Johann Loetz Witwe Klostermuehle eminent table lamp by Moritz Hacker Vienna
Johann Loetz Witwe Klostermühle
This incredible lamp with a glass shade will be well known to many collectors of Loetz glasses. In several books and catalogues copies of this model have been illustrated, and with good reason. In an almost perfect symbiosis of glass, metal and gemstones, Moritz Hacker created an iconic object of Viennese Art Nouveau in Vienna around 1900. The workmanship and design are exceptionally good and of a very high quality. The gilded faces of the ladies in combination with the golden yellow glass shade by the Loetz manufactor make this object appear almost mystical and sacred. A sensational object, which we were reluctant to let go.
pair of vases, Johann Loetz widow Klostermühle, school of Koloman Moser
Johann Loetz Witwe Klostermühle
The World Exhibition in Paris in 1900 was a turning point in the Loetz company history. At this fair, the Loetz company was honored with the “Grand Prix”, the world’s highest award for arts and crafts. The Viennese painter Franz Hofstötter played a major role in the success of the company. It is thanks to his ingenious designs of forms and decorations that Loetz’s glasses were so enthusiastically received at the world exhibition. The design of this decoration variant has safely beeen matched to the pen of Franz Hofstötter. Examples of this decoration were also proven to have been exhibited at the World Exhibition in Paris in 1900 and at the winter exhibition of the ÖMKI in 1900/1901. Robert Holubetz, the most famous student of Koloman Moser, was responsible for the design of the shape. This vases represent an important chapter in the art-historical history of Austria and are a jewel for any glass collection.
Franz Hofstötter, Loetz, vase, world exhibition Paris 1900, signed
Johann Loetz Witwe Klostermühle
One of the most important designers of the glassworks Johann Loetz-Witwe Klostermühle was the Viennese painter Franz Hofstötter. A large part of the company’s success at the World Exhibition in Paris in 1900 is due to his designs for decorations and forms. For these wonderful creations Loetz was also awarded the “Grand Prix” at the World Exhibition in Paris, the highest and most important award for arts and crafts in the world at that time. Loetz vases from this period are today among the most sought-after objects of Viennese Jugendstil.
Josef Hoffmann, gold-plated bracelet, Wiener Werkstätte, ca. 1910, Viennese Jugendstil
Today, jewellery objects of the Wiener Werkstätte are among the most expensive objects of Viennese Jugendstil and are extremely rare and in great demand. Especially bracelets take a special position. Few surviving examples can be found in museums today, more often in private ownership. In addition, there is a comparatively small number of this type of jewellery, as is impressively demonstrated in the archive of the Wiener Werkstätte in the Museum of Applied Arts: only 30 bracelets are published here by photograph, Josef Hoffmann is responsible for only 15 drafts as a designer.
Silver objects of this size from the Wiener Werkstätte and with a production date after 1920 are a rare sight. This slender, impressive design by Josef Hoffmann was produced between 1928 and 1930. The soldered joints on the stand of the chandelier show exactly the quality of craftsmanship of the Wiener Werkstätte. Each socket of the candelabra is stamped with the “WW” signet and the control mark ” Wiedehopf Kopf” for silver. Another example of this candelabra is in the permanent exhibition of the MAK “Wien 1900”.
Werkstätte Hagenauer Vienna enamelled table mirror Franz Hagenauer 1930s
This table mirror with a hand and woman’s face is one of the most important designs from this period. The absolute reduction and the strongly reduced expression as well as the almost geometrical hand position are evidence of the revolutionary genius of the brothers Karl and Franz. The execution of the mirror is one of the highest quality works that we have ever had the pleasure of examining with objects by the Werkstätte Hagenauer. This object is certainly one of the most important and rarest figurative pieces by Hagenauer.
A pair of heads
Workshop Hagenauer Wien
Among the most important works of Franz Hagenauer are without doubt the unmistakable depictions of human heads. Over the years, Hagenauer consolidated his style and the representations continued to develop until the 1980s. These two sculptures of a man and a woman date from this late period. Also a two-dimensional representation of human heads was not executed by Hagenauer until the 1980s. According to a statement by the last master craftsman of the Hagenauer company, these two heads were only executed once.
6 rare wine glasses designed by Otto Prutscher 1908 Wiener Werkstätte Meyr's Neffe
The design of these wine glasses dates from around 1907, one of the most creative periods of Prutscher’s career. As a pupil of Josef Hoffmann and Franz Matsch, he was responsible for many designs of the Wiener Werkstätte and Viennese residential buildings. The combination of square ornaments on the stem and in the cupola is typical of Prutscher’s designs. The glasses were extremely complex to make and a six-piece set of these wine glasses is a very rare find on the market.
Paintings, drawings and prints
Giovanni Segantini is considered one of the most important representatives of realistic symbolism and is often mentioned in the same breath as painters such as Edvard Munch, Vincent Van Gogh or Arnold Böcklin. Especially his landscape paintings enjoy an excellent reputation among collectors. Today, works by Giovanni Segantini are exhibited in major museums around the world, such as the Metropolitan Museum of Art, the Kunsthaus Zürich, the Kunstmuseum Basel, the Neue Pinakothek in Munich or the Belvedere in Vienna. Our flower still life shows the absolutely unmistakable painting technique and colour composition for Segantini and was celebrated as a sensation by the Italian specialist press.
Armchair designed by Josef Urban for the 1st exhibition of the Hagenbund 1901
This armchair was one of four identical pieces of furniture for the Hagenbund room at the VIII. International Art Exhibition in the Munich Glass Palace. On a contemporary illustration these four pieces of furniture are grouped around a column. After the exhibitions, the four armchairs became the private property of another member of the Hagenbund. The rose ornamentation was an essential design factor of the dining room in the villa of the painter Alexander Demetrius Golz and the frieze painted by Goltz himself shows exactly the same ornaments as the armchair. Noteworthy about this object are the elegant, clear lines and the clear affinity to works from the circle of the Glasgow School of Applied Arts around 1900. Such an object is a museum-like witness to one of the most important art epochs of our time.