HENRY CROS – PLAQUE, CIRCA 1900

PLAQUE, CIRCA 1900
Large rectangular plaque in pâte de verre figuring an elongated naked woman, in white pâte de verre, abundant red hair, all on a green background under a blue sky

47 x 21 x 2 cm.

DAUM FRERES – “CHARDONS” VASE, CIRCA 1900

“CHARDONS” VASE, CIRCA 1900
Thistle cameo decoration in black and pink on white martele ground, with silver
foliate mount to foot rim, gilt engraved signature Daum Nancy with Croix de Lorraine to underside of foot

22 x 10 cm.

EMILE GALLE – ANCOLIES VASE, CIRCA 1897-1900

ANCOLIES VASE, CIRCA 1897-1900
Hand-blown, acid-etched, and engraved glass with marquetry and foil inclusions
18.4 cm
Engraved Gallé

Bibliography
Dekorative Kunst, 3, 1899, p. 128, another similar example illustrated
L'Art Décoratif, March 1905, p. 136, another similar example illustrated
Collection Roger Marx – Objets d’Art Moderne, Lair-Dubreuil and Baudoin,
Paris, 13 May 1914, lot 81, for an attenuated version of this model
J. Bloch-Dermant, The Art of French Glass 1860-1914, New York, 1974, p. 94,
another similar example illustrated
Exposition Émile Galle and Toulouse-Lautrec, exhib. cat., Osaka, 1995, p. 48,
another similar example illustrated
H. Ricke, Glas des Art Nouveau, Munich, 1998, p. 126, fig. 40, another
similar example illustrated
V. Thomas, École de Nancy – Fleurs et ornements, Paris, 1999, p. 38,
for a pencil and watercolor design for a taller version of the ‘Ancolie’ vase
Émile Gallé et le Verre, Le Collection du Musée de l'Ecole de Nancy, Nancy,
2004, p. 164, another similar example illustrated
Gallé Art Nouveau Glass, Kitazawa Museum of Art, exhib. cat., Vol. 2, Tokyo, pp. 35-36,
another similar example illustrated
E. Gallé, Émile Gallé, New York, 2014, p. 100, another similar example illustrated

EMILE GALLE – ORCHIDEE VASE, CIRCA 1900

ORCHIDEE VASE, CIRCA 1900
Applied, carved, and marquetry cased glass
22.9 x 14 cm;
Engraved Gallé

Bibliography
R. Marx, Émile Gallé – Psychologie de l’artiste et synthèse de l’oeuvre, Art et Décoration,
Paris, August 1911, p. 245, for an illustration of the variant in the Marx collection
Collection Roger Marx – Objets d’Art Moderne, Paris, 13 May 1914, lot 98, the above variant
of this model
J. Bloch-Dermant, L’Art du Verre en France 1860-1914, Lausanne, 1974, p. 100, another similar
example illustrated
L. Buffet-Challié, Le Modern Style, Paris,1975, p. 127, another similar example illustrated
P. Garner, Émile Gallé, Paris, 1976, p. 112, for an illustration of a variant of the green and pink version
B. Warmus, Émile Gallé – Dreams into Glass, The Corning Museum of Glass, Corning,
New York, 1984, pp. 98-101, for illustrations of the Roger Marx collection variant, pp. 102-103,
cat. no. 20, for the variant, lot 45 in the present catalogue
A. Duncan, G. de Bartha, Gallé Le Verre, London, 1984, p. 76, pl. 98, another similar
example illustrated
P. Thiébaut, Gallé, Paris, 1985, p. 172, for an illustration of an 1889 precursor to this model,
and p. 210 for a green and pink version in the collection of the Musée des Beaux-Arts et d’Archéologie,
Boulogne-sur-Mer
A. Duncan, The Paris Salons 1895-1914, Vol. IV: Ceramics and Glass, Woodbridge,
1998, p. 217, design drawing illustrated, p. 224, another similar example illustrated
from the Exposition de l’École de Nancy, Paris, 1903, p. 230, another similar example
illustrated from the Paris Salon 1903-1904
L’École de Nancy, 1889-1909, Paris, 1999, p. 185, another example illustrated
E. Gallé, Émile Gallé, New York, 2014, p. 154, another similar example illustrated

His striking vase ‘Orchidée’ of around 1900, with its full-relief application of a
coelogina cristata in full bloom, is the fulfilment of a model that dates back to 1889.
In that year Gallé included a version of the vase in his submission to the Exposition Universelle
in Paris. The model, its form derived from that of an archaic Chinese Han bronze vessel, was executed
in a lightly veined glass whose decoration was rendered in surface enameling, patination, and engraving. The motifs were drawn from both Islamic and Japanese sources.
The piece illustrated the eclecticism that marked Gallé’s oeuvre, particularly in its earlier chapters before the emergence through the 1890s and the fulfilment around 1900 of his mature style. The present piece exploits the same Han form, but now with a more complex and richer decoration
in the mass of the glass, and with the chosen flower, the orchid, represented in luscious full relief.
A version of this model was presented at the Exposition Universelle of 1900 in Paris and an
example was in the illustrious contemporary collection of Roger Marx, art critic, connoisseur,
Inspector-general of French museums and subsequently editor of La Gazette des Beaux-Arts

The model also exists in variegated jade green and pink with a pink flower in the
former collection of Roger Marx and in the collection of the Musée des Beaux-Arts et d’Archéologie, Boulogne-sur-mer.

EMILE GALLE – RARE AND IMPORTANT “NYMPHEAS” VASE, CIRCA 1889

RARE AND IMPORTANT “NYMPHEAS” VASE, CIRCA 1889
Baluster “cristallerie” glass, polychrome enamels, gold gilding decorated with water lilies and a butterfly
Engraved signature E. Gallé Nancy and E. G. Nancy with the cross of Lorraine in a gilt beetle
Bearing the original label Faïences et verreries d’art Emile Gallé Nancy Paris n. 17646 and the inscription Je suis messager de bonheur at the back and Bonheur au nymphéa blanc on its side

Exhibition
Bernard Hakenjos, Emile Gallé, Keramik, Glas und Möbel des Art Nouveau, Münich, 2012, vol. II,
p. 61, n. 113

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

GEORGES BROCARD – VERRERIES DE BAR SUR SEINE – VASES, CIRCA 1900

VASES, CIRCA 1900
Clear glass, acid-etched highlighted with gold and decorated with grasshoppers and dragonflies
Signed and located at Bar-sur-Seine
10 cm. high

Transparent glass slightly tinted in green and mottled white. Design of mulberry branches, leaves and fruits applied in translucid green and amethyst enamels highlighted with gold
14 cm. high

JACQUES GRUBER – DAUM NANCY – “FRUCTIDOR” VASE, 1896

“FRUCTIDOR” VASE, 1896
After a drawing by Jacques Gruber
Acid-etched glass, finely wheel carved
Signed, titled, dated and with the Cross of Lorraine
27 cm. high

The title is taken from the name of the last month of the French Republican calendar, which represented
the “fruits that the sun gilds and ripens from August to September”.
The carved decoration of our vase shows multiple inspirations: Greek and Roman, Japanese art,
and German Expressionism. It can be compared with two other vases: “L’heure calme”.
“L’incantation crépusculaire”, 1895, in the Musées royaux d’Art et d’Histoire, Brussels,
and “Tristan et Yseult”, circa 1897, in the Musée des Beaux-Arts, Nancy.

Bibliography
Antonin Daum, A french Glass Worker of the 19th Century, The Artist, 1898, ill. p. 212
Janine Bloch-Dermant, L’Art du verre en France 1860-1904, éd. Denoël, 1974, ill. p. 140
Daum, cent ans de verre et de cristal, exhibition catalogue, musée des Beaux-Arts de Nancy,
1977, n. 40
Noël Daum, Daum Maîtres Verriers, éd. Edita, Lausanne, 1985, ill. p. 58
Félix Marcilhac, Connoisseur’s Choice, The Staste, n. 1, September-October 1990, ill. p. 75

Provenance
Formerly in the collection of Daum, Nancy

AMALRIC WALTER – DAUM NANCY – “ROUGIE DU SOIR” PANEL, CIRCA 1905

“ROUGIE DU SOIR” PANEL, CIRCA 1905
Pâte-de-verre glass
The wooden frame most probably by Louis Majorelle
37 x 44 cm.

Exhibition
L’Ecole de Nancy, 1889-1909, Art nouveau et industries d’art, Nancy, Galeries Poirel,
24 April-26 July 1999, ill. p. 294, n. 60 in the exhibition catalogue

Bibliography
Noël Daum, La pâte de verre, Editions Denoël, 1984, ill. p. 151
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002,
ill. p. 512

Provenance
Purchased directly from the Daum factory in 1994

DESIRE JEAN-BAPTISTE CHRISTIAN – VALLERYSTHAL – COLOCYNTH VASE, CIRCA 1900

COLOCYNTH VASE, CIRCA 1900
Double layered glass engraved with Datura flower decorations
Signed

22 cm. high

Similar vase in shape and technique at the Kunstmuseum, Düsseldorf

Exhibition
Art Nouveau à Meisenthal / Désiré Christian et son atelier, exhibition organized by the Glass Museum in Meisenthal, 2007, ill. p. 75 in the exhibition catalogue

Bibliography
Similar vase similaire illustrated in Glass des Art Nouveau – Die Sammlung Gerda Koepff, 1998 Prestel-Verlag, p. 172, catalogue n. 75

EMILE GALLE – VASE, CIRCA 1900

VASE, CIRCA 1900
Engraved marquetry with a design of ray and aquatic flora
Powder inclusions and inclusion of shattered gold foils, hammered with small facets
Silver gilt mount with French Minerva mark
Vertically engraved signature

17 cm. high

No similar example known to exist

Bibliography
For the same shape of the mounted vase: Tsuneo Yoshimizu, The Glass Arts of Emile Gallé, Gakken 1985, n.144; without the mount n. 143 and 184
Georges de Bartha, Glass by Gallé, Thames & Hudson Ltd, 1984, p. 59, n. 61 (EU 1900)

EMILE GALLE – “ANEMONES” VASE, CIRCA 1880-1884

“ANEMONES” VASE, CIRCA 1880-1884
Multilayered glass, internally decorated, acid-etched and finely wheel-carved

20.5 cm. high

Another example is in the collection of the Kitazawa Museum in Suwa, Japan

Exhibition
Emile Gallé – Nature and Symbol / Le Langage des Fleurs et des Choses Muettes, 16 January-10 April 2016, Tokyo Metropolitan Teien Art Museum; 24 April-5 June 2016, Utsunomiya Museum of Art, ill. p. 44, n. 027

Bibliography
L’Estampille, December 1978, ill. p. 16

Provenance
Jean-Claude Brugnot, Paris, 1974-1975
Private Collection, Italy
Acquired from the above

EMILE GALLE – “DRAGONFLIES” VASE, CIRCA 1895

“DRAGONFLIES” VASE, CIRCA 1895
Cylindrical vase in clear double layered glass, decorated with acid-etched radiant suns and
inclusions of metal oxides; embellished with two polychromatic enamelled dragonflies
Signed underneath by hand with a diamond point

21.5 cm. high; 11 cm. diameter

EMILE GALLE – VICTOR PROUVE – “LES CISELEURS DE LA MER”, 1900

“LES CISELEURS DE LA MER”, 1900
Pitcher of flattened form with wheel-carved aquatic decoration
Engraved signature

25.5 cm. high; 10.5 cm. wide; 3 cm. thick

One of four known to exist

Exhibition
Exposition Universelle, Paris, 1900
Exposition de l’Ecole de Nancy, Paris, Pavillon de Marsan, 1903
Salon de la Nationale des Beaux-Arts, Paris, 1904
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, musée des Beaux-Arts, musée de l’Ecole de Nancy, Nancy, 6th May – 28th August 2006, n. 162 in the exhibition the catalogue, ill. p. 220
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022

Bibliography
A. Duncan & G. de Bartha, Glass by Gallé, 1984, Thames & Hudson Limited, London, ill. page 58
Wood One Museum of Art, 2005, catalogue n. 63, ill. p. 64 (neck cut down)
The Paris Salons, vol. IV, ill. page 224

Provenance
Identical pitcher at the Musée de l’Ecole de Nancy and at the Danish Museum of Art & Design in Copenhagen
Similar model at the Roger Marx Sales, Paris, 13th may 1914, Galerie Manzi-Joyant, “Les Algues” n. 97 in the catalogue, ill. p. 17
The drawing of this piece with annotations by hand by Gallé is illustrated page 187 of the catalogue of the “Emile Gallé” exhibition presented in six Japanese museums in 2000-2001

EMILE GALLE – VICTOR PROUVE – FOOTED BALUSTER VASE D’ACCUEIL “PITIE” OR “CHARITE”, CIRCA 1899-1900

FOOTED BALUSTER VASE D'ACCUEIL “PITIE” OR “CHARITE”, CIRCA 1899-1900
Flaring waisted rim, nocturnal and symbolic subject depicting a woman supporting an old man wrapped in a blanket, the background designed as a landscape with bats in flight
Wheel engraved signature

27.8 cm. high

This is a unique piece executed for the 1900 Exposition Universelle (See: Victor Prouvé 1858-1943, éditions Gallimard, 2008, p. 196) and the letter herebelow which Gallé addressed to Prouvé giving him instructions regarding the subject of the vase. He quotes Matthew 25:31-46
I was naked and you clothed me
I was a stranger and you welcomed me

Exhibition
Victor Prouvé 1858-1943, Musée de l’Ecole de Nancy, 17 May-21 September 2008, ill. p. 205, n. 144 in the exhibition catalogue
Victor Prouvé, le Maître de l'art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022

Bibliography
Extracts from a letter by Emile Gallé to Victor Prouvé dated the 25th of January 1899
“… Thème décoratif. – Cette pièce devra faire partie d’une série rêvée par moi de Fruits spirituels, les uns bons et les autres mauvais. Celle-ci sera la pomme de sapin, vaguement rappelée par la forme du vase avec la large figuration neigeuse sur son épaulement de bronze, formant ainsi cadre au sujet inspiré de ce thème :
Car j’ai eu froid et vous m’avez réchauffé
J’étais étranger et vous m’avez recueilli
… Il s’agit donc de figurer un miséreux, demi nu, auquel des hôtes, eux-mêmes peu fortunés, offrent leur coeur et leur foyer ; Puvis, si je me souviens, avait prêté à ses hospitaliers homme et femme un grand âge, ce qui était touchant et faisait un rappel de Philémon et Baucis.
Afin de ne pas trop compliquer (car nous avons bien d’autres thèmes à dire, en un an !) un seul hospitalisé pourrait suffire, avec un pauvre accroupi frileux devant le feu, et des invités plus modestes et non moins intéressants, des oiseaux sur une place sans neige, un chien perdu qui dévore timidement à l’écart…
… P.S. – Bien entendu, je compte enlever le noir du col et n’en laisser que peu (vol de corneilles scématisées, ou écailles de sapin). Je laisserai la bague noire…” (La Revue des arts décoratifs, 1901, p. 312).
Victor Prouvé, le Maître de l'art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022, ill. p. 12
Le Journal des Arts, n. 592, 24 June-7 July 2022, p. 21

Provenance
Acquired in 1999 from a private collection, France

FRANCOIS-EMILE DECORCHEMONT – THREE HANDLED SMALL BOWL “ALGUES”, 1911

THREE HANDLED SMALL BOWL “ALGUES”, 1911
Pâte d’émail. The base impressed with the usual seal and numbered CE9
5.25 cm. high
9 cm. diameter

According to Véronique Ayrolles, 10 examples were executed by Décorchemont between 1911 and 1912 numbered CE1 thru CE10. So far, only two examples have been traced

Bibliography
Véronique Ayrolles, François Décorchemont Maître de la pâte de verre, Editions Norma, Paris, 2006, ill. p. 53 and 229

EMILE GALLE – “CAVALIER PERSAN” BEAKER, DESIGNED CIRCA 1889

“CAVALIER PERSAN” BEAKER, DESIGNED CIRCA 1889
Glass, decorated with a Persian horse rider, in polychrome enamel on a background engraved with stylized and geometrical flowers and partly highlighted in gold, inclusion of shattered gold foils
Signed E. Gallé Nancy under its base
10 cm. high

Bibliography
Bernd Hakenjos, Emile Gallé, Keramik, Glas und Möbel des Art Nouveau, Hirmer, ill. p. 80

EMILE GALLE – VASE, CIRCA 1900

VASE, CIRCA 1900
Small pear-shaped vase, clear glass overlaid with black and with platinum foil, acid-etched and entirely wheel-carved, hammered body
Signed in wheel-carved cameo
8.5 cm. high
Provenance
Formerly in the collection of Henri Flammarion

EMILE GALLE – VASE, CIRCA 1895

VASE, CIRCA 1895
Honey-colored glass with polychrome and gilt enamel, decorated with orchids and leaves
Signed under its base Emile Gallé below an orchid and Déposé in enamel
12.5 cm. high

LUCIEN GAILLARD – “POURPRE D’AUTOMNE” PERFUME BOTTLE, CIRCA 1900

“POURPRE D’AUTOMNE” PERFUME BOTTLE, CIRCA 1900
Decorated with leaves and fruits from red chestnut trees
Enameled stopper
Titled on each side
Comes with its splendid marbled box, with a round label showing the same pattern as on the bottle, garnished with satin (slightly stained)
Executed for Volnay (Veolay), “Veolay” being the phonetic transcription of “Volnay” found on the bottles intended for the American market.
11,6 cm. high (very rare in this size)

Bibliography
Christie Mayer Lefkowith, L’Art du Parfum, éditions Celiv, 1994, ill. p. 137

MULLER FRERES – PITCHER, CIRCA 1900

PITCHER, CIRCA 1900
Multilayered pitcher, overlaid, acid etched and wheel carved, enameled design in the “fluogravure” technique, applied handle, gold highlights
Signed
20 cm. high

Exhibition
Sunderland Museum & Art Gallery, The Art of Glass – Art Nouveau to Art Deco, 17 July – 27 October 1996
Verrerie Art Nouveau, l'Exemple des Frères Muller, Musée de l'Ecole de Nancy, 6 October 2007 – 7 January 2008, ill. p. 85, n. 16 in the exhibition catalogue

Bibliography
Victor Arwas, The Art of Glass, Andreas Papadakis publisher, 1996, p. 32, n. 42.

Provenance
Dr Henry Blount, Chattanooga, Tennessee, USA

HENRY CROS – PLATE “THE NYMPH GALATEA”, CIRCA 1900

PLATE “THE NYMPH GALATEA”, CIRCA 1900
Exceptional medallion in pâte de verre figuring Galatea asleep being watched by a beast, in shades of pink, yellow brown and orange on a blue background
Signed

Diameter: 27 cm

A similar piece is in the collections of the Musée des Arts Décoratifs, Paris, inventory n° 19647, acquired at the sale of the Roger Marx collection in 1914

Exhibition
Chefs d'oeuvre de la verrerie et de la cristallerie française au Musée des Arts Décoratifs, 1800-1990, Suntory Museum of Art, Tokyo, Japan, 1991, p. 32, n. 25, in the exhibition catalogue

EMILE GALLE – “LES ROCHERS DANS LA MER” VASE, CIRCA 1900

“LES ROCHERS DANS LA MER” VASE, CIRCA 1900
Outstanding vase in multilayered glass with marine landscape decor
Original bronze base cast with butterflies
Engraved signature
54 cm. high

Bibliography
Janine Bloch-Dermant, L'Art du verre en France 1860-1914, Edita-Denoël, 1974, ill. p. 62

Provenance
Private collection, Italy

EMILE GALLE – “ANEMONE” VASE, CIRCA 1897-1900

“ANEMONE” VASE, CIRCA 1897-1900
Conical multilayered vase, internally decorated and engraved
Signed
21.5 cm. high

Exhibition
Emile Gallé, Exhibition in six Japanese museums, 2000-2001, n. 45 in the exhibition catalogue, ill. pp. 90 and 91 (example at the Juken museum)

Bibliography
A similar 27 cm. high vase in the collections of Juken Museum of Art, Yoshiwa, prefecture of Hiroshima, Japan
Another, 28,2 cm. high, is in the collection of Her Royal Highness Margrethe II, the Queen of Denmark

EMILE GALLE – “MEDUSE” VASE, CIRCA 1900

“MEDUSE” VASE, CIRCA 1900
Double glazed footed vase modelled as a fish, internally decorated with powder inclusions, partially iridescent, ornamented with an acid-etched and wheel-carved jellyfish on a hammered background echoing the surface of the water
Wheel-carved signature
30 cm. high

EMILE GALLE – CONICAL VASE, 1898

CONICAL VASE, 1898
Multilayered and wheel-carved conical vase with faceted corners in amber, purplish-blue and red marquetry glass, internally decorated with columbines on a background with silver foil inclusions, acid-etched, the original bronze base in the shape of leaves and spurs
Signed and dated 1898
26.1 cm. high

Exhibition
Société Nationale des Beaux Arts, 1898
Wood One Museum of Art, Hiroshima, Japan, 2005, n.33, ill. p. 36 in the exhibition catalogue
Emile Gallé – Nature and Symbol / Le Langage des Fleurs et des Choses Muettes, 16 January – 10 April 2016, Tokyo Metropolitan
Teien Art Museum; 24 April – 5 June 2016, Utsunomiya Museum of Art, n. 069, ill. p. 90

Bibliography
Revue des Arts Décoratifs, 1898, ill. p. 148
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 319, n. 318
Emile Gallé et le verre, la collection du musée de l'Ecole de Nancy, Ed. Somogy, Paris, 2004, similar example ill. p. 164, n. 280

Provenance
Daimaru Museum, Japan

Other examples of this design are owned by important museums worldwide:
Kitazawa Museum of Art, Japan
Kunstmuseum, Dusseldorf (Collection Gerda Koepf), Germany
Suntory Museum, Japan
Musée de l'Ecole de Nancy, Nancy, France
Budapest Museum of Applied Arts, inv. n. 55.284, Hungary

FRANCOIS-EUGENE ROUSSEAU – VASE, CIRCA 1900

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

DAUM NANCY – VASE, CIRCA 1900

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

EMILE GALLE – “LA GIROFLEE DE MURAILLE”, CIRCA 1900

“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

EMILE GALLE – VASE, CIRCA 1889

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

ALBERT DAMMOUSE – IMPORTANT BOWL, CIRCA 1900

IMPORTANT BOWL, CIRCA 1900
Pâte d’émail with a design of roses and foliage
13.5 cm. high
12 cm. diameter

Exhibition
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002, ill. p. 513

GEORGES DESPRET – YVONNES SERRUYS – VASE, CIRCA 1900

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

DAUM NANCY – VASE “VIGNE ET ESCARGOTS”, MODEL N. 2434, 1904

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.

EMILE GALLE – LOUIS HESTAUX – “CHAUVE-SOURIS ET PAVOTS” BOTTLE, CIRCA 1890-1892

“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

EUGENE MICHEL – VASE, CIRCA 1900

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

Provenance
Leo Kaplan, New York, acquired in 2000

AUGUSTE JEAN – A PAIR OF BALUSTER VASES, CIRCA 1878

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

LOETZ – ALPHONSE DEBAIN – LA MAISON MODERNE – VASE, CIRCA 1899

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

EMILE GALLE – “LA NIGELLE DES PRES”, AN IMPORTANT FOOTED VASE, CIRCA 1900

“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

EMILE GALLE – VASE “CYCLAMENS”, 1898-1900

VASE “CYCLAMENS”, 1898-1900
Flattened glass with intercalary inclusions, decor in marquetry finely wheel carved
Signed
22 cm. high

Bibliography
Richard Dennis, The Glass of Emile Gallé, Antiques International, London 1967, p. 189, pl. 17

DAUM NANCY – VASE “CINERAIRES”, CIRCA 1910

VASE “CINERAIRES”, CIRCA 1910 
Clear glass with white, yellow and blue inclusions
The flowers and leaves are acid-etched and wheel carved
Signed
40.5 cm. high

Bibliography
Clotilde Bacri, Daum, Michel Aveline éditeur, 1992, ill. p. 68

DAUM NANCY – VASE, CIRCA 1905

VASE, CIRCA 1905
Internally decorated, applied and wheel-carved. The neck is pulled, cut and finished by hand
Signed
33 cm. high

Exhibition
L’Art Nouveau la Révolution décorative, Pinacothèque de Paris, 18 April-8 September 2013, p. 82,
n. 43 in the exhibition catalogue

Bibliography
Clotilde Bacri, Daum, Milan, 1992, ill. p. 127

Provenance
Bought directly from the Daimaru Museum, Japan

DAUM NANCY – AN IMPORTANT VASE, CIRCA 1900

AN IMPORTANT VASE, CIRCA 1900
Blown glass vase decorated with mushrooms, oak leaves and pincones
Acid-etched, wheel-etched, carved
Engraved signature
51 cm. high

Exhibition
Takashimaya, exposition itinérante au Japon, 1986, n. 86, ill. p. 19

DAUM NANCY – BOTTLE AND STOPPER, CIRCA 1900

BOTTLE AND STOPPER, CIRCA 1900
Opalescent amber glass bottle decorated with catkins
Deeply acid-etched and carved; three applications on platinum foil including one on
the stopper
Engraved signature
11.5 cm. high

FRANCOIS-EUGENE ROUSSEAU – VASE, CIRCA 1900

VASE, CIRCA 1884-1900
Internally decorated thick glass, decorated with engraved fishes and algae
11 cm. high

Another example of this design is part of the Gerda Koepff Collection, with a label of Léveillé-Rousseau under the base

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. p. 14