Stephan Dakon - Keramos - Masque mural - Faïence

Stephan Dakon - Keramos - Masque mural - Faïence
Autriche - 1950-1974

Rare and perfectly preserved Keramos Vienna wall mask of a woman, frontal, with golden veil, no. 41.
Hardly any traces of wear! No tears, cracks, chips or restorations!
Marked with the logo of the “Wiener Kunstkeramische Werkstätte” and “Wiener Kunstkeramik” and with embossed number 2041.

(Information according to specialist literature “Keramos” by Uta M. Matschiner and “50er Jahre Wandmasken – Schönheit und Exotik” by Horst Makus):
Dimensions (approx.): Height 27 cm, width 15 cm, weight 0.59 kg
Model no. 2041
Model designation: Woman, frontal, with golden veil
Design by: Stephan Dakon

Company information:
The origins of the company Keramos are in two companies of the same name. The company Keramos – Invalidengesellschaft für Wiener Kunstkeramik was founded at the end of 1919 on the initiative of the three ceramicists Rudolf Wolf, Heinrich Wolf and Ludwig Rys, who had become invalids during WWI. Production began in September 1920. Artistic ceramic lamps, figures, vases and tins were produced.
The company Keramos – Wiener Kunstkeramik und Porzellanmanufaktur was founded in 1920. Josef Hoffmann was a partner of Keramos for a long time, as was the sculptor Rudolf Podany, who was engaged from the beginning and created a large number of designs. From 1921 onwards, Anton Klieber was hired, who was also responsible for most of the models.
Around 1924, both companies were merged and converted into an “AG” (stock company), Otto Köller became commercial director and the technical directors were the brothers Rudolf and Heinrich Wolf.
The company’s headquarters were inside the Viennese imperial castle “Hofburg” in the Schwarze-Adler-Stiege, the factory was located in the 10th district of Vienna, in the Schleiergasse 17. Artistic collaborators at the time were Eduard Klablena, Otto Prutscher, Karl Perl, Karin Jarl-Sakellarios, Ida Schwetz-Lehmann and Grete Fucik-Fischmeister. On 23 February 1928, the triangular manufacturer’s mark/logo was registered in the trademark register. The company now also produced for the “Wiener Werkstätte.”
The Great Depression caused difficulties for the company. Around 1932, 50 staff members were employed and a larger number of models was taken over by Eduard Klabena and the liquidated “Wiener Werkstätte.” The works, now produced by Keramos, were marked with their company logos/hallmarks until after 1941. From 1939 onwards, the company was able to get a grip on its economic situation, as it had taken over production of the ceramic “Winterhilfswerk” or “WHW” (Winter Aid) badges.
Before 1941, the company was converted into a KG (limited partnership) called !Keramos, Wiener Kunstkeramik und Porzellanmanufaktur Brüder Wolf KG.” Otto Köller was no longer active from that point onwards.
After the end of WWII, Robert Obsieger recommended Robert Mathis as the new head of Keramos, who took over the leadership of the ceramics factory as early as 1945. In 1949, Mathis introduced a new company logo, which was used next to the existing triangular mark, the so-called “Wappenmarke” (coat-of-arms hallmark).
Anton Klieber and Rudolf Podany continued to work as ceramicists, and new artists such as Josef Lorenzl and Stephan Dakon were also engaged, both of whom had previously worked for Goldscheider, as well as Rudolf Chocholka, Karl Grössl and Ina Eisenbeisser. New models were created, such as dancers, children’s figures, animals and nudes, and from the mid-1950s also the well-known wall masks, teenagers and poodles, which corresponded to the trend of the time. In addition, traditional designs such as Madonna statues and busts, saints and angels were still produced. Utilitarian pottery also became an important branch of production, like dishes, vases, lamp feet, candle holders and flower pots, and a collaboration with the German manufacturer Carstens in the early 60s was just as lucrative.
During the 1960s, the markets for figurative ceramics became increasingly difficult. Thus, until 1982, production was increasingly shifted to utilitarian pottery, because ceramic figures were no longer modern due to the changed taste and zeitgeist. Ultimately, the economic situation at Keramos became increasingly difficult and Klaus Mathis, the son of Robert Mathis and then director, who succeeded his father as the head of the company in the early 1970s, initiated the liquidation of Keramos at the end of 1982.

Private sale – the photos are part of the description!

Informations du lot
Masque mural
Stephan Dakon
Période estimée
Pays d’origine
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