Exhibition
Les Estampes Japonaises et les Impressionnistes, n. 30 in the catalogue
Eugène Grasset, 1845-1917. L’art et l’ornement. Musée cantonal des Beaux-Arts, Lausanne,
18 March-13 June 2011, ill. p. 117, n. 132 in the catalogue

Bibliography
Victor Arwas, Berthon & Grasset, London, 1978, ill. p. 71

The "Estampes Décoratives" were published by the printer G. de Malherbe beginning in 1896.
They consisted of five pairs, each pair of identical dimensions, depicting beautiful women surrounded by flowers and foliage. The most spectacular were "Danger" and "Meditation".
Between 1896 and 1898, Eugène Grasset exhibited six of his "Decorative Prints", two at a time at each exhibition of La Libre Esthétique, and in 1898 he presented six lithographs at the first exhibition of the Vienna Secession.
In the 1970s, the American dealer and collector Bob Walker owned all ten original watercolors
which had served as models for the lithographs.

L’article EUGENE GRASSET – “MEDITATION”, 1897 est apparu en premier sur Art Nouveau | Art Déco - Antiquaire à Monaco | Robert Zehil Gallery.

Exhibition
Salon du Champ-de-Mars, 1897 for the lithograph
Les estampes Japonaises et les Impressionnistes, n. 31 in the catalogue
Eugène Grasset, 1845-1917, L’art et l’ornement. Musée cantonal des Beaux-Arts, Lausanne,
18 March-13 June 2011, n. 136 in the catalogue, ill. p. 120

Bibliography
Revue des Arts décoratifs, 17ème année, 1897, for the lithograph
Victor Arwas, Berthon & Grasset, London, 1978, ill. p. 70

The "Estampes Décoratives" were published by the printer G. de Malherbe beginning in 1896.
They consisted of five pairs, each pair of identical dimensions, depicting beautiful women surrounded by flowers and foliage. The most spectacular were "Danger" and "Meditation".
Between 1896 and 1898, Eugène Grasset exhibited six of his "Decorative Prints", two at a time at each exhibition of La Libre Esthétique, and in 1898 he presented six lithographs at the first exhibition of the Vienna Secession.
In the 1970s, the American dealer and collector Bob Walker owned all ten original watercolors
which had served as models for the lithographs.

L’article EUGENE GRASSET – “DANGER”, 1897 est apparu en premier sur Art Nouveau | Art Déco - Antiquaire à Monaco | Robert Zehil Gallery.

Exhibition
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin..., Nancy, Musée des Beaux-Arts, Musée de l'Ecole de Nancy, May 6 - August 28 2006, ill. p. 299, n. 237
Eugène Grasset, 1845-1917. L'art et l'ornement. Musée cantonal des Beaux-Arts, Lausanne, March 18 - June 13, 2011, n. 91 ill.  p. 78

Bibliography
L'Estampe originale, première année, Edition du Journal des Artistes, Paris 1893, Grasset,
ill. p.78 full page color
Anne Murray-Robertson, Grasset - Pionnier de l'Art Nouveau, Bibliothèque des Arts,
Paris, 1981 ill. p. 207
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999,
ill. p. 52, n. 40

L’article EUGENE GRASSET – “LA VITRIOLEUSE OU LA TASSE DE THE”, 1893 est apparu en premier sur Art Nouveau | Art Déco - Antiquaire à Monaco | Robert Zehil Gallery.

Exhibition
Exposition Universelle, Paris, 1900, groupe XV, classe 95 (now at the Musée d'Orsay), ill. in colour on the cover
of the Decorative Arts catalogue of the Musée d’Orsay
Le Bijou 1900, Hôtel Solvay, Bruxelles, May 1965, n. 83
French Jewellery of the Nineteenth Century, Wartsky, Londres, 13-23 June 2001, ill. in color on the cover of the catalogue
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin..., Nancy, Musée des Beaux-Arts, Musée de l'Ecole de Nancy,
6 May-28 August 2006, ill. p. 232, n. 170 in the exhibition catalogue
Eugéne Grasset, 1845-1917. L'art et l'ornement. Musée cantonal des Beaux-Arts, Lausanne, 18 March-13 June 2011,
n. 167, ill. p. 149

Bibliography
Maud Ernstyl, Les Bijoux d'Art à l'Exposition de 1900, Revue de la Bijouterie, Joaillerie, Orfèvrerie, n. 9, January 1901, ill. p. 152
Henri Vever, La Bijouterie française au XIXème siècle, Paris, 1908, ill. p. 669
International Exhibition of Modern Jewellery 1890-1961, Goldsmith's Hall, London 1961 n. 352
G. Hughes, Modern Jewelry. An International Survey 1890-1964, London 1964, p. 103, ill. n. 172
Jean Lanllier, Marie-Anne Pini, Fünf Jahrhunderte abendländischer Schmuckkunst, München 1971, ill. p. 205
Victor Arwas, Berthon & Grasset, Academy editions, London, 1978, ill. p. 82
Anne Murray-Robertson, Grasset - Pionnier de l'Art Nouveau, Bibliothèque des Arts, Paris, 1981, ill. p. 90
Les Fouquet, Musée des Arts décoratifs, Flammarion, 1983, ill. p. 20
Vivienne Becker, Art Nouveau Jewelry, Thames and Hudson Ltd, London 1985, ill. p. 56, ill. n. 62
Michael Koch, Evelyne Possémé & al., Pariser Schmuck Vom Zweiten Kaiserreich zur Belle Epoque, Hirmer Verlag München, 1989, ill. p. 202, n. 123
A. Kenneth Snowman & al., Ma?tres Joailliers, Thames and Hudson Ltd, London, 1990, repr. p. 150
Art Nouveau 1890-1914, V & A publications, 2000, ill. p. 23
Philippe Thiébaut et al., l'ABCdaire du Symbolisme et de l'Art Nouveau, Flammarion, Paris, 1997, ill. p. 51
Rolende van Strydonck de Burkel, Le Bijou Art Nouveau en Europe, Editions Racine, Bruxelles, 1998, ill. p. 96
Anne Murray-Robertson, Eugène Grasset - Un certain regard de la femme, 1998, ill. p. 50
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 259,
n. 261

SOLD

L’article EUGENE GRASSET – VEVER – “APPARITIONS” BROOCH, CIRCA 1900 est apparu en premier sur Art Nouveau | Art Déco - Antiquaire à Monaco | Robert Zehil Gallery.