Collectors: Antique 1900s Pair of Art Nouveau Piano Iridised Brass Swing Arm Wall Mount Candlesticks

This majestically sculptural lamp is of French design by Georgia Jacob's company (1988 - 2012).  This particular piece comes from the Corolle series, one of many series where Jacob explored shape and form exclusively through the arrangement of drape. 

The overall composition is characterised by exceptionally tactile and organic qualities, with a core arrangement of 16 folds that are encircled by an outer band of 19 ruffles made of the Saffron Mango toned resin. This piece is finished with an elegant resin marble base, further accentuating the subtle luxury of the design. 

Standing at half a metre tall, this stunning statement piece brings sophisticated Minimalism to its surroundings. 

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear to the surface that is commensurate with the age of the piece, please see photographs as they form part of the condition report. The underside of the base is labeled with the original label. Lamp takes a 40w candle screw bulb with the length of the cord being c. 6 ft / 183 cm.

MEASUREMENTS
Height: c. 21" / 53 cm high. Width c. 9.8" / 25 cm (across the widest point). Base measurements: c. 5.1" / 13 cm diameter. Weight: c. 1.4 kg / 1,395 g. Lamp takes a 40w candle screw bulb with the length of the cord being c. 6 ft / 183 cm.

A BIT OF HISTORY
Georgia Jacob International (1988 - 2012)
Georgia Jacob International was founded in 1988 in Wasselonne, a small commune in the north of France, c. 26 km from Strasbourg. Jacob only produced handkerchief and flaming torch design lamps made of resin (polyester), fibreglass or acrylic with several different bases made in marble, brass, metal, wood, or resin. Lamp series included the Corolle, Kali, Athena, Ella, Ophélie, Fruit d’Ange (angel fruit). 
Sadly not much more is known about the company and records trace the company as discontinuing in 2012 due to insufficient assets. 

NOTES
Lamp will be securely packaged and shipping will be insured. Shipping will be combined for multiple items. 

This beautifully stylised work of Art Deco design was made by English pottery Crown Devon. Designed and made during Clarice Cliff's Bizarre era. The stylised tree and landscape verdure décor in this piece echoes that of which appears in Cliff's iconic Orange Roof Cottage series. The décor is further elevated by the addition of the tube-lined and tactile dotted 'stitching'. The origin of design can be attributed to the Czechoslovakian pottery Ditmar Urbach, from which Crown Devon developed its own interpretation. 

The subtly striking décor sits against the canvas of the spherical globe form, displaying its timeless style and carrying its c. 85 years of Art Deco history. 

CONDITION
Very Good. There are 3 negligible chips to the glaze and light use wear to the underside of the base. Mentioned for completeness: there mild crazing all over. The light wear is commensurable with the age of the piece, please refer to photos as they form part of the condition report. The base bears Crown Devon's stamp and model number 'M206'. Length of cord: c. 70" / 178 cm and is fitted with a British plug. Lamp takes a 'B22' light bulb.

MEASUREMENTS
Height: c. 6.3" / 16 cm (excluding bulb holder) height: c. 9.3" / 23.5 cm (including bulb holder). Diameter: c . 6.3" / 16 cm (across widest point). Base diameter: c. 3" / 7.5 cm. Unpackaged weight: c. 0.9 kg / 945 g

NOTES
Lamp will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Crown Devon Fieldings (1870 - 1982)
The pottery was founded in 1870 by Simon Fieldings in Stoke on Trent but it would be 10 years later before they began to produce Majolica style pottery that was popular during the 1880s. Their product range began to expand in the 1890s, working with British United Clock company and they would continue to expand their product range as popularity flourished after successful world trade fairs in the 1900s. They sustained their success for over a century before sadly closing in 1982 at the time of the recession.

This elegant work of mid-century Modern design is by the German lighting company Goldkant Leuchten that was designed by Friedel Wauer. Wauer was credited by FLOS for developing the technology of spraying the plastic material onto metal frames to create the lampshade that was inspired by the “self-wrapping” of a silk worm and hence the name “cocoon”. However, George Nelson was known to have used this technique as early as 1947 for his Bubble Hanging Lamps, referring to the discovery of the technique as “one of those happy accidents which occur all too infrequently in the designer’s experience”.

Regardless of who the original inventor was, the end result is a triumph in lighting design. The highly tactile, silky leatherette-like cocoon lampshade rests on the elegantly streamlined, Chrome plastic base. With design influences from mid-century Modern, Atomic Age and even Industrial, this excellent work brings sleek allure to its surroundings. 

CONDITION
Very Good. There is light use wear to the shade, lampbase and underside of the base that is commensurable with the age of the piece. Please refer to photos as they form part of the condition report. The base bears the original Goldkant and model label. Length of cord: c. 47" / 120 cm and is fitted with a European plug. Lamp takes standard E-series Screw bulb.

MEASUREMENTS
Height: Lampbase c. 4.7 " /  12 cm. c. 10.6" /  27 cm (including lampshade). Diameter: c. 7.5" / 19 cm (across widest point). Base diameter: c. 4.1" / 10.4 cm. Unpackaged weight: c. 0.3 kg / 335 g. Cable/wiring length: c. 47" / 120 cm. Lightbulb: screw bulb E14. 40 watt maximum, 110/220 volt.

NOTES
Lamp will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Goldkant Leuchten (1946 – 1994)
Goldkant Leuchten was founded in 1946 as Cocoon-Leuchten International with designers such as Shultz and Baum for the Cocoon lamps. The company also produced ceramic lamps as well as supplying other companies with their lamps such as Aro Leuchte, Josef Brümberg and Raak. Golkant Leuchten were notably awarded two iF design awards for their Cocoon lamps in 1974. Though the company enjoyed decades of success, sadly, it was closed in 1994.

Currently held on consignment at Andrews Oakville

This striking work of Swedish mid-century design is from the 'Hedgehog' vases that were part of the larger 'Chamott' (Chamotte) series designed between 1936 to 1948 by the celebrated Swedish ceramicist and designer Gunnar Nylund (b.1904 - d.1997). These vases were often made into lamps, as this piece is here and typically come in 5 colours (Emerald, Topaz (Mustard), Turquoise, White, and Yellow). There are 3 forms to the Hedgehog vases; this piece comes from the 'AI' form and is the largest of the 3 available sizes at 21 cm in height (small 12cm, medium 16cm, large 21cm). Nylund became well known for his Chamotte sculptures, designing the series during his time as artistic director at Rörstrand.

Personally, I see a resemblance to the thick shaggy fleece of a Scandinavian mountain sheep in the Hedgehog Chamotte décor. Chamotte is also known as 'firesand', a raw ceramic material that has a high percentage of silica and alumina. It can be produced by firing selected fire clays to high temperatures before grinding and screening to specific particle sizes.

The décor makes this an exceptionally tactile piece, the highly textured, rough surface with the glossily glazed décor is a fabulous juxtaposition. The size of this piece gives it extra presence and the finishing accent of stylised bulb holder collar in Antique gold-tone makes it a statement piece.

CONDITION
Excellent. There is light use wear to the underside of the base that is commensurable with the age of the piece. Mentioned for completeness: there is a minimal hairline crack on the underside of the base that is from production and not damage. Please refer to photos as they form part of the condition report. The base bears Rörstrand's stamp. Length of cord: c. 89.3" / 227 cm and is fitted with a European plug. Lamp takes standard A-series Screw bulb.

MEASUREMENTS
Height: c. 8.3" / 21 cm (excluding bulb holder) height: c. 11.8" / 30 cm (including bulb holder). Width: c.5.5" / 14 cm (across widest point). Base diameter: c. 3.3" / 8.5 cm. Unpackaged weight: c. 3.7 kg / 3,670 g


A BIT OF HISTORY
Gunnar Nylund (b. 1904 – d.1997) Nylund was a Swedish ceramic designer since the 1930s and is perhaps best known as the artistic director of Rörstrand and was already a well-established ceramic artist in Denmark - first at the Bing & Grøndahl Porcelain factory in Copenhagen and later at Saxbo.

Nylund was resident at Rörstrand from 1931–1955 and for the majority of this time, as artistic director. He became well known for his new matte feldspar glazed stoneware in hare’s fur and crystal glazes and for his stoneware animal sculptures. Over five decades, Nylund crafted some 30 reliefs and sculptures commissioned for public spaces, including Europe’s largest stoneware fountain the “Scanisarius” in Bromölla, Sweden.

Most of Nylund’s original sculptures in stoneware chamotte ended up in museums, as did much of his other work. Sculptures such as the “Lion Head” is found at the National Museum in Stockholm, “Blue Bird” is at the Sèvres museum in Paris, his antelope head “Abyssinian mountain nyala”, is at the Röhsska museet in Gothenburg and the “Hamadryas Baboon” is at the Malmö Museum.

His piece “Bulls head in oxblood” was bought by the Ateneum museum in Helsinki. And a lot of his other work can be found at other museums around the world.

Currently held on consignment at Andrews Oakville

This striking work of handblown Swedish art crystal, executed in the Murano art glass technique of Bullicante is by the Marcolin brothers for their art glass studio FM Konstglas in Ronneby, Sweden. 

Made famous in the 1930s by Archimede Seguso, the Bullicante controlled bubbles technique involves overlaying several layers of air bubbles in a grid pattern within the wall. Crafted in solid crystal, this particular piece features this exquisite technique of delicately encasing a core layer of 24 karat gold. The piece is finished in a clear conical casing of clear Swedish crystal glass. 

This stunning piece is timeless in style and brings with it elevated yet glamourous simplicity, the simplicity echoing the Modernist design movement of the period this piece was made. True to the roots of Modernism, there is a focus on combining function with bringing forth the beauty in the natural material.

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear of movement marks on the underside of the base that is commensurate with the age of the piece. Please see photographs as they form part of the condition report. The underside of the base is fitted with protective felting and also bears FM Konstglas' original label in use between 1960s and 1970s.

MEASUREMENTS
Height: c. 5.9" / 15 cm high (excluding bulb holder) c. 8" / 20.2 cm (including bulb holder). Diameter c. 2.6" / 6.6 cm (across the widest point). Base measurements: c. 1.7" / 4.2 cm diameter. Weight: c. 1.3 kg / 1,280 g. Length of cord: c. 86.6" / 220 cm and is fitted with a European plug. Bulb holder takes standard A-series Screw bulb.

A BIT OF HISTORY
Josef Marcolin (b.1933 - d. 2015) and Benito Marcolin (b.1936) learned their art glass skill and techniques in Murano, Venice before moving to Sweden in 1954 to work at the Glimma glassworks. They would move to Reijmyre glassworks in 1956 before starting their own company, FM Konstglas around 1961. Several of their designs can be seen in both Reijmyre and FM Konstglas. FM stands for Färe-Marcolin, a combination of the brothers' surname and the maiden name of Josef's wife, Inga-Lill Färe. Inga-Lill's father Bror Färe was a businessman, and it is thought that he helped to fund the company, which would explain the inclusion of his surname in the company name.

The original glassworks was based in Eneryda and hence any glass produced while at Eneryda bore labels with 'FM Konstglas, Eneryda'. The glassworks would move to Ronneby in 1961 and the labels were subsequently changed to 'FM Konstglas, Ronneby' or 'FM Konstglas, Ronneby, Sweden'. FM Konstglas / Marcolin pieces began as mainly glass figurines, with a unique blended style and techniques of Swedish and Murano art glass. They also produced other glassware such as vases, bowls and perfume bottles, using traditional Murano techniques such as Millefiori, Sommerso, Sfumato and Zanfirico. FM Konstglas pieces without labels can easily be mistaken for Murano glass

The company changed its name to FM Marcolin Art Crystal in 1983 and changed again to Marcolin Art Crystal around 1988. The Swedish factory closed in 1991, and production was moved to Sardinia, Italy with the intention of producing the same products with Sardinia Crystal glassworks. Sadly, production didn't last long and the Marcolin brothers went their separate ways. Benito moved back to Sweden, while Josef moved to Austria and production continued under the name Marcolin Art Crystal without the brothers.

This elegantly sculptural, hand-built, and glazed studio pottery piece is of British Modernist design and by Peter Ellery for his Cornish pottery studio Tremaen Pottery (1965 - 1988). Ellery's work features a heavy influence of the Cornish environment that the Tremaen studio was based in. Sea-washed pebbles, rocks, and boulders shaped form, and Cow Parsley from abundant hedgerows inspired décor, as are traces of rough-hewn stone harbour walls and whitewashed fishermen's cottages. Many pieces have an organic feel, being deliberately weathered or textured.

This particular piece comes from the Nanceddan (Cornish for 'Valley of the Birds') series, reflecting the influences of the Cornish coastal landscape in its sea-smoothed pebble form, texture and palette. As with Ellery's other works, this piece would have been constructed as well as glazed with unconventional techniques, as was Ellery's style. The overall composition is characterised by its exceptionally tactile and organic qualities, shaped like a stone smoothed by the ocean tide revealing the layers of its inner strata. The glazing is textured and touch inviting, the palette begins with a base of the natural stoneware clay in matte Sand that is then elevated with the silky bands of semi-matte glaze in tones of Warm Honey and Caramel brown.

This stunning piece actualises many key principles of Modernist design influence, with a focus on combining function with bringing forth the beauty in the natural material.

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear to the protective felting on the underside of the base that is commensurate with the age of the piece. Please see photographs as they form part of the condition report. The underside of the base is fitted with protective felting and also bears Tremaen's original label.

MEASUREMENTS
Height: c. 11.4" / 29 cm high (excluding bulbholder) c. 14.2" / 36 cm (including bulbholder). Width c. 6.7" / 17 cm (across the widest point) x depth: c. 4.7" / 12 cm. Base measurements: c. 5.9" / 15 cm x c. 4.2" / 10.6 cm. Weight: c. 1.6 kg / 1,620 g. Length of cord: c. 83.5" / 212 cm. Lamp takes standard A-series Bayonet bulb.

NOTES
Lamp will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Peter Ellery, Tremaen Pottery (1965 - 1988)
Tremaen pottery was first set up by Peter Ellery in Marazion, UK in 1965, typically creating large scale pieces using unconventional techniques in both construction and glazing. His work quickly gained appreciation and popularity, and within 2 years Tremaen pottery moved to a larger premises in Newlyn with the workforce expanding to twelve to cope with demand.

Although work continued to be by hand, the range of pieces produced by Tremaen expanded to include smaller scale and figural pieces. Tremaen's work maintained its popularity but sadly, the recession of the early 1980s created increasing economic difficulties. Ellery sustained Tremaen's production until 1988 where he made the decision to close the pottery.