FOOTED BOWL, 1889
Polychrome, enamelled glass
Signed underneath in enamel, located Paris and dated 1889
10.5 cm. high; 35 cm. diameter
An identical bowl is in the collection of the Royal Scottish Museum in Edinburgh.
Bibliography
Jules Henrivaux, La verrerie à l’Exposition universelle de 1889, Revue des Arts Décoratifs, 10th year, 1889-1890, p. 173: “L’application des émaux en relief, émaux transparents ou opaques, principalement opaques,
est encore un moyen de décoration de plus en plus employé et dont l’inventeur est M. J. Brocard (de Paris).
M. Brocard a reproduit avec le plus grand succès les dessins retrouvés sur les vases arabes, coupes de mosquées, brûle-parfums, etc. Le seul regret éprouvé en examinant ces magnifiques produits, c’est de constater le peu de variété
des dessins, des couleurs, des émaux, et même des formes ainsi décorées”. Ada Polak, Modern Glass, New York: Thomas Yoseloff, 1962, ill. n. 14
VASE, CIRCA 1900
Thick tubular freely blown and shaped glass vase with side protrusions. Multilayered, opalescent glass overlaid in brick red and caramel, intaglio and wheel cut with a design of flowers and stylized foliage and a butterfly in flight
Unsigned. Numbered 532
16.5 cm. high
VASE, CIRCA 1900
Multilayered glass with an applied and carved design of Japanese columbines; hammered background.
Signed Daum # Nancy
32 cm. high
“Rares sont donc les pièces qui offrent, comme c’est le cas du vase Ancolies, une adéquation aussi parfaite entre la forme de l’objet et son décor figuré. Ces pièces d’exception résultaient souvent de commandes particulières ou étaient réalisées en vue d’expositions démontrant le savoir-faire décoratif et technique de la cristallerie”. (Le Musée de l’Ecole de Nancy, Oeuvres choisies)
The columbine flower guided the decorator in the design of the vase
“LA GIROFLEE DE MURAILLE”, CIRCA 1900
Multilayered glass with four applied and wheel-carved flowers, gold leaf inclusions, partly hammered
Engraved signature
21 cm. high
Only one other example is known to exist
Provenance
According to previous owners, this vase was acquired at auction in Versailles around 1970 as therefore could be part of a group of vases sold by Emile Gallé’s descendants
VASE, CIRCA 1889
Polychrome “cristallerie” glass decorated with enamelled water lilies, aquatic flowers, stems,
and three dragonflies; original bronze base decorated with four snails
Enamelled signature in Japanese style
17 cm. high
VASE, CIRCA 1895
Internally decorated blown glass acid-etched,
wheel-carved and hammered, with applied rhododendrons highlighted with gold
Signature in gilded enamel underneath
24 cm. high
Bibliography
Jules Traub, The glass of DésiréChristian ghost for Gallé, 1978, p. 101, pl. 52
VASE, CIRCA 1900
Multilayered glass with powder inclusions imitating hard stones
Signed, bearing the monogram of Yvonne Serruys and numbered 606
33 cm. high
Bibliography
“Le maître verrier Despret a eu l’heureuse idée de demander à un sculpteur de talent, Mlle Serruys, les belles formes robustes de ses coupes ; pour leur robe, d’une sourde splendeur, il semble avoir eu la collaboration de la terre et des siècles.” L’Art Décoratif, 1906, p. 182
VASE “VIGNE ET ESCARGOTS”, MODEL N. 2434, 1904
Conical shape with circular foot, clear glass with colored powders inclusions, overlaid and cut with foliage and vines, two applied snails
Signed
32.5 cm. high
Bibliography
The Daum firm has the original drawing for this and other vessels with the same decoration.
“CHAUVE-SOURIS ET PAVOTS” BOTTLE, CIRCA 1890-1892
After a design by Louis Hestaux
Multilayered and parly hammered glass, acid-etched and wheel-carved decor of a bat and poppies
Signed underneath: Emile Gallé fecit.
24.5 cm. high
Exhibition Exposition Emile Gallé et Toulouse-Lautrec / Lumières et couleurs de la Belle Epoque, 1995, Suntory Museum of Art, Tokyo, p. 30 et 31 in the exhibition catalogue, n. 16
Exhibition on Emile Gallé in five museums in Japan between April 2000 and March 2001, ill. p. 57, 58 and 59, n. 19 in the catalogue. Gallé et le Japonisme, 2008, Tokyo-Osaka, n. 62 in the exhibition catalogue Emile Gallé / Nature & Symbolisme / Influences du Japon, Musée Départemental
Georges de la Tour, Vic-sur-Seille, 5 May-30 August 2009, ill. p. 135, n.114 Bestiaire de verre, de la fin du XIXe siècle à nos jours, Musée du verre, Conches en Ouche, 9 March-24 November 2019, ill. pp. 16, 17
Bibliography
Janine Bloch-Dermant, L’Art du verre en France 1860-1914, Edita Denoël, 1974, ill. p. 63
VASE, CIRCA 1900
Clear glass, etched to simulate the movement of the waves, partly frosted, overlaid with enamel
and wheel-carved with a decor of fishes and aquatic flora
17 cm. high
Exhibition Bestiaire de verre, de la fin du XIXe siècle à nos jours, Musée du verre, Conches en Ouche, 9 March-24 November 2019, ill. pp. 20, 21
SMALL POT, CIRCA 1900
Clear glass with inclusions; with two applied
handles, the decor in marquetry
and chased
Wheel-carved signature
9 cm. high
16 cm. long
A PAIR OF BALUSTER VASES, CIRCA 1878
Glass, each resting on four applied feet, the necks pulled up to points, alternating with others running down, two large glass cabochons applied to the sides with a Japanese polychrome enamelled design, gilt
Signed
57 cm. high
Exhibition
Sunderland Museum & Art Gallery, The Art of Glass – Art Nouveau to Art Deco, 17 July-27 October 1996
Bibliography Victor Arwas, The Art of Glass, Andreas Papadakis, publisher, 1996, p. 11, n. 10
VASE, CIRCA 1899
Iridescent glass with a floral design attributed to Loetz. The mount and the base in silver attributed to Debain.
With French Minerva mark; silversmith mark; Russian import mark 84
These pieces were sold at the Maison Moderne
The mount with two handles can be attributed to Henry Van de Velde
11.3 cm. high
“LA NIGELLE DES PRES”, AN IMPORTANT FOOTED VASE, CIRCA 1900
Marquetry and finely wheel-carved glass, the pink surface overlaid with white
and blue flowers and an applied motif of brown branches
Engraved Gallé
20.5 cm. high
No other example of this design is known to exist
Exhibition
Exposition Universelle, 1900, Paris
Bibliography Gallé, exhibition catalogue, musée du Luxembourg, 29 November-2 February 1986,
éditions de la Réunion des Musées Nationaux, ill. p. 54 in the “Les granges” vitrine
