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EUGENE GRASSET – “LA VITRIOLEUSE OU LA TASSE DE THE”, 1893

“LA VITRIOLEUSE OU LA TASSE DE THE”, 1893
Black chromolithograph, hand-colored with stencil in 6 colors, on heavy cream vellum,
with full margins. Example n. 93/100 of the original edition published in L'Estampe moderne,
Album VI (April–June 1894). Bearing the monogram on the plate, signed and numbered in pencil,
with the editor's blind stamp in the margin
59.4 x 43 cm.
The blind stamp was designed by Alexandre Charpentier
Similar example at the Musée lorrain, Nancy
Another example at the Bibliothèque d'art et d'archéologie Jacques Doucet, Paris

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

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ALIX MARQUET – SCULPTURE, CIRCA 1900

SCULPTURE, CIRCA 1900
Bronze with a medal and brown patina featuring a reclining nude young woman
Black marble base with brown veining
Signed and bearing the circular stamp MEDAILLE D’HONNEUR.
Length: 35.5 cm.
Height: 26 cm.
Base in marble: 38.5 x 22 x 4 cm.

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FRENCH – PILLBOX, CIRCA 1900

PILLBOX, CIRCA 1900
Pâte de verre, the mount in vermeil
The lid is decorated with gold foil and green and red powder inclusions. The upper surface is engraved
and enameled with small flowers. The leaves are encircled and gold-rimmed in shades of pink,
opal, and green. The sides are decorated with four vertical cartouches featuring the same design, framed in vermeil
Two boar’s head marks
Maker’s mark: A P (unidentified, possibly Adolphe Perrier?)
Diameter: 4.8 cm.
Height: 2.6 cm.

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TONY SELMERSHEIM – CHARLES PLUMET – DESK, CIRCA 1900

DESK, CIRCA 1900
Sculpted pear wood and gilt bronze
131 x 161 x 88 cm.

Exhibition
Société Nationale des Beaux-Arts, 1897 for a variation of this design

Bibliography
Art et Décoration, April1897, the model without the side elements ill. p. 107
Der Modern Stil, Julius Hoffmann éditeur, 1899,
vol. I, ill. pl. 64, for the one exhibited at the Société Nationale des Beaux-Arts
Der Moderne Stil, 1903, ill. pl. 82

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EDGAR-WILLIAM BRANDT – DAUM FRERES – CEILING LIGHT

CEILING LIGHT
Bronze and wrought iron ceiling light decorated with Ginkgo biloba motifs, featuring four arms supporting Daum tulip shades in milky-white mottled glass, and a central Daum glass bowl
The mount is signed E BRANDT; the glass shades are wheel-engraved and signed Daum Nancy France, with the Cross of Lorraine
Total height: 104 cm.
Width: 69 cm.

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EDGAR-WILLIAM BRANDT – DAUM FRERES – CEILING LIGHT

CEILING LIGHT
Bronze and wrought iron ceiling light with four arms supporting orange tulip shades by Daum, and a central orange glass bowl by Daum
The ceiling light is signed: E. Brandt
The tulip shades and the bowl are signed
Height: 63 cm.
Total diameter: 67 cm.

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EUGENE VALLIN – JACQUES GRUBER – FIRESCREEN, CIRCA 1900

FIRESCREEN, CIRCA 1900
Carved walnut with inlaid panels of etched glass with clematis flowers and leaves.
123.5 cm. high; 104.5 cm. wide

Bibliography
Frédéric Descouturelle, Eugène Vallin, Menuisier d’Art de l’Ecole de Nancy, Imprimerie Moderne, Pont-à-Mousson, 1998, a variation of the design ill. p. 209
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 320

Ecran de cheminée en noyer massif mouluré encadrant un panneau de Gruber en verre de couleur gravé à décor de clématites.
Hauteur : 123,5 cm
Largeur max : 104,5 cm

Bibliographie
Frédéric Descouturelle, Eugène Vallin, Menuisier d’Art de l’Ecole de Nancy, Imprimerie Moderne, Pont-à-Mousson, 1998, forme du modèle reproduite page 209.
Victor Arwas, Art Nouveau – The French Aesthetic, Andreas Papadakis publisher, 2002, rep. p. 320

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ABEL LANDRY – COLIN & CIE. – TRAY, CIRCA 1900

TRAY
Silvered bronze, decorated with foliage. Handles shaped as snakes
Signed A Landry and Colin
Length: 67 cm.
Width: 34.5 cm

Exhibition
Salon de 1903

Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, 1903, Armand Guérinet éditeur, ill. pl. 187

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ABEL LANDRY – LA MAISON MODERNE – PAIR OF CANDELABRAS

PAIR OF CANDELABRAS
Silvered pewter
Height: 28.5 cm.

Bibliography
Illustrated in the catalogue of La Maison Moderne
The Modern Style, J. Hoffmann Jr, p. 221
Le Style Moderne: L’Art Appliqué, Revue Internationale, Première Année, H. Laurens – éditeur, 1903-1904, ill. pl. 92

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A GROUP OF SEALS, CIRCA 1900

THEOPHILE HINGRE
LOUCHET, Chaser
Silvered bronze, featuring two dragonflies facing each other on a sprig of lily of the valley
Signed T. HINGRE and LOUCHET
9.8 cm. high

GUSTAVE GURSCHNER
LA MAISON MODERNE
“MEDITATION” SEAL, CIRCA 1900
Gilt bronze
Height: : 9.5 cm.

Bibliography
Documents sur l’Art Industriel au vingtième siècle. Reproductions photographiques des principales œuvres des collaborateurs de La Maison Moderne, La Maison Moderne, Paris 1901, La Sculpture,
ill. p. 14, seal, n. 724-1

JOE DESCOMPS
SUSSE FRERES
“TANAGRA” SEAl, CIRCA 1900
Gilt bronze
Signed Joé Descomps and Susse Fres
Height: 9.8 cm.

FRENCH
“LES VIOLETTES” SEAL, CIRCA 1900
Silver
With French Minerva mark
Height: 8 cm.

Bibliography
An identical model in gilt bronze is illustrated in Les Sceaux, Empreintes du Pouvoir, Roberto Lucio Rosaia, éditions Langlaude, p. 176

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DAUM NANCY – JACQUES GRUBER – JULES MARCHAND, Engraver – “VIGNE” VASE, 1895

“VIGNE” VASE, 1895
Moulded, blown, internally decorated glass, overlaid in black, deeply acid-etched
and wheel-carved, applied decoration
Gilt intaglio signature Daum Nancy with the cross of Lorraine, inscribed Mo and Fecit, dated 1895,
signed Gruber Del and J. Marchand
46 cm. high

Jacques Gruber was the most prominent designer working at Daum between 1893 and 1897.
From 1893, he designed vessels intended for national and international exhibitions,
most of which were unique pieces. He is most probably the author of the shape that appeared
in 1894 and of which very few examples are known, more or less all equal in height and with
various designs of poppies, thistles, sweet peas, and peacock feathers.
Most of them are presently in museums. We were unable to locate a similar example in that particular height.
Jules Marchand was the principal engraver at the Daum workshop. Working with an oil lamp, he ended his life blind