A French Art Nouveau ''Fleurs de pommier'' cameo glass vase by Émile Gallé. This ovular vase features crimson leaves and crisp red apple blossoms on a gold ground. The flora is rendered in slightly translucent glass, which makes a remarkable contrast against the opaque ground. Gallé had a remarkable ability to convey feeling and time in his work. With a stagnant sky and vividly warm color, this vase has the essence of a summer sunset. A similar vase is pictured in: Glass by Gallé, by Alastair Duncan and Georges de Bartha, New York: Harry N. Abrams, Inc., 1984, p. 195, plate 295.
A French ''Lucanes, cerf-volant'' pâte de verre by Amalric Walter and Henri Bergé. This piece features two scarabs atop a raised mound at the center of the dish. The glass of the surrounding dish graduates from opaque fiery ochre to translucent gold. A similar dish is pictured in : Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 24, plate 26.
A French gourd-shaped enameled glass vase by Portieux Vallerysthal featuring squash blossoms and butterflies. The vase has an alternating clear and red background. The squash blossoms are yellow and orange. The leaves and applied vines are green. There are also gold butterflies and additional decorations in blue. A similar vase is pictured in: Glas des Art Nouveau: Die Sammlung Gerda Koepff, by Helmut Ricke and Eva Schmitt, Munich: Prestel, 1998, p. 172.
A French Art Nouveau green ceramic planter known, as "Chalmont," by Hector Guimard. The planter features a blue interior with stylized gold-highlighted handles. A similar planter is featured in: Philippe Guimard Thiébaut edition of the Réunion des Musées Nationaux, Paris, 1992. Model reproduced on pages 258 and 262.
Petite coupe sur talon in enamel and 18 karat gold by André Fernand Thesmar (1843–1912). In original box. André Fernand Thesmar (1843-1912) was a French enameler. He is credited with bringing the soft-paste porcelain back into style, alongside sections with gold foil backings, in the 20th century. He also used the method of plique-à-jour, including works that were often inspired by Japanese and Chinese enameling. He showed his work at the 1900 Paris Exposition Universelle.The floral motifs that adorn this petite coupe sur talon by André Thesmar appear to float due to the expert use of plique-à-jour, a type of enamel that has no backing so that light can shine through it like leaded glass. Thesmar''s ability to create such an exceptional piece in gold and enamel shows a combination of artistry and technical genius that is very rare to come by. A similar coupe sur talon is in the collection of the Metropolitan Museum of Art, New York.
A French ceramic planter, known as "Chalmont," by Hector Guimard . The planter features a blue interior with stylized handles with gold highlights. The exterior is glazed in dark brown. A similar planter is featured in: Philippe Guimard Thiébaut edition of the Réunion des Musées Nationaux, Paris, 1992. Model reproduced on pages 258 and 262.
A rare French Art Nouveau silver and plique-à-jour enamel "Capucines" clock with butterflies and nasturtiums by Eugène Feuillâtre. The front and sides of the clock are decorated with enameled orange flowers and green leaves. The top and back are gold-washed and heavily engraved with flowers and vines. The clock face features two painted butterflies. Provenance: Collection of Jerome Shaw, Florida A similar clock 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. 255. Exhibited: La Société des Artistes Français, 1902.
A French Art Nouveau gilt bronze boudoir lamp by Edouard Colonna. The gilt bronze base has a foliate motif. The fringed pale gold silk shade is topped by a twisted vine finial that spreads in an arch over the lamp. A similar lamp is pictured in: "Art Nouveau: The French Aesthetic," by Victor Arwas, London: Andreas Papadakis, 2002, p. 281.
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