Art Nouveau & Art Déco - Gallery in Monaco
VASE CIRCA 1900
Model number 3227
Mottled ground overlaid in blue, acid etched, and wheel carved; decorated with blue berries
The original foot was broken and replaced with a wooden one at the factory
Provenance
Acquired directly at the crystal Daum factory in 1994
AIGUIERE AUX IRIS, 1893
Multilayered glass, partly hammered with small irregular facets and wheel-carved decor of iris flowers
Height: 22 cm.
Most likely blown and engraved in Meisenthal then wheel-carved in Nancy
Designed to be mounted in silver, an example was acquired directly from Emile Gallé in 1893 by the Union Centrale des Arts Décoratifs, the current Musée des Arts décoratifs, inventory number 7775. The mount is by Joseph Joindy, chased by Francis Peureux who was the main silver chaser at the Maison Boucheron. Our example is the unmounted one that remained in Emile Gallé’s family and no other example known to exist.
In his book L’Oeuvre de verre d’Emile Gallé, copyright 1998 Editions Messene, Paris,
François Le Tacon illustrates a ewer in red and black multilayred glass, that he dates 1893 and which is located in the castle museum of Boulogne-sur-Mer, inventory n. 750, height: 25 cm.; We read: “A l’opposé, une cruche de 1893 (fig.62), sans caractère symbolique, est un objet intrinsèquement décoratif. Soufflée et gravée à Meisenthal à l’acide, puis reprise à la roue à Nancy, elle était destinée à être montée à Paris sur argent doré, comme l’exemplaire du musée des Arts décoratifs. Elle est en cristal triple couche : une interne translucide, une intermédiaire noire foncée et une externe rouge. L’opposition violente entre le noir et le rouge donne à cette pièce un aspect particulier, encore souligné par l’agressivité de la gravure qui s’apparente beaucoup à une taille. La monture en argent ciselé et doré, de style rocaille, avec deux serpents s’enroulant autour de l’anse, plutôt de style Art nouveau, accentue encore les oppositions. La pièce parisienne, à décor d’iris, a été achetée directement à Gallé par le musée; celle de Boulogne, à décor de lys, appartenait à Charles Lebeau”.
BOTTLE, CIRCA 1900
Blown, moulded internally decorated and wheel-carved marquetry glass; original stopper
Signed
12 cm. high
“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
CYLINDRICAL VASE, CIRCA 1900
Moulded, blown transparent glass with powder inclusions
Unsigned
Height: 24 cm.
VASE, CIRCA 1900
Green tinted transparent blown glass with red powder and silver inclusions
Signed E. Léveillé
Height: 16.5 cm
“RECLINING NUDE” or “NU COUCHE”
Lost-wax casting in translucid white glass
Signed indiscriminately
Height: 11 cm.
Length: 28 cm.
A signed and identical example in bronze was sold at Sotheby’s in New York, June 12, 1992, lot n. 11
Léopold Bernhard Bernstamm was born in Riga, now Latvia, where he entered the studio of Prof. David Jensen at age 13, and at 14 entered the Imperial Academy of Fine Arts of Saint Petersburg, where he won several awards
In the early 1880s he made about thirty busts of celebrated Russians including Fyodor Dostoyevsky (from a death mask, 1881), Denis Fonvizin, Aleksandr Ostrovsky (for the foyer of the Alexandrinsky Theater), and Mikhail Saltykov-Shchedrin (erected at the writer’s grave in 1900). These busts established his reputation. He then spent 1884 in Rome and Florence, continuing his studies under a Professor Rivalti
In 1885 he settled in Paris, often returning to Saint Petersburg. His sculptures of eminent Frenchmen soon made him famous, including portraits of François Coppée, Paul Déroulède, Gustave Flaubert, Ludovic Halévy, Ernest Renan, Victorien Sardou, Émile Zola, and Jean-Léon Gérôme. He also made portraits of Czar Nicholas II of Russia and members of the Imperial family (1896), Anton Rubinstein (1901), and Alexander Pushkin (1911)
Thanks to his rapidity of execution and his sense of the physiognomy, he became chief sculptor of the museum Grévin for which he modeled effigies of numerous wax models
His last work for Saint Petersburg was the bust of Czar Alexander III of Russia (erected in the Russian Museum garden, removed in 1918). All told, he sculpted approximately 300 portraits of Russian and European representatives of culture, science and politics, and sculpted some monuments. Bernstamm was made chevalier of the Légion d’honneur in 1891
LETTER OPENER, CIRCA 1920
Pâte de cristal
Signed
29.4 cm. long
“ANEMONE” COUPE, 1920
Pâte de verre
Signed G. ARGY-ROUSSEAU
Height: 8 cm.
Diameter: 11 cm.
Bibliography
Janine Bloch-Dermant, Argy-Rousseau Catalogue raisonné, ill. p. 183 under the n. 20.15
VASE, CIRCA 1900
Footed egg shaped glass marquetry vase with a pinched neck and a design of finely carved water lilies
Similar example at the Kitazawa Art Museum, Suwa, Japon
Height: 19.5 cm.
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, Utsunom
Bibliography
Alastair Duncan, The Paris Salons Volume IV: Ceramics & Glass, ill. on the cover page and p. 40.
FOOTED VASE, CIRCA 1900
Smoky glass, polychrome enameled with a carved and enameled praying mantis and blooming flowers
Unsigned
Height: 22 cm.
Provenance
The artist’s family by descent
“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
VASE, CIRCA 1900
Multi layered glass with powder inclusions, thickly overlaid and carved with a crocus
Signed with a diamond point
Height: 14 cm.
“GRAND VASE TROIS FIGURES”, DESIGNED IN 1914, EXECUTED IN 1914-1919
Model n. 59, translucent and partly coloured pâte-de-verre, decorated with three relief
moulded medallions, each featuring a women set in profile
Stamped with artist circular mark
Height: 22.5 cm.
Exhibition
Véronique Ayroles, François Decorchemont Maître de la pâte de verre, éditions Norma, 2006,
ill. p. 65 and 239 for the design
Four examples of this model were executed and only one other severely damaged has appeared in auction in 2016
VASE, CIRCA 1919-1922
Tinted vase with internal irregular bubbles applied with mauve glass bunches of grapes
on stylised branches in black glass, the applied mauve foot with a black border.
Executed by Eugène Gall from a model by Emile Wirtz. Signed Daum Nancy with the cross
of Lorraine.
Height : 15 cm
Exhibition
The Art of Glass Art Nouveau to Art Deco, Sunderland Museum & Art Gallery,
17 July-27 October 1996, ill. in the exhibition catalogue
VASE, CIRCA 1880
Exceptional vase modeled as a mosque lamp with applied handles
Blown glass with a richly polychromed enameled decor highlighted with floral motifs, arabesque and a frieze of oriental scriptures
Signed “Brocard Paris”
15 cm. high
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.
“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.
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
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.
“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.
“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
CHALICE, CIRCA 1890
Enamelled glass
Signed
11 cm. high
9.7 cm. diameter
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
PAIR OF VASES, CIRCA 1900
Acid-etched, wheel-carved and hammered glass
Engraved signature highlighted with gold
12.5 cm. high
“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
“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
“BUSTE DE FEMME SYMBOLISTE”, CIRCA 1900
Pâte de verre
Signed on the back by hand with a diamond point
23 cm. high
SCULPTURE, CIRCA 1900
Floral sculpture molded and engraved
Signed Muller Croismare près Nancy
26 cm. high
SQUARE GLASS VASE, 1903-1906
Garnet, green and gray metallic iridescent with a design of irises
Signed
29 cm. high
The base: 12 x 12.5 cm.
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)
“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
“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
“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
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
VERY RARE BOWL, CIRCA 1925
Decorated with engraved lotus leaves and fish
Signed
39 cm in diameter
“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
“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
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
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
“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
“SAUVAGEONNE CLAMY” PERFUME BOTTLE, 1913
Moulded glass, square section, the stopper and the four faces decorated with poppy flowers
Signed and titled sauvageonne clamy on one of the flowers
6.3 cm. high
“PERVERS DE CLAMY” PERFUME BOTTLE, 1913
Moulded glass, pyramidal shape, the stopper decorated with a snake
Titled Pervers and Clamy
5.5 cm. high
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
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
“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
“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
“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
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
LIQUEUR SET, CIRCA 1900
Enameled smoked glass decorated with thistles and the Cross of Lorraine
Including two jugs and their stoppers, 12 small glasses and a tray
Signed
TRAY, CIRCA 1900
Sculpted wood and carved glass
The woodworking executed by Etablissements Vallin or Ferez
39.5 x 70 cm. high
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
VASE, CIRCA 1900
Acid-etched glass decorated with leaves and flowers and heightened with translucent enamels
Engraved signature
22.7 cm. high
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
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
VASE, CIRCA 1910
Glass and metal, multilayered yellow orange glass with metal inclusions
Bearing the monogram of the artist JHD
Height: 41.5 cm.
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
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.
VASE, CIRCA 1900
Acid-etched, wheel-carved and hammered glass, decorated with dahlias
Engraved signature
18 cm. high
TWO VASES, CIRCA 1910
Multilayered glass with powder and silver inclusions
Each signed underneath
21.5 cm. high
16.5 cm. high
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
SMALL POT, CIRCA 1900
Clear glass with inclusions; with two applied
handles, the decor in marquetry
and chased
Wheel-carved signature
9 cm. high
16 cm. long
PAIR OF BALUSTER VASES IN GLASS, CIRCA 1878
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
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
“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
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
COLOQUINTE VASE, CIRCA 1900
Multilayered glass with inclusions, decoration of waterlilies in marquetry and chased
Signed
25 cm. high
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
BOWL, CIRCA 1900
Pâte d’émail
Impressed circular stamp
7 x 10 cm.
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
A PAIR OF ENAMELLED CREAM JARS, CIRCA 1900
Acid-etched and enamelled glass with foil inclusions; original stoppers
Wheel engraved signature
8.5 cm. high
“CROCUS” VASE, CIRCA 1900
Mottled and hammered glass vase with purple inclusions
The flowers are padded and carved
Signed
30 cm. high
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
VASE “PRUNELIER DU JAPON”, CIRCA 1910
Multilayered glass, decorated with acid-etched and wheel-carved Japanese blackthorns
Wheel-carved signature
44.5 cm. high
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
BOWL, CIRCA 1900
Iridescent glass; the silver mount by Alphonse Debain
The base signed Escalier De crystal and bearing the French Minerva mark and silversmith mark
11.5 cm. high
11 cm. diameter
BAMBOO VASE, CIRCA 1895
Molded and crackled glass internally decorated with gold flecks;
an applied decoration of tears and an inclusion of gold foil at the base
19.5 cm.
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
