- 30
Henry Van de Velde
Estimate
2,000 - 3,000 USD
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Description
- Henry van de Velde
- "Peitschenhieb" Dinner Plate
- stamped with the artist's monogram and 65; with blue underglaze crossed swords mark for Meissen and 71
- decorated and glazed porcelain
Literature
Fritz Schumacher, Das Deutsche Kunstgewerbe 1906, Munich, 1906, illus. 262
Die Kunst, vol. 16, 1907, p. 62 (for a period critique of this pattern)
Prof. Hans W. Singer, "Some New Meissen Porcelain," The Studio, vol. 40, 1907, p. 57 (for a period discussion of both the van de Velde and Riemerschmid patterns designed for Meissen)
Klaus-Jürgen Sembach et al., Henry van de Velde: ein europäischer Künstler seiner Zeit, Köln, 1992, pp. 292 and 293 (for illustrations of assorted pieces from this pattern)
Kathryn Bloom-Hiesinger, Art Nouveau in Munich, Masters of Jugenstil, Philadelphia, 1988, p. 19
Judy Rudoe, Decorative Arts 1850-1950, London, 1991, pp. 117 and 226
Gisela Haas, Jugendstil in Dresden: Aufbruch der Moderne, Dresden 1999, p. 244
Winifred Nerdinger, 100 Jahre Deutscher Werkbund 1907-2007, New York, 2007, p. 30
Die Kunst, vol. 16, 1907, p. 62 (for a period critique of this pattern)
Prof. Hans W. Singer, "Some New Meissen Porcelain," The Studio, vol. 40, 1907, p. 57 (for a period discussion of both the van de Velde and Riemerschmid patterns designed for Meissen)
Klaus-Jürgen Sembach et al., Henry van de Velde: ein europäischer Künstler seiner Zeit, Köln, 1992, pp. 292 and 293 (for illustrations of assorted pieces from this pattern)
Kathryn Bloom-Hiesinger, Art Nouveau in Munich, Masters of Jugenstil, Philadelphia, 1988, p. 19
Judy Rudoe, Decorative Arts 1850-1950, London, 1991, pp. 117 and 226
Gisela Haas, Jugendstil in Dresden: Aufbruch der Moderne, Dresden 1999, p. 244
Winifred Nerdinger, 100 Jahre Deutscher Werkbund 1907-2007, New York, 2007, p. 30
Condition
Very good overall condition. Some very minor glaze imperfections as expected.
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
Like Riemerschmid, Van de Velde was called upon to create a modern porcelain service in response to the criticism Meissen received at the 1900 Paris Exposition Universelle for offering dated styles. The present lot exemplifies the artist's vision of refinement and understated decoration of whiplash lines limited to the border. The pattern received mixed reviews and was criticized for its severity. Shortly after, Meissen offered the pattern with traditional florals to cover the open areas obviously breaking with Van de Velde's aesthetic intentions. To the modern eye, this pattern can be appreciated as a microcosm of Van de Velde's linear brand of Belgian Art Nouveau.