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.
Showing 49–72 of 108 results
PHILIPPE-JOSEPH BROCARD – VASE, CIRCA 1900
VASE, CIRCA 1900
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
Signed and located Meudon
14 cm. high
ALPHONSE-GEORGES REYEN – BOWL, 1902
BOWL, 1902
Glass, with a decor of branches on an interlayered background
Signed and dated 1902
Height: 7 cm.
Width: 14.5 cm.
ALPHONSE-GEORGES REYEN – VASE, CIRCA 1900
VASE, CIRCA 1900
Acid-etched and wheel-carved in white on a black background. Decor of seascapes and sailboats
Signed
Height: 21 cm.
Reyen was a master glass engraver who set up his own workshop after working for Eugène Rousseau and Léveillé (1877 – early 1890s). He was strongly influenced by japonism and Rousseau. He produced almost unique pieces
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
DAUM FRERES – GROUP OF VASES AND A BOWL, CIRCA 1925
GROUP OF VASES AND A BOWL, CIRCA 1925
Blue glass, deeply acid etched with geometric patterns. 8.7 cm. high
Blue glass, acid etched with stylised flowers
Amber glass, deeply acid etched with geometric patterns on a frosted background
DAUM FRERES – “VIGNE VIERGE” BALUSTER VASE, CIRCA 1910
“VIGNE VIERGE” BALUSTER VASE, CIRCA 1910
Brown and green shaded pink marmoreal glass
Titled Pleurent les pampres morts et les roses fanées
Signed
34.5 cm. high
Diameter: 21.5 cm.
PFULB & POTTIER – CHALICE, CIRCA 1890
CHALICE, CIRCA 1890
Enamelled glass
Signed
11 cm. high
9.7 cm. diameter
FRANCOIS-EMILE DECORCHEMONT – OPENWORK COUPE DECORATED WITH STYLIZED ALGAE, 1903
OPENWORK COUPE DECORATED WITH STYLIZED ALGAE, 1903
Pâte d’émail, green background
Impressed with the artist’s seal, dated in ink 1903 and numbered 19
9 x 17 cm.
Exhibition
Salon 1903, Paris
Musée du Verre François Décorchemont, Conches-en-Ouches, François Décorchemont – L’alchimie de la matière, de la couleur et de la lumière, 24 May 2025 – 30 November 2025
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, 1903, 1ère série, ill. pl. 94.
Véronique Ayrolles, François Décorchemont Maître de la pâte de verre, Norma éditions, Paris, 2006, ill. p. 215
Provenance
Acquired directly from the Décorchemont workshop by the last owner
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
LOUIS MAJORELLE – DAUM FRERES – VASE, CIRCA 1920
VASE, CIRCA 1920
Large rectangular transparent glass vase with inclusions of red powders and fragmented leaf motifs,
blown into a wrought iron mount
Signed
Height: 22.5 cm.
AMALRIC WALTER – DAUM NANCY – “ROUGIE DU SOIR” PANEL, CIRCA 1905
“ROUGIE DU SOIR” PANEL, CIRCA 1905
Pâte de verre glass panel, the wooden frame most probably by Gruber.
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
DAUM FRERES – IMPORTANT “PRIMEVERES” VASE, MODEL N. 4093, CIRCA 1910
IMPORTANT “PRIMEVERES” VASE, MODEL N. 4093, CIRCA 1910
Multilayered glass with orange and blue-purple powder inclusions, overlaid in green and etched with primroses and leaves
The flowers in white glass are applied and finely wheel carved
Wheel carved signature
Height: 47 cm
GEORGES DESPRET – “BUSTE DE FEMME SYMBOLISTE”, CIRCA 1900
“BUSTE DE FEMME SYMBOLISTE”, CIRCA 1900
Pâte de verre
Signed on the back by hand with a diamond point
23 cm. high
MULLER FRERES – SCULPTURE, CIRCA 1900
SCULPTURE, CIRCA 1900
Floral sculpture molded and engraved
Signed Muller Croismare près Nancy
26 cm. high
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
EMILE GALLE – COLOQUINTE VASE, CIRCA 1900
COLOQUINTE VASE, CIRCA 1900
Multilayered glass with inclusions, decoration of waterlilies in marquetry and chased
Signed
25 cm. high
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 – 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
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
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
Exhibition
Musée du Verre François Décorchemont, Conches-en-Ouches, “François Décorchemont – L’alchimie de la matière, de la couleur et de la lumière”, 24 May 2025 – 30 November 2025
SOLD TO THE MUSEE DU VERRE FRANCOIS DECORCHEMONT, CONCHES-EN-OUCHE, FRANCE
EMILE GALLE – “PAVOT” VASE, CIRCA 1900
“PAVOT” VASE, CIRCA 1900
Flattened baluster vase, milky white glass overlaid in purple, decorated with poppies acid-etched and fire-polished
Signed
20 cm. high; 13.5 cm in diameter
SOLD
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
LUCIEN GAILLARD – “PERVERS DE CLAMY” PERFUME BOTTLE, 1913
“PERVERS DE CLAMY” PERFUME BOTTLE, 1913
Moulded glass, pyramidal shape, the stopper decorated with a snake
Titled Pervers and Clamy
5.5 cm. high