tiled stove, in the style of Michael Powolny, ceramic, white brick base with lateral heating door, height 50 cm, suitable for a bench on the 4 sides of the free standing stove, square construction with green tiles and rosettes, in the four corner niches 3 seated bagpipe players and 1 drummer, surmounted by cornice and frieze with green chevron border as well as white flower buds, white unglazed ceramic dome with 53 green domes as hand warmers, with moulded flowers including edelweiss, gentian, red and other flowers, total height 189 cm, white base height 50 cm, green pilaster strip 14 cm, green tiles height 60 cm, cornice frieze height 5 cm, diameter 92 x 92 cm, dome height 60 cm, diameter 85 cm, brick base and inserted heating door must be manufactured depending on the heating capacity, also possible for electric heating, 3 tiles restored
Sommerhuber, Austria c. 1950–1960 (Ru)

Cf. Lit.:
Elisabeth Frottier, Michael Powolny, Keramik und Glas aus Wien 1900 bis 1950, CR 246, Stove with putti as bagpipers, Entwurf Powolny, executed by Sommerhuber, the original dates from 1925/30, illustration of the drawing by Sommerhuber;
Lit.:
Thieme-Becker, XXVII, p. 330: Powolny Michael, sculptor and ceramist in Vienna, born 18. 09. 1871- 04. 01. 1954 in Vienna, learned the stove trade from his father, became assistant to Sommerhuber in Steyr, entered the Fachhochschule für Tonindustrie in Znaim (Znojmo) in 1891 and the Kunstgewerbeschule in Vienna in 1894; independent from 1901 onwards, founded the workshop “Wiener Keramik” with Bertold Löffler in 1906, which also worked for the "Wiener Werkstätte" and was transferred in 1912 to the "Gmundner Keramik" run by Powolny's pupil Franz Schleiß. In 1909 he became a ceramics teacher at the Kunstgewerbeschule in Vienna, and from 1932 onwards he taught the sculpture class. After the war, he opened a workshop for glass cutting and glass engraving. He designed numerous models for the Wiener Porzellanmanufaktur Josef Böck, for Wiener Keramik, Wiener Porzellanfabrik Augarten, Kabarett Fledermaus, Schwadron-Wien, Stoclet-Palais in Brussels, numerous glass goblets for J. & L. Lobmeyr Vienna and Johann Lötz-Witwe-Klostermühle.
As a dowry for young brides and grooms to start their own household, a tiled stove was a symbol of solidity and security, a sign of prosperity and advancement, and was passed down from one generation to the next. Today, “wedding stoves” are associated with durability and timeless aesthetics.