- 14
Bruno Paul
Estimate
25,000 - 35,000 USD
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Description
- Bruno Paul
- Candelabrum, Model No. 58
- cast and spun brass
Literature
Die Kunst, volume 12, 1905, p. 367 (for a period illustration of this form exhibited at the tenth Munich Secession exhibition in 1904)
Fritz Schumacher, Das Deutsche Kunstgewerbe 1906, Munich, 1906, p. 151
Deutsche Kunst und Dekoration, vol. 19, (1906-1907), p. 101
Deutsche Kunst und Dekoration, vol. 21, (1907-1908), p. 263
Kathryn Bloom-Hiesinger, Art Nouveau in Munich, Masters of Jugenstil, Philadelphia, 1988, pp. 94, 100-101
Alfred Ziffer, Bruno Paul: Deutsche Raumkunst und Architektur zwischen Jugendstil und Moderne, Munich, 1992, p. 87
Torsten Bröhan and Thomas Berg, Avantgarde Design 1880-1930, Köln, 1994, pp. 38-39
Annelies Krekel-Aalberse, Jan Eisenloeffel, 1876-1957, Zwolle, 1996, p. 169
Hans Ottomeyer, Wege in die Moderne: Jugendstil in München 1896 bis 1914, Munich, 1997, pp. 216-217
Gisela Haas, Jugendstil in Dresden: Aufbruch der Moderne, Dresden 1999, p. 332
Wendy Kaplan, The Arts and Crafts Movement in Europe and America: Design for the Modern World, Los Angeles, 2004, p. 89
Fritz Schumacher, Das Deutsche Kunstgewerbe 1906, Munich, 1906, p. 151
Deutsche Kunst und Dekoration, vol. 19, (1906-1907), p. 101
Deutsche Kunst und Dekoration, vol. 21, (1907-1908), p. 263
Kathryn Bloom-Hiesinger, Art Nouveau in Munich, Masters of Jugenstil, Philadelphia, 1988, pp. 94, 100-101
Alfred Ziffer, Bruno Paul: Deutsche Raumkunst und Architektur zwischen Jugendstil und Moderne, Munich, 1992, p. 87
Torsten Bröhan and Thomas Berg, Avantgarde Design 1880-1930, Köln, 1994, pp. 38-39
Annelies Krekel-Aalberse, Jan Eisenloeffel, 1876-1957, Zwolle, 1996, p. 169
Hans Ottomeyer, Wege in die Moderne: Jugendstil in München 1896 bis 1914, Munich, 1997, pp. 216-217
Gisela Haas, Jugendstil in Dresden: Aufbruch der Moderne, Dresden 1999, p. 332
Wendy Kaplan, The Arts and Crafts Movement in Europe and America: Design for the Modern World, Los Angeles, 2004, p. 89
Condition
Very good overall condition. The piece has a very nice patina. There are some very minor scattered surface imperfections to the surfaces that are inherent in the casting process but do not detract from the overall visual impact of the work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The design is extremely graphic and ceremonial in nature and has a similar decorative restraint seen in the work of Bruno Paul's colleague Richard Riemerschmid. The arms swivel around the central shaft and when scattered create the illusion of a tree. When the arms are placed flush in succession the candelabrum takes on the appearance of a stylized peacock.