Null SILVER AND PORCELAIN INKWELL, R. LINZENER WORKSHOP FRO CARTIER NEW YORK, CI…

Description

SILVER AND PORCELAIN INKWELL, R. LINZENER WORKSHOP FRO CARTIER NEW YORK, CIRCA 1947 Circular porcelain bowl holding a round silver lid with an opening on one side surrounded by a beaded border to hold the pen and a round inkwell with a hinged lid topped by a pinecone on the other side also surrounded by a beaded border. The side of the lid is decorated with a wreath or circular garland of laurel leaves engraved in etching. The inkwell has a removable glass crucible. The porcelain is decorated with birds among foliage and flowers. Traces of gilding on the inside of the lid and around the ink opening. Signed 'Cartier' Numbered '47-1532' Stamped 'Made in France' French export mark for 950 silver and for the workshop of R. Linzeler on the inside of the lid and under the hinge. H. 11 cm, D. 9.5 cm With expertise letter by Alain Cartier - ALC VINTAGE dated 10 October 2023 Comment: The Linzeler workshop was bought by Cartier Paris in the late 1930s

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SILVER AND PORCELAIN INKWELL, R. LINZENER WORKSHOP FRO CARTIER NEW YORK, CIRCA 1947 Circular porcelain bowl holding a round silver lid with an opening on one side surrounded by a beaded border to hold the pen and a round inkwell with a hinged lid topped by a pinecone on the other side also surrounded by a beaded border. The side of the lid is decorated with a wreath or circular garland of laurel leaves engraved in etching. The inkwell has a removable glass crucible. The porcelain is decorated with birds among foliage and flowers. Traces of gilding on the inside of the lid and around the ink opening. Signed 'Cartier' Numbered '47-1532' Stamped 'Made in France' French export mark for 950 silver and for the workshop of R. Linzeler on the inside of the lid and under the hinge. H. 11 cm, D. 9.5 cm With expertise letter by Alain Cartier - ALC VINTAGE dated 10 October 2023 Comment: The Linzeler workshop was bought by Cartier Paris in the late 1930s

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Estim. 80 - 120 EUR

Exceptional inkwell Circa 1900, body of brown glazed porcelain, set in a chased silver mount, the knob in the form of a carved gilt guanyin, porcelain with crazing, signs of age, h 21 cm.

Estim. 1 800 - 2 000 EUR

GEORG ARTHUR JENSEN (Denmark, 1866 - 1935). Tray, ca. 1920 . 1930. In silver. With punches on the base. Measurements: 35 x 45 cm. Danish silversmith active in the late nineteenth century and during the first decades of the twentieth century, Jensen was the son of a knife sharpener from Raadvad, north of Copenhagen. He began his training as a silversmith at the age of fourteen in the Danish capital, as a disciple of Guldsmed Andersen, and became independent in 1884 to follow his own creative path. Interested in sculpture since he was a child, he then entered the Royal Academy of Fine Arts, where he graduated in 1892. From this date he began to exhibit his works. Although his clay sculpture will be well received, Jensen will focus on applied arts to earn a living. Thus, he began to work as a modeler in the porcelain manufactory Bing & Grøndahl, and from 1898 he would combine this activity with his work in the small ceramic workshop that he founded with Christian Petersen. However, although his pieces were again well received, his sales were not enough to support Jensen and his family, so in 1901 he abandoned ceramics and began to work as a silversmith and designer with Mogens Ballin. Three years later he became independent and opened his own silversmith's workshop in Copenhagen. Jensen's training as a silversmith and his education in fine arts enabled him to combine the two disciplines to revive the tradition of the artisan artist. Soon, the beauty and quality of his Art Nouveau creations fascinated the public, ensuring his success. By the end of the 1920s, his Copenhagen workshop had grown considerably, and he had also opened stores in New York, London, Paris, Stockholm, Berlin and other cities. In fact, during this decade Jensen sold his designs manufactured in Spain in the old jewelry store located at number 90 Paseo de Gracia in Barcelona. Today, the firm that bears his name is still active and has become the paradigm of Scandinavian luxury design.

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