Posted 12 years ago
bohemiangl…
(641 items)
Here are three examples of jugendstil era production from Ferdinand von Poschinger, ca. 1899-1900. In dark violet and dark blue glass, mold blown and shaped with matte iridescence; painted in flat opaque enamels in a variety of floral motifs. The most recent find, on the left, is unmarked, but is identical in shape to the second (blue) one, which is marked in the typical manner, as is the third example. The last photo shows the marks present within the polished pontil marks of the last two bowls. The marks and decors are documented in Das Boehmisches Glas, Band V, as well as in Glaeserner Jugendstil aus Bayern, by Christiane Sellner.
Something about the taste:
Common public and buyers of interior decoration items at the turn of the 19th century actually DID NOT LIKE Jugendstil. For example, dozens of Austrian and German silversmiths produced items in either rococo or baroque style, or even worse, mixed every possible style to conform the taste of general public. And there are well documented demands from retailers NOT to send items in ``new style``. Jugendstil was for the intellectuals who understood the idea of breaking up with the past.(Wiener Secession). What do we expect to see in Jugendstil décor? Characteristic "whiplash” curves employed by Art Nouveau artists.
This is clearly seen in Poschinger bowls; only the third has fully elaborated art nouveau décor, the second to some degree, and the first décor is often seen in 19th century glass. And again, except for the third bowl with the décor in full balance with the glass, beautiful art noveau form of these bowls needed no enameling. But they had to sell and could not import from China at the time.
I'd have to disagree with the necessity or not of the floral enamel work. Modern tastes may be more geared towards non-enamel pieces, as well as non-overlay pieces, but to presuppose what was in the mind of the 19th century consumer is mere speculation. The floral and geometric motifs used for enamel and overlay work are wholly consistent with the public's interest in nature and the modern; a contradictory design schism inherent to Jugendstil and Secessionist movements. Also, for the floral pieces, bear in mind that the primary consumer were women, who were more apt to veer towards the familiar and feminine.
I suspect all three of the floral bowls above were designed by Betty Hedrich for Poschinger; one of the few female designers of repute for the Bohemian/German glasshouses. Aside from an odd creature-based motif, the bulk of Hedrich's work for Poschinger was floral. They would not have continued her long run at the glassworks as a designer if these floral enamel pieces were unpopular at the time.
Warren, nice examples of decorated Poschinger !
I've enjoyed collecting Poschinger Art Nouvea/Victorian decorated glass for many years. It's almost a shame it's getting to be better known in the U.S., as there was a time when it could be had for a song and a dance as long as the seller wasn't trying to pawn it off as Loetz!
I love this discussion. Let me point out; if the general idea of `` new art`` was to break up with traditional styles (the very meaning of Vienna secession) we do not want Biedermeier décor in art nouveau glass, do we?
I agree, Ivan, but the early Secession movement and materials were more traditional Jugendstil in design. It wasn't until Mackintosh's influence on Josef Hoffmann and Koloman Moser that the Secessionist styles became decidedly more geometric and less naturalistic. Plus, Poschinger was a German glasshouse, so its early market was more in the West.
Thanks for the book recommendation, Al.