Design: Paul Wynand, um 1908
Manufacture: Simon Peter Gerz I GmbH, Höhr, model-no. 1457.
Mark: blind mark on the bottom (vessel in triangle) and 1457.
Measures: height 16,3”, diameter foot 5,7”.
State: very good, no ships, glaze on the edge minimal erosed. Lid original, but not installed perfectly. Slim, cone-shaped, muzzle pitcher, porcelain stoneware, grey body, salt-glazed with relief pattern, painted cobalt blue, lid and hinge pewter, flat bottom.
Construction subvided into three sections: form in the lower third octagonal, on round bottom, the diagonal passes ridge in the round shape, conclusion to a shoulder with reflected decor. The stylized spiral motive can be derived from the logo of the artist.
The
stoneware of the Westerwald is a material, which is almost unique in Europe. In its artistic thought-out perfection and a ‘living’ example of the specifically german Modernism. The conversion of the entire production took place around 1900 within a few years. That would not have been possible without the influence of the most important artists of this time: Henry van de Velde and Peter Behrens. Above all, there were Richard Riemerschmid, Albin Müller and Paul Wynand, who created the style. They began a new era and gave the work of a craftsman timeless valid forms.
From about 1903/04
Paul Wynand gave numerous drafts for the manufacturing of the Westerwald, firstly, and especially for Simon Peter Gerz I, a member of the Münchner artists' association, who fused with Reinhold Merkelbach and Reinhold Hanke 1911/12 to the „Vereinigten Steinzeugwerke“ (“incorporated stoneware factories”).
While the influence of the named artists in collaboration with the westerwaelder manufactories was related only to the drafts, Paul Wynands activities led far beyond. 1905 he had been appointed as a teacher at the Royal College in Hoehr, he was especially enabled as a sculptor – leaned in the atelier of Auguste Rodin in Paris.
With the stubborn high pitcher, the form appropriated to the material, connected with architectural and vegetable decorations, he managed a convincing balanced composition and a sensitive handling with the material. The formal structure and the ornament testify at the same time influences of Vienna modernism, the school in Darmstadt/Germany and the Kunstgewerbeschule (school for arts and crafts) in Düsseldorf/Germany.
In: Preiscourant o.J., Tafel 24; Erlebach, Schimanski 1987, p.50, Kat.No.41. Cp. Die Kunst 22, 1910, i.p.120; Karl H. Bröhan: Kunst der Jahrhundertwende und der zwanziger Jahre, vol.II, p.1, Berlin 1976, p.388.
In: Herr Auktion 59, 28.10.2006, Los 340, purchase price 350 € (without additional charge).
Viewing by appointment. Location Berlin/Germany.
Also consider:
Pitcher stoneware, Carl Mehlem for R. Merkelbach 1913, Grenzhausen (Westerwald).
Mustard pot, stoneware, R. Riemerschmid, 1902 for Merkelbach, Grenzhausen, Germany.Butter dish, Richard Riemerschmid, 1904/05 for R.Merkelbach, Germany.
