Wilhelm Kåge

Nils Palmgren, Wilhelm Kåge:  Konstär och Hantverkare, Stockholm, 1953, p. 191 (for a related example)

Overall very good original condition. The glazed surface showing some minor rubbing, minor surface imperfections and variation to color which is inherent in the making and not an issue of condition. The bottom edge of one of the feet with a minor glaze loss measuring less than a quarter inch in length, and as it is located at the immediate bottom of the foot, has no impact on the overall decorative scheme. One minor inherent nick to the rim which appears as a result of removal from the kiln. A wonderful decorative pattern with rich coloration. Please note, this lot is being sold with a 1998 Gansevoort Gallery exhibition catalogue titled "The Nordic Modern Movement: Masterworks in Glass, Ceramics, Silver and Wood".
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.

I was introduced to Wilhelm Kage's work at Lillian Nassau's shop, where we often had examples of the green-glazed art deco vessels with silver overlay, known as the "Argenta" series, produced by Gustavsberg in the 1920s and 30s.   When I opened my new shop on Gansevoort Street in the meatpacking district in 1995, I began my own trips to Stockholm, Copenhagen, and Helsinki. I realized there was an extraordinary opportunity to buy excellent ceramics at reasonable prices, as the economies of these countries were struggling and wonderful work was undervalued. The dollar was strong and the locals were spoiled by the wealth of good choices. The galleries and auction houses offered a wide array of ceramics produced under the direction of Kage at Gustavsberg, including "Argenta," "Surrea" (the extraordinary white surreal stoneware, the superior examples which were to be found only at Paul Jackson's GamlaStan shop), and "Farsta."

I was especially passionate for the organic modernism of "Farsta." They were distinctive for their eccentric shapes, their unusual carved geometric decorations, and their sources in Aztec and Chinese art and the natural world. They were highly personal and hard to classify; they were strong and self-assured, often perched on solid feet or teetering on unstable platforms. I learned that Kage, as the master and director of Gustavsberg, used the skills of both Friberg and Lindberg as his assistants to throw and decorate many of the "Farsta" pieces during the highly productive years of 1945 to 1960. The relationship between master and talented students produced many unique hand-wrought studio ceramics despite the emphasis on industrial production at Gustavsberg.  After many years of exposure to great mid-century American and European ceramics, "Farsta" tops the list as my personal favorite ceramic series.  -MM