Alden's Offerings - Loetz, Kayserzinn

[kilsyth]

ALDEN'S OFFERINGS - MAY 1, 1999
LOETZ, KAYSERZINN

GERMAN AND AUSTRIAN DESIGN 1895-1914

The unification of Germany, in 1871, triggered a resurgence in the
popularity of traditional design, in a new country with old
traditions.
The German metalware firm of J.P. Kayser established an _Arts
and Crafts_ section, and from 1896 was a leading maker of pewter
metalware, under the _Kayserzinn_ name and mark. Although Kayser would
soon become a leader in Jugendstil design, much of the initial
production, like the tankard pitcher below, was in midieval forms,
which
were the ideal of the arts and crafts movement.

A RARE KAYSERZINN PEWTER TANKARD PITCHER
http://www.log.on.ca/kilsyth/img003.jpg
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97386529

A rare and early Kayserzinn pewter tankard pitcher, c.1896, the
tapered
cylindrical vessel set on a circular stepped base, with applied
c-scroll
handle, having a hinged lid with curled lip extending over the spout,
the body encircled with five tiers of alternating smooth and
hammered-textured vertical panels. Height 29.5 cm. Stamped marks:
9/KAYSERZINN/4005/r with two underlines. Superb original condition. No
dents or corrosion. Never been buffed. Illustrated in _J.P. Kayser
Sohn,
Musterbuch 1907_ pg.144, no.4005. Very few examples of this design
remain today.
Now available on ebay and closing on Wednesday, May 5.

By the end of the 19th century, many new art (or_art nouveau_)
movements had sprung up internationally, in the form of various
secession and modern design movements. In Germany, this movement was
primarily influenced by the Belgian designer, Henri Van de Velde, and
came to be known as _Jugendstil_, after the Munich magazine named
_Jugend_ which popularized the style. This design was characterized by
curvilinear, flowing lines, as in the form of this rare silvered
Kayserzinn vase, from 1898.

A RARE KAYSERZINN SILVERED PEWTER VASE
http://www.log.on.ca/kilsyth/KayserzinnSilverVase.jpg
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97437577

A rare Kayserzinn silvered pewter vase, c.1898, the flowing tapering
form on a short everted foot. Pewter, heavily plated with silver, very
deeply molded in high relief with two daffodils or narcissi, another
flower, and foliage, and on the reverse with a single daffodil or
narcissus and leaves. Stamped: "58/KAYSERZINN/4110/2". Height 5 in.
The vase is in nearly mint condition, with no wear to the
silver
whatsoever. This is not a pewter vase that someone has subsequently
plated, nor a vase that has been repaired, replated, or altered in any
way.
The only other Kaysezinn silvered pewter piece of which I'm
aware is in the Brohan Collection in Berlin (illustrated in "Sammlung
Brohan II, Kunsterhandwerk 2", Berlin 1977, fig.44). That is a tea
service, model #4117. Another example of that silvered service
appeared
on the market, in New York in 1980 (Sotheby Parke Bernet, Feb.8/80,
Lot
20). Another example of that service, in pewter only, appeared on the
market, in Munich in 1985 (Ketterer Galleries, May 24/85, Lot 457),
with
molded marks only.
The Brohan service #4117 is very close in number, design, and
technique, to the offered vase #4110. They are either all part of the
same series, or from a related series, and certainly all the products
of
some, if not all, of the same minds and hands.
The evidence suggests that this series was available in both a
regular version and a silvered version.
Although Kayser very occasionally produced some other
silverware, such as nickel-silver items and silverplated brass, the
pieces from this series are the only pieces, of which I'm aware, of
Kayserzinn pewter available in a silvered version. They are therefore
highly desirable pieces, and extremely rare.

In the medium of glass, the art nouveau period was characterized by
the
popularity of iridescent glass. Originally created by the Bohemian
glasshouse, Lobmeyr, in 1863, iridescent glass was also made in
England
from 1877, before being first made by Tiffany in 1893.
The Loetz glasshouse was located in Bohemia, then part of
Austria, and was the major European producer and exporter of art
nouveau
glass.

A SIGNED LOETZ PHANOMEN GRE29 VASE
http://www.log.on.ca/kilsyth/img006.jpg
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97431781

A Loetz Phanomen GRE29 vase, c. 1900. Squared form with four
dimpled indents, with a waisted neck and circular mouth. Iridescent
bronze glass, decorated with blue-tinged waves of silver nitrate.
Height
3 1/4 in. (8 cm.).Width 4 in. (10 cm.). Engraved _Loetz Austria_ on
ground and polished pontil.
References: For identification of Loetz Phanomen GRE29, see
_Lotz Bohmisches Glass 1880-1940_ Ricke et al, Band 1, pg.135, Plate
109; pg.331,UR. For a Loetz Phanomen GRE29 vase of very similar form,
see _Glass: Art Nouveau To Art Deco_ Arwas, 1st edition, pg.140, upper
centre; second edition, pg. 207, bottom centre.
(For a duscussion of this and other Loetz signatures, see the
final article in today's letter.)
The popularity of Art Nouveau peaked at the Paris 1900 World's
Fair. The Phanomen series was produced by Loetz specifically for the
World's Fair. Already one of the world's leading glasshouses, Loetz
was
under creative and commercial pressure to produce new work.
The Phanomen series was inspired by the collaboration of Max
Ritter von Spaun II (grandson of Johann Loetz) and Franz Hofstatter, a
German painter with no prior experience in glass. Spaun and Hofstatter
had originally collaborated on a set of three windows. Spaun's task
was
to realize Hofstatter's designs, which were uninhibited with any
knowledge or prejudice as to the limitations of the medium. This led
Spaun into developing new techniques and glass formulas.
After this initial success, Spaun and Hofstatter continued
their
collaboration in the creation of the Phanomen series for the Paris
1900
World's Fair, for which Hofstatter also designed many forms. The
Phanomen series also includes a large number of designs from other
designers and Loetz staff designers, although the different
decorations
are distinguished only by a genre number, eg. GRE29.
This single series represents the best glass produced by Loetz
in its 100 year history. The Loetz glassworks was awarded the Grand
Prix
of the Paris World's Fair, and Spaun and Hofstatter were given the
silver award for design.
Now available on ebay, and closing on Wedenesday May 5.

A TALL LOETZ SILBERBAND VASE
http://log.on.ca/kilsyth/Loetz%20silberband.JPG
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97417633

A Loetz Silberband vase, c.1900, of tall cylindrical form with a
flaring
crimped rim. The glass is pastel turquoise in transmitted light, and
an
iridescent darker green in reflected light. The body is decorated with
horizontal iridescent piping, with a gold strand in the centre of the
piping. Height 13 5/8 in. Ground pontil. Perfect original condition,
with a minor pontil chip in the making.
Now available on ebay, and closing on Wedenesday May 5.

A LOETZ GOLD CRACKLE VASE
http://log.on.ca/kilsyth/Loetz%20gold%20crackle.JPG
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97396085

A Loetz vase, c.1905, with crimped quatrefoil rim. Crackled iridescent
gold surface, with rainbow highlights. Ground and polished pontil.
Unsigned. Height 3 ½ in. Perfect mint condition.
Now available on ebay, and closing on Wedenesday May 5.

After 1905, art nouveau went into rapid decline. European glass became
more internally decorated, rather than decorated with iridescent
surface
designs. Form design abandoned the organic, and returned to a modern
direction.
The leading design edge of that era was the Wiener Werkstatte
(Vienna Workshops), formed in Vienna in 1903. Their leading influences
were the Glasgow School and its leader, Charles Rennie Mackintosh, and
the English designer, Christopher Dresser. The Glasgow influence went
as
far as causing the reorganization of the Vienna guild system, based on
the Glasgow guilds. This effect was all the more remarkable,
considering
that Mackintosh received very little recognition and work at home in
Britain.
As in most design schools, the Wiener Werkstatte became
divided
between the rigid and the ornamental, or what I personally call _the
line and the unline_ . A blank sheet of white paper, or a sheet with a
straight black line, may be _perfect_ art, but it isn't very
interesting. Art is the exploration of imperfection, which will
alweays
lead away from the line, to which it must always return. This
dichotomy
eventually led to the split of the Wiener Werhstatte, and, as in all
design schools, its death in a spiral of over-ornamentation.
In the initial stages of the Wiener Werkstatte, the floral
school was most represented by Josef Hoffmann, Dagobert Peche, and
Hans
Bolek, each of whom had their individual standardized floral forms.
This
idea of _conventionalizing_ floral forms had originated in the English
movement of _conventionalism_ in the early 19th century, and had been
continued forward by Owen Jones and Christopher Dresser, also an
outstanding botanist.
The result of this continuing conventionalist modern approach
is
seen in this next Kayserzinn tray, which no longer represents a
natural
floral rendering, but a conventionallized rendering, in the new modern
taste.

A KAYSERZINN PEWTER TRAY OR BASKET
http://log.on.ca/kilsyth/Kayserzinn%204948%20tray.JPG
OR http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97455386

A Kayserzinn pewter tray or basket, c.1910-1914, elongated oval form
with a stylized floral design at each end. Length 14 1/8 in., width 7
7/8 in., height 2 3/8 in. Molded mark _KAYSERZINN/4948_ within an
oval.
Patinated grey. Minor corrosion in bottom of basket. (This corrosion
is
not unsightly, but is reflected in a lower reserve than would
otherwise
be the case.) This post-Jugendstil design is derived from the
subsequent
influence of the Wiener Werkstatte, particularly the conventionalized
floral designs of Josef Hoffmann, Dagobert Peche, and Hans Bolek, from
whose work this Kayserzinn design is derived.

The ying and yang of _the line and the unline_ continues, but, as Gary
Larson more recently put it...
http://log.on.ca/kilsyth/FarSide.JPG

CATALOGS

I'm selling some duplicate catalogs from my library. They're excellent
reference works (and great eye candy!). Please email with any
questions.

_The Jerome Rapoport Collection of American Aesthetic Silver_
Sotheby's,
New York, June 20, 1996. This sale was the dispersal of one of
America's
great collections of Aesthetic silver, including major works by
Tiffany,
Gorham , and other American silversmiths. Completely illustrated in
color. A fascinating and indispensable reference work. Mint condition,
with selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97427895

_Clarice Cliff_ Christie's, South Kensington, November 22, 1996. 485
lots by Clarice Cliff. Almost all lots are color illustrated. A
wonderful catalog and indispensable reference. Mint condition.
Includes
selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97858082

_Tiffany Lamps From The Warshawsky Corporate Collection_ Sotheby's,
New
York, June 5, 1996. 140 lamps. Mint condition. Includes selling price
list. Exceptional Tiffany lamps from one of America's foremost
collections. Illustrated in rich color and detail. Indispensable for
any
Tiffany lamp enthusiast.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97883744

_The Estate of Walter P. Chrysler Jr. - Important Art Nouveau and Art
Deco_, Sotheby's, New York, June 16, 1989. 429 lots, mostly color
illustrated. Includes important Tiffany, Galle, Daum, Lalique,
Gustavsberg, silver, and continental Art Nouveau and Art Deco
furniture
and sculpture. Mint condition. Selling price list included. Walter
Chrysler Jr. was the founder and benefactor of the Chrysler Museum,
Norfolk, Virginia, which houses the collection that he amassed. Those
items which he personally retained are included in this interesting
and
important estate sale.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97874175

_The Henry Stern Collection of Antique Glass Paperweights_ Christie's,
New York, September 24, 1997. This sale was the dispersal of one of
the
finest antique glass paperweight collections in private hands,
including
excellent examples of Saint Louis and Baccarat millefiori weights,
Saint
Louis crowns, Baccarat and Clichy flowers and swirls, assorted
overlays,
snakes and sulphides; and the St. Louis Potato Weight, a rare and
unrecorded composition. Fully illustrated in color. Mint condition,
with
selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97460395

_Paperweights_ Sotheby's, New York, June 26, 1996. 170 lots,
illustrated
in color and B&W. Mint condition, with selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97451311

_20th Century Decorative Works Of Art_ Sotheby's, New York, March 17
and
18, 1995. Catalog for Sotheby's major spring sale. 6 lots, illustrated
almost completely in color. Includes 126 lots of exceptional Tiffany
glass. Also includes sculpture, Jensen silver, continental ceramics
and
furniture, Daum, Lalique, Nouveau, Deco, contemporary applied arts,
etc.
Mint condition. Includes selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97850414

_20th Century Continental Decorative Arts_ Christie's, South
Kensington,
December 6, 1995. 312 lots illustrated in color and B&W. Also includes
WMF, Italian and Austrian art glass, Daum, Icart, etc. Mint condition,
with selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97824639

_20th Century Continental Decorative Arts_ Christie's, South
Kensington,
March 29, 1996. 535 lots illustrated in color and B&W. Also includes
WMF, Italian and Austrian art glass, Daum, Icart, etc. Mint condition,
with selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97833915

_20th Century Continental Decorative Arts_ Christie's, South
Kensington,
March 14, 1997. 535 lots, illustrated in color and B&W. Also includes
WMF, Austrian art glass, continental ceramics, etc. Mint condition,
with
selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97842533

_Decorative Arts - Scottish Contemporary and Modern Art_ Christie's,
Glasgow, September 23, 1997. 313 lots. Profusely illustrated. Mint
condition, with selling price list.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=97405534

AUTHENTICATING LOETZ SIGNATURES

While public knowledge concerning the Loetz glassworks continues to
improve, many problems remain in the market, not the least of which is
the amount of forged Loetz signatures on glass. The majority of Loetz
signatures seen are, unfortunately, forgeries.
The signatures discussed are those on art nouveau glass, or
rather, signatures engraved during the period 1898 to 1903,
predominantly in 1900 and 1901. This was the only period that Loetz
glass was signed. (We are not discussing cameo marks, rare designer
monograms, paper labels, or etched _Czechoslovakia_ variations from
after 1918.)
The collector or dealer is urged to familiarize themselves
with
authentic signatures, to discriminate between the true and false.
All the signature variations are illustrated in "Lotz
Bohmisches
Glas 1880-1940", but unfortunately by line drawings only, which are
useless as a comparative reference for determining authenticity.
Neuwirth's _Loetz Austria 1900_ has many excellent photographs of
signatures, but with no commentary. However, by combining these two
references, comprehensive comparative data can be had.
Design dates may also be important to remember. If I'm told
that
a vase (that I know was designed in 1906) is signed, I'm immediately
going to have a problem with that, as nothing was signed after 1903.
There are also many decorative types that are more likely to
be
signed than others. Glass was not signed because of any export
requirements, as is often said, but generally purely on quality. I
would
not expect to find a signature on a minor Loetz vase, and would be
suspicious of one found. Otherwise, I would expect a superb Loetz
vase,
and most Phanomen pieces to be signed.
Some decorations have a quite high signature rate. For
example,
the Loetz vase listed first above is a Phanomen GRE29 vase. Loetz
experts would recognize this as a vase that is likely to be signed.
Statistally, my analysis of this decoration indicates that about 70%
of
examples were signed at the glasshouse. I would be more suspicious if
I
found an example that is unsigned!
However, none of these points are definitive, and the question
remains as to what the actual identifying characteristics are of a
Loetz
signature, so that opinion may be set aside.
We can first say that all acid etched marks are forgeries,
including all acid-stamped Loetz marks. Many of these are seen in the
market.
All authentic Loetz marks are engraved.
The authenticity of a Loetz mark can be immediately determined

by examining the characteristics of the engraving under high
magnification.
The engraving tool used by Loetz had a very high vertical
oscillation. What appears to be a horizontal line like this _________
,
is actually a great number of vertical lines |||||||||| compressed
tightly together.
This produces two immediately recognizable characteristics.
The
line is going to be thick or broad, as opposed to a thin line. But
more
importantly, while the line will be dense in areas where the engraver
has lingered, other areas will reveal the vertical oscillation of the
engraving needle. These vertical striations identify the presence of
an
authentic Loetz signature, and their absence almost certainly
indicates
a forgery.
This applies to the common _Loetz Austria_ signature, but may
be
equivocal on the rarer crossed arrows marks because of their design
difference.
The photographs in _Loetz Austria 1900_ have sufficient
resolution for examination and verification of this characteristic.
Web
photos generally do not. The vertical striations will be visible in
parts of an authentic signature, but not all. Commonly, they are
visible
in the last _a_ ,which together with the broad line, can be seen in
this
web photo (from a now forgotten but thanked source).
http://log.on.ca/kilsyth/Loetz-sig.jpg
Remember to look for the vertical striations, and quickly
determine authenticity.

Best regards,
Alden Jones

c.1999

_______________________________________________________________________

RESEARCH SERVICES

Single questions to collections cataloged, by experienced researcher.
Specializing in all applied and decorative arts of the period 1880 to
1940, including Aesthetic Movement, Art Nouveau, Jugendstil, Wiener
Werkstatte, and Art Deco. All materials, including glass, ceramics,
silver, and furniture. Experienced in investigation, analysis,
valuation, and litigation. E-mail with request for quote.
Confidentiality assured.
Alden Jones CGA,CFP,CIM. kil...@log.on.ca
____________________________________________________________________

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