Showing 1–24 of 69 results

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 – “NENUPHARS” JARDINIERE, CIRCA 1909

“NENUPHARS” JARDINIERE, CIRCA 1909
Pâte de verre, eight panels with a decor of water lilies; the mount in gilt bronze
15.5 cm. high; 50 cm. long; 29 cm. wide

Exhibition
L’Ecole de Nancy, 1889-1909, Art nouveau et industries d’art, Nancy,
Galeries Poirel, 24 April-2 July 1999, ill. p. 246, n. 64 in the exhibition catalogue

Exhibition
Noël Daum, La pâte de verre, Editions Denoël, 1984, ill. p. 152

Provenance
Purchased directly from Daum in 1994

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

ERNEST LEVEILLE – VASE, CIRCA 1900

VASE, CIRCA 1900
Thick transparent multilayered glass internally decorated with red and green powder inclusions, crackled and wheel faceted, thickly overlaid with beige, wheel carved and finely chased with flowers and leaves
Signed
37 cm. high

Exhibition
The Art of Glass – Art Nouveau to Art Deco, Sunderland Museum & Art Gallery, 17 July-27 October 1996

Bibliography
Victor Arwas, The Art of Glass, 1996, Andreas Papadakis Publisher, ill. p. 10, n. 8
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002, ill. p. 450

Provenance
Collection James Barrelet, France

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 – “CRABE ET ALGUES” CHARGER, CIRCA 1900

“CRABE ET ALGUES” CHARGER, CIRCA 1900
Large charger in blue and amber glass, acid-etched with an aquatic scene of seaweed flowing in the water with a starfish and crab among the vegetation, all against a shaded blue glass background
Signed on the edge of the charger Gallé
40 cm. in diameter

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