Otto Lindig - "Sigill. Blätter für Buch und Kunst." - Otto Rohse Presse, Hamburg 1977. Mit dem beigehefteten Holzschnitt "Raucher (Otto Lindig)" von Gerhard Marcks auf Japan. (Lammek H 50).
Otto Lindig 1895 Pößneck – 1966 Wiesbaden Steinzeug, heller Scherben, dunkel- und hellbraun glasiert. Der kugelförmige, leicht gedrungene Korpus mit sehr kurzem Hals und ausgestellter Mündung. Der unglasierte Boden mit Ritzmarke "OL". Zur Form vgl. Hans-Peter Jakobson: Otto Lindig – der Töpfer / 1895 – 1966. Gera 1990. S. 81, Abb. 145. Otto Lindig 1895 Pößneck – 1966 Wiesbaden Als bedeutender Keramiker des Bauhaus geltend, besuchte Lindig von 1909–11 die Zeichen– und Modellierschule in Lichte (Thüringen) und absolvierte danach eine Bildhauerlehre im Atelier Bechstein in Illmenau. Von 1913–15 folgte ein Studium an der von H. Van de Velde gegründeten Weimarer Kunstgewerbeschule, an das sich ein Studium der Bildhauerei unter R. Engelmann an der Hochschule für bildende Künste Weimar anschloss. Die 1918 von Lindig am Weimarer Bauhaus besetzte Stelle des Meisterateliers für Bildhauerei gab er zu Gunsten eines Richtungswechsels zum keramischen Stil auf und schloß 1920 einen Lehrvertrag mit den keramischen Bauhauswerkstätten Dornburg ab. Vor allem zu Arbeiten Theodor Boglers besteht eine große Nähe.
Bauhaus - Lindig, Otto. Bauchige Vase und Obstschale. Keramiken. Mattfarbig glasiert. An den Böden mit Keramik-Monogramm-Stempel. Wohl 1938. Maße: 24 x 24 x 24 (Öffnung: 9 cm Durchmesser) und 33 x 33 x 6 cm. Schöne, moderne Keramiken vom Bauhaus-Künstler Otto Lindig (1895-1966), der 1937 für eine seiner schlichten und extrem einfach gestalteten Vasen den Grand Prix der Pariser Weltausstellung gewann. - Beide Keramiken etwas berieben und punktuell mit kleinen Einkerbungen, die Schale mit kleinen Fleckchen.
Bowl by Otto Lindig, Dornburg, around 1923. Majolica, lead white on the outside, greenish glaze on the inside. H. 6.1 cm, D. 12.5 cm. Inscribed on the bottom: artist's signet OL (scratched).
Otto Lindig Coffee service Karlsruhe Majolika Germany, 1923 / c. 1930 glazed earthenware largest: 6.25 h x 9.75 w x 6.75 d in (16 x 25 x 17 cm) smallest: 2 h x 5 w x 4 d in (5 x 13 x 10 cm) Service is comprised of two coffee pots, one tea pot (large), one tea pot (small with bamboo handle), two creamers, one lidded sugar bowl, six coffee cups, seven saucers, and seven small plates: twenty-seven pieces total. Raised manufacturer's mark to underside of thirteen examples 'Karlsruhe'. Literature: Keramik und Bauhaus, Bauhaus Archiv, Weber, pgs. 207, 238-239 Katalog Karlsruher Majolika, Badisches Landesmuseum Karlsruhe, 1979 This work will ship from Chicago, Illinois.
Otto Lindig große Deckeldose Ritzmarke mit Dreherzeichen Liebfriede Bernstiel um 1930-1947, cremefarbener Scherben handabgedreht, eiförmiger Korpus mit horizontalen Drehspuren, innen dünne weißliche Glasur, außen gesprenkelte Glasur in Olivgrün und Grau, übergreifender Deckel, großer, leicht gemuldeter flacher Griff, minimalste Herstellungsfehler, sonst guter unbeschädigter Zustand, H 24 cm.
OTTO LINDIG (1895-1966) FOR STAATLICHE MAJOLIKA KERAMIK MANUFAKTUR, KARLSRUHE, GERMANY BAUHAUS PART TEA SERVICE, CIRCA 1930 glazed earthenware, comprising a COFFEE POT, 19cm high; and THREE CUPS, 5cm high, each with moulded maker's marks and serial numbers (indistinct in places) Qty: (4)
Otto Lindig (1895-1966), Teapot and six cups with four small dishes, circa 1940, Glazed earthenware, Underside incised marks, Teapot: 13cm high, Cup: 4.5cm high, Dish: 5.8cm diameter Please refer to department for condition report
Coffeeset. 1 jug, 2 cup2 and 2 saucers. Design 1920-1930. Stoneware, matt dark brown glaze, vessels glazed inside shnining sand-colored. Can: H. 20cm. Cups, h. 6.5 cm. Plate: D. 15.1 cm. Cups and jug on the bottom signed with workshop stamp (embossing stamp). Provenance: Private Collection, Rhineland/ Germany.
Bowl. Stoneware. Brown-red shiny, partially speckled or flat graphite-colored and matt glaze. D. 15.7 cm, H. 6.3 cm. On the bottom: OL with surrounding circle. Annual gift for the 'Freundeskreis Dornburger Keramik'. Provenance: Rhenish private collection.
Vase. Stoneware. Multi-tone translucent brown overflow glaze on a light, partially turquoise ground. Inside reddish brown. Spherical shape with flattened wall. H. 12 cm. Marked on the bottom: OL (scratched). Provenance: Rhenish private collection.
Vase. Stoneware. Pale turquoise glaze with reddish-brown, partial geometric decoration. Globular ovoid shape. H. 14.5 cm. On the bottom inscribed: OL with a slash. Provenance: Rhenish private collection.
2 vases. Stoneware. Large vase: multicolored brown-green, partially turquoise glaze over a light background, h. 17 cm, inscribed: OL with two small lines. Smaller vase, ocher-colored glaze over a light background, h. 13 cm, inscribed: OL with slash. Provenance: Rhenish private collection.
2 vases. Stoneware. Ovoide form, dull light gray with brown approach, h. 13.7 cm, inscribed: OL. Vase with wide mouth, glossy brown and inside white, H. 8.5 cm, inscribed: OL. Provenance: Rhenish private collection.
Large floor vase. Stoneware. Multi-toned brown, slightly speckled glaze on a light background. Stretched ovoid shape. H. 43.7cm. On the bottom: OL. Provenance: Rhenish private collection.
3 bowls. Stoneware, different glazes. Light bowl: D. 11.3 cm, H. 4.5 cm, marked OL. Brown bowl, inside multi-tone green ocher: H. 11 cm, D. 4,5 cm, inscribed: OL. Small bowl: D. 7.1 cm, H. 2.5 cm, marked OL. Provenance: Rhenish private collection.
3 bowls. Stoneware. Various glazes. High bowl light blue / brown: H. 5,3 cm, D. 11,1 cm, inscribed: OL. Medium bowl brown / light green: H. 4,2 cm, D. 11 cm, inscribed: OL with two small lines. Small bowl brown / light green: H. 3,9 cm, D. 10 cm, inscribed: OL with two small lines. Provenance: Rhenish private collection.
Vase and 2 bowls. Stoneware. Vase, olive green glaze, h. 9 cm, inscribed: OL with slash. Bowl, metallic brown-gray glaze, D. 11,1 cm, D. 4,6 cm, denotet: OL. Bowl, brown mottled glaze, D. 9,9 cm, H. 5,2 cm, inscribed: OL. Provenance: Rhenish private collection.
Bowl. Stoneware. Inner wall matt reddish brown, slightly turquoise structured, outer wall glossy light gray white. HD. 12.5 cm, H. 6.1 cm. On the bottom: OL. Provenance: Rhenish private collection.
2 vases. Stoneware. Ovoide shape with shiny turquoise green glaze on a white background, h. 13,5 cm, inscribed: OL with slash. Sphere shape with matt dark brown textured glaze, H. 9 cm, inscribed: OL with two small lines. Provenance: Rhenish private collection.
Vase and jug. Stoneware. Turquoise green glaze, partially brownish or speckled. Vase H. 14.5 cm. Pot H. 17 cm. Vase inscribed: OL with slash. Jug called: OL (scratched). Provenance: Rhenish private collection.
Vase. Stoneware. Matte light gray, partially dark olive green glaze. Ovoide shape with small mouth. H. 14.5 cm. Marked on the bottom: OL (scratched). Provenance: Rhenish private collection.
Vase. Stoneware. Cloudy ocher-colored glaze over a light, stone-gray ground. Ovoide form. H. 18.5 cm. On the bottom: OL. Provenance: Rhenish private collection.
Vase. Stoneware. Matte glaze with brown speckles on a light background. Ovoide form. H. 15.2 cm. On the bottom: OL. Provenance: Rhenish private collection.
Ritzmarke um 1922-1960, Ritzmarke Keramische Werkstatt Dornburg/Saale, cremefarbener Scherben mit gesprenkelter dunkelbrauner Glasur auf hellgrauem Fond, über kleinem Standring bauchiger Körper mit abgerundeter Schulter, eingezogenem Hals und schräg ausgestelltem Mündungsrand, guter unbeschädigter Zustand, H 19 cm.
Brown earthenware, tin-glazed in light brown and light grey Karlsruhe, Germany, around 1923 Design: Otto Lindig (1895-1966) German Ceramist and sculptor, important representative of the Bauhaus Execution: Stattliche Majolika Manufaktur Karlsruhe Impressed manufacturer mark and numbering respectively on the base Nine-piece tea for two persons, consisting of: 1 teapot, 1 creamer, 1 sugar bowl as well as 2 tea cups with matching saucers and 2 cake plates Height of the tea pot: 15 cm; diameter of cake plates: 19.5 cm Good condition Condition: The tea service is in good condition. Occasionally, the glaze is slightly kraquelliert. The items show slight variations in the color of the glaze. The height of the coffee pot measures 15 cm. The diameter of the two cake plate is 19.5 cm. Otto Lindig (1895-1966) Otto Lindig is ranked as the most important ceramists of the Bauhaus, alongside Theodor Bogler. From 1913 Lindig studied under Henry van de Velde at the Kunstgewerbeschule in Weimar. Two years later he entered the sculpture class of Richard Engelmann. In 1920, he is an apprentice at the pottery workshop of the Bauhaus and passed his journeyman's examination two years later. Together with Bogler he takes the lead of the workshop, which was located on the grounds of the Dornburger Castles. First serial productions of his designs followed after 1925. In 1930, he leads the workshop as a private tenant. In 1946, he gives up the pottery and follows the call of the Hamburg Landeskunstschule one year later. He leads the local ceramic department until 1960. After his death in 1966, the Decorative Art muses of Cologne, Zurich and Hamburg showed retrospectives for the artist's work during the 1970s and 1990s. Simple and clear forms were significant for his designs. Especially his coffee and tea service are very popular until today. (bde) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Bauhaus - - Lindig, Otto. Keramik. (Katalog der lieferbaren Keramiken). Dornburg, Eigenverlag, (1930). 15 Bl. 12 x 18 cm. Original-Broschur (Vorderdeckel neu faksimiliert). Seltener kleiner Katalog mit Abbildungen von ca. 50 Objekten der Werkstatt. - Klammerung etwas korrodiert, hinterer Deckel mit kleiner Reparaturstelle, innen sauber, insgesamt gut erhalten.
Brown earthenware, tin-glazed in light brown and light grey Karlsruhe, Germany, around 1923 Design: Otto Lindig (1895-1966) – German Ceramist and sculptor, important representative of the Bauhaus Execution: Stattliche Majolika Manufaktur Karlsruhe Impressed manufacturer mark and numbering respectively on the base Nine-piece tea for two persons, consisting of: 1 teapot, 1 creamer, 1 sugar bowl as well as 2 tea cups with matching saucers and 2 cake plates Height of the tea pot: 15 cm; diameter of cake plates: 19.5 cm Good condition Estimate by Auctionata Expert: 1,000 Euro Condition: The tea service is in good condition. Occasionally, the glaze is slightly kraquelliert. The items show slight variations in the color of the glaze. The height of the coffee pot measures 15 cm. The diameter of the two cake plate is 19.5 cm. Otto Lindig (1895-1966) Otto Lindig is ranked as the most important ceramists of the Bauhaus, alongside Theodor Bogler. From 1913 Lindig studied under Henry van de Velde at the Kunstgewerbeschule in Weimar. Two years later he entered the sculpture class of Richard Engelmann. In 1920, he is an apprentice at the pottery workshop of the Bauhaus and passed his journeyman's examination two years later. Together with Bogler he takes the lead of the workshop, which was located on the grounds of the Dornburger Castles. First serial productions of his designs followed after 1925. In 1930, he leads the workshop as a private tenant. In 1946, he gives up the pottery and follows the call of the Hamburg Landeskunstschule one year later. He leads the local ceramic department until 1960. After his death in 1966, the Decorative Art muses of Cologne, Zurich and Hamburg showed retrospectives for the artist's work during the 1970s and 1990s. Simple and clear forms were significant for his designs. Especially his coffee and tea service are very popular until today. (bde) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Keramik, gegossen. Walzenförmiger Körper auf niedrigem Stand, übergreifend aufgesetzter gewölbter Deckel mit konischem Knopf. Hellgraue Glasur über brauner Engobe, Schriftzug ZUKER mit Schablone ausgespart, nach der Glasur ausgefüllt. H. 20 cm, D 14,7 cm. Bez. Ritzmarke Künstlersignet, verwendet von 1922-60. Manufacturer: Keramische Werkstatt Dornburg
Earthenware with red shards and grayish molten zinc glaze Weimar/Germany, 1923-1924; manufactured in 1930 Otto Lindig (1895-1966) - German designer Otto Lindig, Ceramic Workshop Dornburg/Saale, established in 1802 Based on a design by Otto Lindig from 1923-1924 Manufactured by the Ceramic Workshop Dornburg/Saale, around 1930 Earthenware teacup and saucer Botch pieces with the ligated workshop mark 'OL' on the underside Height of the cup: 5 cm; diameter: 11 cm Diameter of saucer: 16.5 cm Very good condition Provenance: Private collection, New York, USA Classic example Lindig's Design The present earthenware teacup and saucer were designed between 1923 and 1924 by Otto Lindig, and probably manufactured around 1930 in his ceramic workshop in Dornburg/Saale. The pieces are made of red shards and are covered with a grayish molten zinc glaze. The red color along the edges and the feet forms a nice contrast with the greyish parts of the pieces. Both pieces show the ligated manufacturer's mark 'OL' on the underside. They are in very good condition with only minimal wear. On the back of the saucer are marks of glue. The edge of the mouth shows tiny chips. The height of the cup is 5 cm, and its diameter is 11 cm at the mouth. The diameter of the saucer is 16.5 cm. Otto Lindig (1895-1966) Otto Lindig (1895-1966) attended drawing and sculpture classes in Lichte, Thuringia, from 1911-1913. He then taught sculpture for two years at the Bechstein Atelier in Ilmenau,in 1913 he continued his studies at the School of Applied Art in Weimar. Between 1915 and 1918, he completed his training at the School of Fine Arts in Weimar, where he was taught by Richard Englemann. He set up his own studio in 1917 and enrolled at the Weimar Bauhaus in 1919. He serves as an apprentice in the Dornburg, ceramics workshop and later became the head of its technical and commercial division. Under his direction, it began produce wares combining mass production techniques with handcraft for the AeltesteVolkstedter Porzellan Fabrik and the Staatliche Porzellan Manufactur Berlin. In 1926 Lindig became the head of the ceramics workshop at the Staatliche Bauhochschule Weimar in Dornburg, running the Dornburg ceramics workshop independently from 1930 onwards. He taught master ceramics classes at the Hochschule für Bildende Künste in Hamburg from 1947 to 1960." Bauhaus The 'Staatliches Bauhaus', generally known as Bauhaus, was an influential avant-garde art school of the decorative arts and design as well as fine arts, architecture and theater that existed in Germany between 1919 and 1933. The founder Walter Gropius believed that the foundation for any form of art was to be found in handcraft, ultimately aiming to remove any distinction between fine arts and applied arts. However new demands arose that could not be satisfied solely with handcraft. Walter Gropius recognized the need to divert the attention towards mass production and thus the Bauhaus changed its program in 1923 to art and technology, which later became the school's image. The school was situated in three different cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin 1932 to 1933 under the leadership of three different directors: Walter Gropius the founder, in Weimar and partly in Dessau 1919 to 1928, Hannes Meyer from 1928 to 1930 in Dessau and Mies van der Rohe 1930 to 1933 partly in Dessau and later in Berlin. The three different locations also represent three different stages in the development of the Bauhaus. Founded by Walter Gropius in Weimar in 1919 the foundation of the school was very much based on arts and crafts and applied arts mixed with fine arts and theater. Important artists from this period were Josef Itten, Lyonel Feininger, Gerhard Marcks, Oskar Schlemmer, Paul Klee and Wassily Kandinsky. In 1922 the de Stijl movement entered into the life of the Bauhaus with influential leaders of the movement such as the Dutch painter Theo van Doesburg and the Russian constructivist El Lissitzky. From 1919 to 1922 Josef Itten taught the "Vorkurs" (Germany for 'preliminary course') introducing the new students to the concept of the Bauhaus. Itten was strongly influenced by the Blaue Reiter group in Munich. After his resignation the Hungarian designer Laszlo Moholy-Nagy continued teaching the Vorkurs, as well as operating as leader of the metal workshop. Later in 1928 Moholy-Nagy's most talented student Marianne Brandt took over the metal workshop. In the tradition of the school's variety there were many different workshops which were run by former students who became junior masters. Herbert Bayer was in charge of the typography workshop, Marcel Breuer of the joinery workshop, Hinnerk Scheper was head of the mural painting workshop, Joost Schmidt taught the sculpture workshop and Gunta Stoelzl ran the weaving workshop. Another important and one of the Bauhaus's first workshops was the ceramic workshop which started out in Dornburg at the workshop of the master potter Max Krehan. Theodor Bogler was instrumental when the pottery workshop made a technological leap in 1923 by moving from the potters wheel to ceramic casting, prototypes for serial production were being made here. Bogler's famous "Kombinations Teekanne" (German for 'combination teapot'), which was based on the modular design principle, represents the ultimate example of the industrial approach to pottery at the Bauhaus. Other workshops at the Bauhaus were the theater workshop; stone and wood sculpture workshop and the carpentry workshop. In 1925 the Bauhaus moved to Dessau. This signified a radical change in style moving towards a futuristic international style. New workshops were formed here such as the photographic workshop taught by Walter Peterhans, which formed part of the advertising workshop. The Bauhaus wallpapers were designed in the mural paintings workshop and were an important commercial success for the Bauhaus. After Gropius' resignation in 1928 Hannes Meyer, a radical functionalist, became the new Bauhaus director. The school was forced to close and moved to Berlin in 1932. After a short existence in Berlin from 1932 to 1933 the artistic output of Bauhaus was declared as 'degenerate art' by the Nazis and forced to close. The director Mies van der Rohe as well as many other Bauhaus students and teachers immigrated to America where the philosophy of the Bauhaus continued to spread and the influence of the short-lived establishment is still strong today. EN Export: "Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance"
Keramik. Außen dunkelbraun, innen hellgrauweiß glasiert. H. 13 cm. Am Boden bez.: Werkstattmarke. Manufacturer: Keramische Werkstatt Dornburg, Halle/ Saale
