Showing 1–24 of 70 results

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