shown in a 1916 sales catalogue for J& J
Kohn as model no 728.
This is a chair with balls.
that along with the chequer board motif was Hoffmans trade mark.
would come to be know as square Hoffman.
And it works in all its variations of
the theme its simple decoration, less is more is now proving ever more popular
with a new generation who seem to have abandoned the past, wanting
it only in limited quantities.
This chair, one of a pair has an
original label underneath that says THONET MUNDUS. Mundus were a manufacturer
and merged with J & J Kohn in 1914 to furnish the growing
sales of the company.
with Mundus in 1921
The original fabric is very interesting it
appears to be a design that Gustav Klimt could have done, or was it a
general swirl that he adopted from what was around him. Klimt was an
original member of the Weimer Werkstatte.
This design has now taken on legendary
When you say museum quality.
I sold a exacting pair to The Walker
art Gallery along with a side table some time ago.
I held this pair back.
Its now time to let them go and let someone else have the pleasure of
The pair are in original condition bearing Thonet Mundus-Borlova labels to the underside. Price £3750 for the pair.