This Georges Hoentschel pitcher draws on the sprawling, gestural shapes of the French art nouveau, with deliberate attention to the figurative potential of a pitcher’s traditional form. Famous for his work as an interior decorator within the art nouveau movement, Hoentschel’s sensibility draws heavily on the needs of his practice. Avoiding explicit figuration, the shape of this pitcher alludes to a bird’s form and at once bears the organic quality of foliage, echoed in the glaze. The wings and beak of this pitcher are formed from leaf-like folds of clay encircling its body and sprouting from its neck.
About Georges Hoentschel
Georges Hoentschel was an interior designer with an elite international following. He engaged sculptor Jean Carriès to create Japonist ceramics for his more advanced clients. Work done by Emile Grittel and others under Hoentschel's name was noted for gold glaze effects and the frequent use of metal mounts. Much of the inspiration was drawn from floral forms. Hoentschel's talent and taste were officially confirmed when he was commissioned to design and oversee the decoration of the pavilion of the Union Centrale des Arts Décoratifs at the Paris Universal Exhibition of 1900. [Source: Jason Jacques]