A French Art Nouveau lighted gilt bronze sculpture by Charles Korschann, depicting a woman holding a bouquet of flowers on a tray with an inkwell on the opposite side.The elegant female form''s bouquet of hydrangeas is wonderfully lit so as to radiate dappled light outward. The disproportionate size of the lady in flowing golden robes implies she is a mythical creature tending to her garden. Pictured in: "Art Nouveau and Art Deco Lighting" by Alastair Duncan, page 129 and in "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p. 164.
A French Art Deco pâte-de-verre vase, titled "Primevères" (Primroses) by Gabriel Argy-Rousseau featuring purple and red organic organic decoration in relief agains a multi-colored ground. The vase is further decorated with a purple art deco ornamental upper border. Pictured in: "G.Argy-Rousseau: Les Pâtes de Verres, catalogue raisonné" by Janine Bloch-Dermant (Paris: Les Editions de l''Amateur, 1990), page 196, cat. no. 24.02.
A Tiffany Studios New York glass "Cypriote" vase, featuring a mottled and multi-textured lava-like finish, with an uneven border. The vase has a dark background with iridescent green, blue, purple and metallic swirls. Cypriote is a textured glass achieved at Tiffany Glass and Decorating Company by rolling glass over a marble or iron surface covered with pulverized bits of the same glass. Its iridescence and bubbles resembled the decomposed surface of Roman glass discovered during archeological explorations on the island of Cyprus, hence its name. Lava glass evolved from Cypriote glass by using thicker, brighter glass and dripping golden glass irregularly over the surface. A similar vase is pictured in: "The Art of Glass: Art Nouveau to Art Deco" by Victor Arwas, London: Andreas Papadakis, 1996, p. 40, plate 50.
A French Art Nouveau cameo glass vase by Daum, featuring a scene of red blooming flowers on an opaque white martelé ground. The flowers, which have dark centers, are suspended from dark curving stems that emerge from dark green carved leaves. Pictured in Glass, Art Nouveau to Art Deco, by Victor Arwass, page 83. Art Nouveau, the French Aesthetic,by Victor Arwas, page 506.
A French Art Deco pâte de verre vide poche by Amalric Walter and Henri Bergé. The tray features a black and brown crab with yellow highlights against a blue and yellow mottled background. The hexagonal form and radiating lines out of the crab''s back plant this piece firmly in the Art Deco aesthetic of geometry and symmetry. A similar dish is pictured in: "Amalric Walter (1870-1959)", by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 18, plate 13.
A French Art Nouveau "Poissons dans les vagues" pâte de verre vase by Gabriel Argy-Rousseau. The vase depicts green and blue fish swimming through a clear textured surface over white waves and a deep blue base. A similar vase is featured in Bloch-Dermant, G. Argy-Rousseau, London 1991, cat. rais. 25.15. page 205. Also in Victor Arwas, Art Deco, New York, 1980, p. 266.
A French Art Nouveau silvered bronze sculpture by Leo Laporte-Blairsy featuring a glass globe by Daum Nancy. The globe is in translucent blue glass decorated with white five-pointed stars. "La Voie Lactée" (The Milky Way) was first exhibited at the Société des Artistes Français in 1904 for which Laporte-Blairsy was a awarded the high honor of a first class medal.The young woman holding the glass globe wears a collar in the shape of a five-pointed star. The collar is decorated along its border with more five-pointed stars. The woman also wears a five-pointed star in her hair, and the lower portion of her flowing dress and her cape are covered with more five-pointed stars, including some that pierce the metal. Her billowing sleeves help to frame the globe. She wears bows on each should.Laporte-Blairsy was an incredibly divisive artist in his time. To the critics of the avante-garde literary magazine, "La Nouvelle Revue," the lighting of Laporte-Blairsy was a revelation. The magazine lauded Laporte-Blairsy as being "infinitely ingenious.... the Scheherazade of electric lamps.... bringing about a second enlightenment." By comparison, the lighting of Leo Laporte-Blairsy offended the immutable sensibilities of the Parisian old-guard. Maurice Hamel remarked in the 1904 "Revue des Arts Décoratifs" that Laporte-Blairsy broke the artichtectonic laws of decoration, labeling the arti
st a rulebreaker, or "hors-la-loi". In comparison to the inoffensive figuration of the French Renaissance, the rhythmic drapery of Laporte-Blairsy was tormented. Part of Laporte-Blairsy''s technical innovation was bringing out the unique characteristics of incandescent lighting. While gas powered lighting required vents and open structure, Laporte-Blairsy used the globe and balloon motif to trap and emit bewitching glows. The end of the 19th century marked the centenary of the invention of the hot air balloon. The recent flight of the Wright Brothers, coupled with numerous high profile hot air balloon flights, made balloonmania rise to an all time high. A similar sculpture is featured in "Art Nouveau and Art Deco Lighting," New York, 1978, by Alastair Duncan, p. 111, fig. 52. Also in "The Paris Salons 1895-1914, Vol. V: Objets D''Art & Metalware," Woodbridge, 1999, p. 367 (design illustrated). And in Victor Arwas, "Art Nouveau: The French Aesthetic," London, Andreas Papadakis, 2002, modèle reproduit p. 270.
A polychrome bronze Art Nouveau figural candelabrum by Gustav Gurschner. A young woman with brown hair, dressed in a long flowing green skirt, with her breasts exposed, holds a seed capsule in each arm, into which a candle can be inserted. Gurschner displayed his work through the Viennese Secession Group gaining him much acclaim. His depiction of bare breasted women largely survives any stricture in that they have a quiet dignity and poetic charm that never stoops to vulgarization. The woman holds in each arm a lotus flower seed capsule. The size of the capsules relative to her body makes her seem a flower fairy or spirit. A candle would be placed on each capsule, illuminating the dinner table with spectacular charm. In the lead up to World War I, Germany was swept by a wave of artistic nationalism. After spending most of the 19th century dominated by French influence, German artists desired a return to tradition. Integral to German tradition was the vibrant color of Late Medieval wooden sculpture. Since the 14th century, much of antique polychromy had deteriorated considerably, leaving large portions of the wood base exposed. The rich burnt sienna of this woman''s skin may refer to this exposed wood finish. Alternatively it might refer to the skin color of the dancers from the Java Pavillion (1889). After their blockbuster appearance in the World''s Fair, depictions of the d
ancers abounded in salons. Brown-skinned and black-haired women became appreciated in this context as harbingers of exotic delights. A similar candlestick is pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 305ProvenanceRudi Schmutz, ViennaAcquired from the above by the present owner, circa 1980sLiteratureAlastair Duncan, Art Nouveau Sculpture, New York, 1978, p. 49 Wolf Uecker, Art Nouveau and Art Deco Lamps and Candlesticks, New York, 1986, p. 15Yvonne Brunhammer and Suzanne Tise, French Decorative Art, the Société des Artistes Décorateurs 1900-1942, Paris, 1990, p. 8 (for the model depicted in the Manuel Orazi poster)
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