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拍品专文
From the beginning of his collaboration with the Wiener Werkstätte in 1911 until his death twelve years later, Dagobert Peche was an extremely prolific creator, designing over 110 textile patterns while simultaneously redefining the language of modern ornament across furniture, interiors, glass, ceramics, wallpaper, lace, embroidery, and beading. By the time he officially joined the Werkstätte in 1915, he had already become its leading designer of wallpapers. Within a movement initially defined by the severe geometry of Josef Hoffmann and Koloman Moser, Peche fundamentally altered the workshop’s direction, reintroducing fantasy, naturalistic motifs, and exuberant decoration at a moment when modernism was increasingly inclined toward restraint. For Peche, even the most utilitarian object became a vehicle for poetic ornament.
The present table was designed in 1913 for Wolko Gartenberg, a sophisticated and adventurous patron deeply attuned to the most progressive artistic currents of his time. Gartenberg belonged to a rare category of early 20th-century collectors willing to entrust entire interiors to avant-garde designers.
Designed as part of a complete ensemble, the table was exhibited in the Ladies’ Salon at the Vienna Secession exhibition in 1913, one of the most important platforms for progressive design in early 20th-century Europe. Its sculptural silhouette and animated gilt ornament reflect Peche’s deliberate challenge to the restraint of early modernism, asserting instead a poetic, expressive vocabulary that would prove enormously influential.
The significance of this ensemble is underscored by the cabinet from the same commission, now preserved in the permanent collection of the MAK - Museum of Applied in Vienna (inv. no. H 2814). Together, these works stand among the rarest and most important surviving expressions of Peche’s decorative art, making this table an exceptional opportunity to acquire a museum-level masterpiece of early modern design.
The present table was designed in 1913 for Wolko Gartenberg, a sophisticated and adventurous patron deeply attuned to the most progressive artistic currents of his time. Gartenberg belonged to a rare category of early 20th-century collectors willing to entrust entire interiors to avant-garde designers.
Designed as part of a complete ensemble, the table was exhibited in the Ladies’ Salon at the Vienna Secession exhibition in 1913, one of the most important platforms for progressive design in early 20th-century Europe. Its sculptural silhouette and animated gilt ornament reflect Peche’s deliberate challenge to the restraint of early modernism, asserting instead a poetic, expressive vocabulary that would prove enormously influential.
The significance of this ensemble is underscored by the cabinet from the same commission, now preserved in the permanent collection of the MAK - Museum of Applied in Vienna (inv. no. H 2814). Together, these works stand among the rarest and most important surviving expressions of Peche’s decorative art, making this table an exceptional opportunity to acquire a museum-level masterpiece of early modern design.