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Lithograph "En l'honneur de Sarah Bernhardt" by Mucha

A French Art Nouveau lithograph "En l'honneur de Sarah Bernhardt - ses admirateurs et ses amis" by Alphonse Mucha. Stamped "F. Champenois, Paris". This image was originally created to announce an article about the legendary actress which was to appear in the December 15, 1896 issue of the magazine "La Plume". The article was to coincide with a celebratory banquet on November 9, 1896 given by The Divine Sarah's friends and admirers. Due to editorial problems, the article was delayed until the January 1, 1897 issue, but the image was used by the sponsors of the banquet in a poster honoring Mlle. Bernhardt. Pictured in "Alphonse Mucha: The Complete Posters and Panels", by Jack Rennert and Alain Weill," page 112, cat. 21 var. 1. Provenance: Elizabeth Taylor

Lithograph 'En l'honneur de Sarah Bernhardt' by Mucha

French Art Nouveau iIthograph, "La Plume - Zodiac," by Alphonse Mucha

A French Art Nouveau "La Plume - Zodiac" lithograph by Alphonse Mucha. With Zodiac, Mucha reaches the full maturity of his style, with every one of his signature design elements in their most fluid and elaborate incarnations. The image was originally published as a calendar by F. Champenois but was quickly bought by La Plume, who began issuing it as a calendar with their own name at the top. The image was a huge success and was ultimately used for a variety of different advertising purposes. This lithograph is discussed in: "Alphonse Mucha: The Complete Posters and Panels", by Jack Rennert and Alain Weill, Boston: G.K. Hall & Co., 1984, pp. 100-102 and pictured in the same volume on p. 103 (var 1).

French Art Nouveau iIthograph, 'La Plume - Zodiac,' by Alphonse Mucha

Pair of French Art Nouveau Lithographs, "Dawn and Dusk", by Alphonse Mucha

A pair of French Art Nouveau lithographs, "Dawn and Dusk," by Alphonse Mucha. These two panels, both representing reclining female figures, are among the few horizontal formats produced by Mucha. These two ladies represent the terminal points of the sun''s daily journey. Dawn is represented by a girl removing the coverlet from her nude torso as she looks towards the rising sun. Dusk is a somnolent beauty settling down in her bed under the last rays of the day. Some of the most delicate pastel shadings are used by Mucha to differentiate one from the other. Pictured in: "Alphonse Mucha, The Complete Posters and Panels", by Jack Rennert and Alain Weill, G. K. Hall, 1984, page 258-259, plate 70.

Pair of French Art Nouveau Lithographs, 'Dawn and Dusk', by Alphonse Mucha

French Art Nouveau LIthograph, "La Princesse Lointaine" by Alphonse Mucha

A French Art Nouveau lithograph by Alphonse Mucha. An exquisite portrait of Sarah Bernhardt in the role of "La Princesse Lointaine" is used here for publicizing "LU" (Lefévre-Utile) biscuits, with a handwritten testimonial by the actress herself: "Je ne trouve rien de meilleur qu''un petit LU; oh si, deux petits LU." (I haven''t found anything better than a little LU--oh yes, two little LU.) "La Princesse Lointaine" was one of Sarah''s great successes, a play written for her by Edmond Rostand based an old medieval tale, shown for the first time in 1895. She played Melisande, daughter of one of the crusader kings from Tripoli who becomes famous far and wide for her beauty. When word of her charm reaches a French knight, Jofroi, he sets out on a long and exhausting journey at the end of which he dies in ecstasy after having accomplished his goal of seeing her and telling her of his love. The Lefèvre-Utile Company also used other artists to produce posters in this series which featured testimonials by prominent personalities; many were also issued as postcards. The heraldic birds on each corner were appropriated from the heraldic casket of Saint Louis (King Louis IX) on view at the Louvre. A detail from the casket figured in Owen Jones''s seminal work, Grammar of Ornament (1856). Pictured in "Alphonse Mucha: The Complete Posters and Panels" by Jack Rennert and Alain Weill, Page 308-309, Plate 86.

French Art Nouveau LIthograph, 'La Princesse  Lointaine' by Alphonse Mucha

French Art Nouveau Lithograph titled "Hamlet", by Alphonse Mucha

A French Art Nouveau lithograph, "Hamlet", by Alphonse Mucha. Mucha designed several posters for the actress Sarah Bernhardt. Here she is shown in the role of Hamlet, performed in her theater in Paris in 1899. In the background is an evocation of the night scene in Elsinore Castle and in the banderole below is an image of the dead Ophelia. Signed in the lower left-hand corner. Hamlet was one of several male roles Bernhardt performed. Shakespeare''s play was adapted in French for her by Eugène Morand and Marcel Schwab. Pictured in "Alphonse Mucha: The complete posters and panels", by Jack Rennert and Alain Weill, page 239 (cat. 63).

French Art Nouveau Lithograph titled 'Hamlet', by Alphonse Mucha

French Art Nouveau Lithograph "Salons des Cent XXeme Exposition" by Mucha

A French Art Nouveau "Salons des Cent XXeme Exposition" lithograph by Alphonse Mucha. Salon des Cent was the exhibition hall associated with La Plume magazine. This poster was Mucha''s introductory gift to La Plume in appreciation for being invited to join the magazine''s roster of artists. La Plume eventually sold all of Mucha''s posters through their art department and honored him with a one-man show the following year. The languorous woman with long, entwined, curling tresses represents feminine inspiration and ultimately became a symbol for the Art Nouveau movement. The quill and paintbrush she holds in her hand are a direct reference to La Plume - both the exhibition hall and the magazine. A similar lithograph is described and pictured in: "Alphonse Mucha: The Complete Posters and Panels", by Jack Rennert and Alain Weill, Boston: G.K. Hall & Co., 1984, pp. 72-75.

French Art Nouveau Lithograph 'Salons des Cent XXeme Exposition' by Mucha

"Byzantine Heads" lithographs by Alphonse Mucha

A pair of French "Byzantine Heads" lithographs by Alphonse Mucha. The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha''s artistic maturity. Both women, portrayed in profile, have their heads decorated with beautiful jewelry, the richness and oriental nature of which suggested the name Byzantine Heads for the series. The subtle differences in details between the images are worth noticing. This is the first appearance of the perfect form of Mucha''s often-used motif, a circle framing each head interrupted by a strand of hair. With this device, it is as if Mucha''s unreachable beauties have broken the magic border between themselves and their admirers and suggest the possibility that they might, perhaps, meet. (Mucha/Art Nouveau, p. 192). In this version, Mucha added corners filigreed with curves to the original circular designs in order to create the standard rectangular shape of decorative panels. This is the rarest of all variants. Pictured in "Alphonse Mucha, The Complete Posters and Panels", by Jack Rennert and Alain Weill, page 167, cat. 40, variant 1.

'Byzantine Heads' lithographs by Alphonse Mucha

French Art Nouveau Lithographs titled "The Four Seasons" by Mucha

A set of four French Art Nouveau lithographs titled Les Saisons ("The Seasons") by Alphonse Mucha. This set is one of three that Mucha designed to represent the four seasons. Here, the seasons are depicted as sumptuous young women with surroundings that symbolize the seasons for which they are allegories. All four of the brilliantly colored panels are signed. Spring is depicted as a beautiful, rosy-cheeked woman with long blonde hair that reaches almost down to her ankles. The contrapposto figure is fashioning a lyre from a verdant green branch, using her luscious golden hair as strings. Songbirds flock to the allegorical figure, adding to the aural aura that this airy piece emits. Summer sits lethargically at the side of a pond, dipping her feet into the cool water and resting on a branch of ivy. She wears a crown of crimson poppies and her thin white robes appear to be falling off with the heat of the summer day. Autumn''s hair is a deep, rich, reddish-brown, which echoes the colors of the dried leaves in the trees and on the ground below her. The allegorical figure is not looking directly into the viewer''s eyes, but rather to the bountiful grapes she holds in her hand. She is crowned with the fall-blooming flower, chrysanthemum. Winter is wrapped in an icy blue shawl and is surrounded by snowy branches. The viewer is left to wonder if the allegorical woman is qu ... ietly whispering to the birds to teach them the song of spring to come; or, if she is using the songbirds that once celebrated new life with her as sustenance to make it through the bitter winter. Pictured in: "Alphonse Mucha: The Complete Posters and Panels", by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 90-97, cat. 18.

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French Art Nouveau Lithographs titled 'The Four Seasons' by Mucha

French Pâte-de-Verre Plaque by Cros

A French bas-relief glass pâte-de-verre plaque by Henri Cros, depicting a mythical dragon or sea creature in hues of pink, against a crystal-like ground. This is an experimental plaque by the originator of the revival of the ancient pâte-de-verre process.

French Pâte-de-Verre Plaque by Cros

Decorative Vase by Daum

A French Art Nouveau wheel-carved cameo footed glass vase by Daum. Deep purple flowers are featured against a plum and blue martelé background. Vases with similar decoration are pictured in: Daum Frères: Maîtres Verriers, 1892-1935, by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. nos. 42-44.

Decorative Vase by Daum

Art Nouveau Cameo Glass Vase with Serpents by Ernest Leveillé

An Art Nouveau cameo glass vase by Ernest Leveillé for Escalier de Cristal, with two wheel carved red serpents in high relief intertwined around the outer surface. The background glass has a moss-like texture trapped within the vessel. The vase sits within a bronze mount at the bottom. The style of the background glass is the same as in many of his sophisticated pieces and the technique is the same as in many of his hand carved (wheel-carved) glass vases. The vase was retailed by Escalier de Cristal of Paris, one of the great proponents of Art Nouveau at the turn of the 20th century.

Art Nouveau Cameo Glass Vase with Serpents by Ernest Leveillé

French Art Nouveau silver and plique-à-jour enamel coupe d''ornement by Eugène Feuillâtre

A French Art Nouveau silver and plique-à-jour enamel coupe d''ornement by Eugène Feuillâtre. This exceptional compote features delicate and stylized floral patterns on the upper and lower portions. Green leaves encircle the base of the piece and the sinewy stem of the petite cup appears to grow out of the foliage below, and a spray of pink flowers blooms at the top of the compote. Feuillâtre complimented the deeply rooted organic motifs of his quintessentially Art Nouveau compote by adorning the piece with small green enamel buds on the top and bottom of the stem. This compote is particularly remarkable because it is made almost entirely of plique-à-jour enamel. Eugene Feuillâtre (1870-1916) was a sculptor, enamelist, silversmith and jeweler. He worked for Lalique at the end of the 19th century and established his own firm in 1899, specializing in plique-à-jour decorated objects. He also perfected the technique of enameling on silver and platinum. Provenance: the Collection of Joseph R. Ritman. A nearly identical coupe d''ornement resides in the Musee D''Orsay in Paris.

French Art Nouveau silver and plique-à-jour enamel coupe d''ornement by Eugène Feuillâtre

Cameo Glass Vase by Daum

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.

Cameo Glass Vase by Daum

French Art Nouveau cameo glass vase by Émile Gallé

A French Art Nouveau cameo glass vase by Émile Gallé. This large vase is decorated with wheel carved purple trumpet-creepers and vines against a green background. The flowers and vines climb up the ribbed neck of the vase. The "liseron" vase is a flattened baluster form vase with an everted mouth, rounded and polished rim, long slender-waisted neck, short globular body, and an applied disk foot. The vase features an intercalaire layer of coarse jade frit in the top three-quarters of the vase and fine indigo frit in the bottom quarter of the vase. To construct the vase, a bubble was blown into the gather, which was cased and parison inflated into a dip mold with 19 ribs. The stem was subsequently plucked out and twisted counterclockwise. Finally, a soffieta was used to open the mouth and a pair of jacks was used to evert the rim. The vase was later cameo cut with exquisite detailing in the venation and the hirsute texture of the leaves. The vase depicts eight heads of Liseron japonais (Ipomoea nil ([Japanese morning glory].) The flower was introduced to Nancy by Takashima Hokkai, a fellow member of the Ecole de Nancy and Japanese Director of Forestry. Hokkai was invited as a juror for the Central Nancy Horticultural society exhibition of 1887. At the exhibition, Gallé presented Hokkai a Japanese morning glory in thanks for his contributions to the field of horticulture. T ... he Japanese morning glory adorned the walls of Gallé''s studio until his death in 1904. To accompany this oriental flower, Gallé has given the morning glories a jade background. Commonly featured in the eighteenth century Shigemasa Kitao birds and flower prints that Gallé consulted, the creation of a jade simulant is only fitting for this oriental flower.

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French Art Nouveau cameo glass vase by Émile Gallé

Art Nouveau pâte de verre "Masques" Vase by Gabriel Argy-Rousseau

A French Art Nouveau pâte de verre "Masques" vase by Gabriel Argy-Rousseau. The vase is decorated with two red masks that are framed in purple and green leaves. Provenance: Christie''s, New York, Important 20th Century Decorative Arts Including Works by Tiffany Studios, 13 June 2002, lot 39. A similar vase is pictured in J. Bloch-Dermont, Les Pâtes de Verre G. Argy-Rousseau Catalogue Raisonné, Paris, 1990, p. 178, no. 14.06.

Art Nouveau pâte de verre 'Masques' Vase by Gabriel Argy-Rousseau

A French Art Nouveau Marquetry Vase by Émile Gallé

A French Art Nouveau marquetry vase by Émile Gallé. The vase features crocus flowers in hues of orange and purple against a cream ground with stripes in pink and red. The vase is accented with an applied band of tendrils backed by silver foil inclusions. A similar vase is pictured in: Émile Gallé et le Verre, la Collection du musée de l''École de Nancy, Parks: Somogy editions d''art, 2004, p. 137, ca. not. 222.

A French Art Nouveau Marquetry Vase by Émile Gallé

"Winter Scene" Glass Vase by Daum.

A French Art Nouveau "Winter Scene" cameo glass vase by Daum Nancy. A group of bare trees in the foreground sit on snowy ground under a yellow and orange sky. A larger group of bare trees are in the background. PROVENANCE: From an Unreserved Texas Estate. A vase with similar decoration is pictured in: Daum Frères: Maîtres Verriers, 1892-1935, by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. no 27.

'Winter Scene' Glass Vase by Daum.

French Art Nouveau "Winter Landscape" Vase by Daum Nancy

A French Art Nouveau "Winter Landscape" vase with an inverted lip, by Daum Nancy. The etched and enameled glass vase depicts trees in a barren meadow, a forested background against an amber and orange sky. PROVENANCE: From an Unreserved Texas Estate. A vase with similar decoration is pictured in: Daum Frères: Maîtres Verriers, 1892-1935, by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. no 27.

French Art Nouveau 'Winter Landscape' Vase by Daum Nancy

French Art Nouveau Glass Vase by Émile Gallé,

A French Art Nouveau carved cameo glass vase by Émile Gallé, decorated with oak leaves and a staghorn beetle.. On a background that changes gradually from pale yellow to pale orange, a brown staghorn beetle climbs a brown branch toward green leaves. A similar vase is pictured in: Émile Gallé, by Philippe Garner, London: Academy Editions, 1976, p. 112.

French Art Nouveau Glass Vase by Émile Gallé,

French Art Nouveau Vase, "Eucalyptus," by Gabriel Argy-Rousseau

A French Art Nouveau pâte de verre vase, "Eucalyptus," by Gabriel Argy-Rousseau. The vase has three isolated brown branches, each with curving purple and green leaves, and flower buds, also in purple and green, in relief. Provenance: Mr. Kenneth W. Davis, Fort Worth, Texas. An example of this vase is pictured in: G. Argy Rousseau: Glassware as Art, by Janine Bloch-Dermant, London: Thames and Hudson, Ltd., 1991, p. 180, cat. no 19.06.

French Art Nouveau Vase, 'Eucalyptus,' by Gabriel Argy-Rousseau

"Langouste," pâte de verre vide-poche by Walter and Bergé.

A French Art Nouveau pâte de verre vide-poche by Amalric Walter and Henri Bergé. This piece features a brown "Langouste" resting on a blue-green shaped dish. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 24, cat. no. 28b.

'Langouste,' pâte de verre vide-poche by Walter and Bergé.

"Langouste", pâte de verre paperweight by Walter and Bergé.

A French Art Nouveau pâte de verre paperweight (presse papiers) by Amalric Walter and Henri Bergé. The paperweight has a brown "Langouste" resting on a sculpted pâte de verre base. There is great detail in the claws and the sections of the tail. A similar paperweight is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 49, cat. no. 77c.

'Langouste', pâte de verre paperweight by Walter and Bergé.

French Art Nouveau Cameo Glass by Émile Gallé

A French Art Nouveau cameo glass vase by Émile Gallé. The carved blooming flowers are painted in reds and whites, with green accents. Some of the carved stems are also painted, in reds and greens.

French Art Nouveau Cameo Glass by Émile Gallé

Art Nouveau Pâte de Verre Plaque by Amalric Walter

A French Art Nouveau pâte de verre "Crab" plaque by Amalric Walter. The red-brown crab, which has green and yellow accents on its shell and claws, sits on a mottled pale gray background. It is surrounded by red seaweed and yellow seashells.

Art Nouveau Pâte de Verre Plaque by Amalric Walter

Art Nouveau Pâte de Verre Plaque by Amalric Walter

A French Art Nouveau pâte de verre "Langouste" plaque by Amalric Walter. This six-sided plaque shows a green lobster surrounded by yellow seaweed and shells, on a pale background.

Art Nouveau Pâte de Verre Plaque by Amalric Walter

"Grapevine" Cameo Glass vase by Émile Gallé

A French Art Nouveau "Grapevine blowout" cameo glass vase by Émile Gallé. The vase is decorated with gray-violet grapes hanging from red vines and surrounded by dark red-brown foliage. The background is opalescent cream.

'Grapevine' Cameo Glass vase by Émile Gallé

Walter and Bergé Pâte de Verre Lizards Tray

A French Art Nouveau pâte de verre tray by Amalric Walter. This tray is decorated with a spotted green lizard lying on the outer rim of the yellow dish. A similar dish is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 19, plate 16.

Walter and  Bergé  Pâte de Verre Lizards Tray

Art Nouveau "Crabe" Vide Poche by Amalric Walter

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.

Art Nouveau 'Crabe' Vide Poche by Amalric Walter

French Art Nouveau ''Fleurs de Pommier'' Cameo Glass Vase by Émile Gallé.

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.

French Art Nouveau ''Fleurs de Pommier'' Cameo Glass Vase by Émile Gallé.

French Art Nouveau "Nénuphars" Cameo Glass Vase by Daum

A French Art Nouveau "Nénuphars" cameo glass vase by Daum. The opalescent body of the vase features wheel-carved orange and brown water lilies in varied states of maturity against a blue martelé ground.

French Art Nouveau 'Nénuphars' Cameo Glass Vase by Daum

French Art Nouveau Pâte-de-Verre Paperweight by Walter

A French Art Nouveau pâte-de-verre paperweight by Almaric Walter and Henri Bergé featuring an intricately textured blue and green chameleon sitting on a rock. A similar paperweight is pictured in Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 19, cat. no. 16c.

French Art Nouveau Pâte-de-Verre Paperweight by Walter

"Papillon" Bowl by Gabriel Argy-Rousseau

A French Art Nouveau pâte de verre "Papillon" bowl by Gabriel Argy-Rousseau. The bowl has three Luna moths with brown bodies and textured green wings with red spots. They sit just below the bowl''s rim in a background of mottled purple and pink, fading to opalescence. A similar bowl is pictured in: "G. Argy Rousseau: Glassware as Art, by Janine Bloch-Dermant, London: Thames and Hudson, Ltd., 1991, p. 178, cat. no. 15.01.

'Papillon' Bowl by Gabriel Argy-Rousseau

"Langouste", Pâte de Verre Paperweight by Walter and Bergé.

A French Art Nouveau pâte de verre by Amalric Walter and Henri Bergé. The paperweight has a brown "Langouste" resting on a sculpted pâte de verre base. There is great detail in the claws and the sections of the tails. A similar paperweight is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 49, cat. no. 77c.

'Langouste', Pâte de Verre Paperweight by Walter and Bergé.

"Poissons Dans Les Vagues" Vase by Gabriel Argy-Rousseau

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.

'Poissons Dans Les Vagues' Vase by Gabriel Argy-Rousseau

Austrian Vase by Karl Koepping

An Austrian slender and tall vase in deep purple glass by Karl Koepping. The vase''s color is reminiscent of the purple traditionally made from the spiny dye-myrex snail at great expense and associated with royalty. A similar vase is pictured in the "Art Decoratif 1899 2" page 211.

Austrian Vase by Karl Koepping

French Cameo Glass Vase by Daum

A French cameo glass vase by Daum. This beautiful vase, moving from blue to yellow and orange, imitates the sun setting on water, representing water lilies.

French Cameo Glass Vase by Daum

French ''Grande berce des prés'' Cameo Glass Vase by Daum

A French ''Grande berce des prés'' cameo glass vase by Daum. The vase is a progression from green hammered glass on the top to a clearer glass with shades of pink and finally back to the hammering technique on the foot. It is decorated with flowers and leaves on long stems.

French ''Grande berce des prés'' Cameo Glass Vase by Daum

French Pâte-de-Verre Dish by Amalric Walter

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.

French Pâte-de-Verre Dish by Amalric Walter

Gourd-Shaped Enameled Glass Vase by Portieux Vallerysthal

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.

Gourd-Shaped Enameled Glass Vase by Portieux Vallerysthal

French Cameo Glass Vase by Daum

A French cameo glass vase by Daum. The vase, with martelé background, has red wheel-carved lily flowers rising on green stems from its carved green base. A vase with similar decoration is pictured in: Daum Nancy III: Daum Frères – Verreries de Nancy, 1880-1930, by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, pp. 52-53.

French Cameo Glass Vase by Daum

French Cameo Glass Vase by Daum

A French wheel carved cameo glass vase by Daum. The making of this vase combined the technique of hammering for the foot and wheel carving for the flower decorations. The background is made of opalescent glass, with green and orange flowers standing against it. The hammered foot is in a darker orange/red color.

French Cameo Glass Vase by Daum

Art Nouveau Enameled and Etched Glass Vase by Daum

A French Art Nouveau enameled and etched glass vase by Daum. The curved stems of the organic scene are mimicked by the amphoric body of the vase. This bright vase is dominated by two planes of mottled glass, golden yellow on top of deep purple, which together create a landscape scene. The vase is decorated with etched and enameled flowers. The flora seem to grow from the base of the vase because of the landscape effect achieved in the ground behind the scene. At the base, the leaves and stems of the flowers appear as shadows, as they are only etched into the dark ground. Once the flora break through into the golden section of the vase, the etched scene is enhanced by bright, verdant green enamel, which gives way to vibrant red orchids. The scene is completed by a curious bee floating up to the blossom. A vase with similar decoration is pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 122.

Art Nouveau Enameled and Etched Glass Vase by Daum

Art Nouveau Enameled and Etched Glass Vase by Daum

A French Art Nouveau enameled and etched glass vase by Daum. This vase is an elliptic cylinder, a shape which Daum used because it lends itself to undulating and soft nature scenes. This bright vase is dominated by two planes of mottled glass, golden yellow on top of deep purple, which together create a landscape scene. The vase is decorated with etched and enameled flowers. The flora seem to grow from the base of the vase because of the landscape effect achieved in the ground behind the scene. At the base, the leaves and stems of the flowers appear as shadows, as they are only etched into the dark ground. Once the flora break through into the golden section of the vase, the etched scene is enhanced by bright, verdant green enamel, which gives way to vibrant red orchids. The scene is completed by a curious bee floating up to the blossom, ready to pollinate it. The presence of the bee implies that this springtime scene is not entirely completed in the vase, but that it is rather just a part of a fleeting moment rendered in glass. A vase with similar decoration is pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 122.

Art Nouveau Enameled and Etched Glass Vase by Daum

French Glass Vase by Daum

A French enameled and etched glass vase with applied handles by Daum. The vase has a pink martelé background. There is carving on the dark green footed base. It is decorated with lighter green wheel-carved flowers and vines. Additional wheel-carved vines hang from the rim.

French Glass Vase by Daum

French Cameo and Martelé Glass "Crocus" Vase by Daum

A French wheel carved cameo and martelé glass "Crocus" vase by Daum. This Daum vase has gray cameo glass. It is decorated with stems and leaves ascending from the bulbous foot leading to padded and wheel-carved crocus flowers. The crocus flowers are arranged in a variation of purple and orange over white. The overall decoration is set against a background of mottled blue, shading to yellow and lavender. A similar vase is pictured in: "Daum Frères: Maîtres Verriers, 1892-1935," by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. no. 73.

French Cameo and Martelé Glass 'Crocus' Vase by Daum

French ''Ecureuils dans l''herbe", pâte de verre vase by Argy-Rousseau

A French ''Ecureuils dans l''herbe" pâte de verre vase by Gabriel Argy-Rousseau. Nature, notably flowers and insects, held an important place among the themes developed by Argy-Rousseau. He belongs to this generation of artists who, rebelling against a growing urbanization, seek refuge in nature, This vase depicts a squirrel playing in the grass. A similar piece is pictured in: cf. J. Bloch-Dermont, Les Pâtes de Verre G. Argy-Rousseau Catalogue Raisonné, Paris, 1990, p. 216, no. 28.05. for another vase of this model.

French ''Ecureuils dans l''herbe', pâte de verre vase by Argy-Rousseau

French "Musiciens Grecs" pâte de verre Vase by Gabriel Argy-Rousseau

A French "Musiciens Grecs" pâte de verre vase by Gabriel Argy-Rousseau. One of Argy-Rousseau''s most important source of inspiration was Ancient Greece, and the subject matter of this vase relates to that theme. Against a pale pink background stands a musician playing the lyre, one of the most emblematic Greek instruments. The frieze on the bottom of the vase reminds one of the magnificent friezes in Greek temples. A similar piece is pictured in: cf. J. Bloch-Dermont, Les Pâtes de Verre G. Argy-Rousseau Catalogue Raisonné, Paris, 1990, p. 216, no. 28.03 for another vase of this model.

French 'Musiciens Grecs' pâte de verre Vase by Gabriel Argy-Rousseau

Art Nouveau "Crabe" vide-poche by Amalric Walter

A French "Crabe" pâte de verre vide-poche by Amalric Walter. The reddish-brown crab has spots of dark green, red and yellow on the top portion of its shell. It sits on a green wave with long strands of seaweed. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 18, cat. no. 15.

Art Nouveau 'Crabe' vide-poche by Amalric Walter

French "Crabe" Pâte de Verre Vide Poche by Amalric Walter and Henri Bergé

A French "Crab" pâte de verre vide-poche by Amalric Walter and Henri Bergé. The reddish-brown crab, with spots of deep yellow and deep green on its back, sits atop a bed of kelp on an elongated green and yellow dish. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 25, cat. no .30.

French 'Crabe' Pâte de Verre Vide Poche by Amalric Walter and Henri Bergé

"Langouste", pâte de verre paperweight by Walter and Bergé.

A French "Langouste" pâte de verre paperweight by Amalric Walter and Henri Bergé. The brown crayfish with red spots straddles a green and yellow curved base. A similar paperweight is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 49, cat. no 77c.

'Langouste', pâte de verre paperweight by Walter and Bergé.

Art Nouveau Paperweight crab by Amalric Walter

A French Art Nouveau "Crabe" pâte de verre paperweight by Amalric Walter and Henri Bergé, decorated with a relief of a reddish-brown crab poised upon a bright contrast of green and yellow algae. A similar paperweight is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 43, cat. no. 63b.

Art Nouveau Paperweight crab by Amalric Walter

French Pate de Verre Vase by Gabriel Argy-Rousseau

A French Art Deco pâte-de-verre glass vase, "Lions," by Gabriel Argy-Rousseau, depicting a series of three brown roaring lions in various running poses against a mottled cream ground. The lions are surrounded by cream calla lily flowers above them and red fern fronds below. Pictured in Les Pâtes de Verre, Catalogue Raisonne, G.Argy-Rousseau, by Janine Bloch-Dermant, p. 78 and p. 209, cat. no. 26.08.

French Pate de Verre Vase by Gabriel Argy-Rousseau

"Spiders and Brambles" Cameo Glass Vase by Gabriel Argy-Rousseau

A French "Spiders and Brambles" cameo glass vase by Gabriel Argy-Rousseau. The vase features entwined pink, green, and brown bramble leaves. The mottled white glass ground is dominated by a bas relief white spider web, giving the visual effect of a floating gossamer on the vase. A spindly black spider sits in the center of the web. A similar vase is pictured in "G. Argy-Rousseau Glassware As Art," by Janine Bloch-Dermant, in the catalog raisonne section pg. 181, figure 20.05.

'Spiders and Brambles' Cameo Glass Vase by Gabriel Argy-Rousseau

Art Nouveau Enameled and Etched Glass Vase by Daum

A French Art Nouveau enameled and etched glass vase by Daum. This vase is a shape which Daum used because it lends itself to undulating and soft nature scenes. This bright vase is dominated by two planes of mottled glass, golden yellow on top of deep purple, which together create a landscape scene. The vase is decorated with etched and enameled flowers. The flora seem to grow from the base of the vase because of the landscape effect achieved in the ground behind the scene. At the base, the leaves and stems of the flowers appear as shadows, as they are only etched into the dark ground. Once the flora break through into the golden section of the vase, the etched scene is enhanced by bright, verdant green enamel, which gives way to vibrant red flowers. A vase with similar decoration is pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 122.

Art Nouveau Enameled and Etched Glass Vase by Daum

French Art Nouveau Pâte-de-Verre Vide-Poche by Walter

A French "Chameleon" pâte de verre vide-poche by Amalric Walter. This piece features an intricately textured green chameleon sitting on the edge of a yellow and orange dish. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 23, cat. no. 24.

French Art Nouveau Pâte-de-Verre Vide-Poche by Walter

Art Nouveau Enameled and Etched Glass Vase by Daum

A French Art Nouveau enameled and etched "Fleurs et Abeilles" glass vase by Daum. This vase is features a shape which Daum used because it lends itself to undulating and soft nature scenes. This bright vase is dominated by two planes of mottled glass, golden yellow on top of deep purple, which together create a landscape scene. The vase is decorated with etched and enameled flowers. The flora seem to grow from the base of the vase because of the landscape effect achieved in the ground behind the scene. At the base, the leaves and stems of the flowers appear as shadows, as they are only etched into the dark ground. Once the flora break through into the golden section of the vase, the etched scene is enhanced by bright, verdant green enamel, which gives way to vibrant red orchids. The scene is completed by a curious bee floating up to the blossom, ready to pollinate it. The presence of the bee implies that this springtime scene is not entirely completed in the vase, but that it is rather just a part of a fleeting moment rendered in glass. A vase with similar decoration is pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 122.

Art Nouveau Enameled and Etched Glass Vase by Daum

Art Nouveau Vase "Lyciet de Barbarie" by Argy-Rousseau

A French "Lyciet de Barbarie", pâte de verre vase by Gabriel Argy-Rousseau, depicting wolf berries against a vignette ground of amber, honey and white. cf. J. Bloch-Dermont, Les Pâtes de Verre G. Argy-Rousseau Catalogue Raisonné, Paris, 1990, p. 179, no. 17.01 for another vase of this model.

Art Nouveau Vase 'Lyciet de Barbarie' by Argy-Rousseau

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau cameo glass vase by Daum, decorated with deeply wheel-carved green flowers on rose and pink ground, with applied foot. A vase with similar decoration is pictured in: "Daum Nancy III" by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, p. 88 ("Fern" Vase).

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau cameo glass boat-form vase by Daum, featuring an applied wheel-carved pink flower and etched green leaves. A similar vase is pictured in: "Daum" by Clotilde Bacri, Noël Daum and Claude Pétry, Paris: Michel Aveline Éditeur, 1992, p. 91.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved cameo glass vase by Daum, featuring a decoration of blue flowers and light blue and grey stems and leaves on an opaque, mottled white and yellow ground. A vase with similar decoration is pictured in: "Daum Frères: Maîtres Verriers, 1892-1935," by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. no. 114.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved and acid-etched cameo glass vase by Daum, featuring a carved mottled pink flower against an opaque textured ground. An identical vase is pictured in: "Daum: Collection du muse des Beaux-Arts de Nancy," Paris: Réunion des musées nationaux, 2000, cat. no. 219.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau cameo glass vase by Daum, featuring deep blue flowers on a mottled white and blue ground. The vase has both wheel-carving and martelé techniques. A similar vase is pictured in: "Daum Nancy III: Daum Frères – Verreries de Nancy, 1880-1930," by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, p. 149.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved cameo glass pitcher by Daum, featuring an applied white flower and blades of grass against a mottled blue and white ground. A vase with similar decoration is pictured in: "Daum Nancy: Maîtres Verriers" by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2001, p. 125, cat. no. 76.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass "Blooming Flower" Vase by Daum

A French Art Nouveau wheel-carved cameo glass vase by Daum, featuring a blooming flower in a deep blue, on an opaque white and mottled blue ground. A vase decorated in a similar style is pictured in: "Daum: Collection du muse des Beaux-Arts de Nancy," Paris: Réunion des musées nationaux, 2000, cat. no. 206.

French Art Nouveau Cameo Glass 'Blooming Flower' Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved cameo glass vase by Daum, featuring blue flowers and dark green stems and leaves against a mottled white and blue ground. A vase decorated in a similar style is pictured in: "Daum: Collection du muse des Beaux-Arts de Nancy," Paris: Réunion des musées nationaux, 2000, cat. no. 224.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau satin-finished cameo glass vase, "Fleur de Coloquinte", by Daum, featuring the depiction of zucchini leaves and flowers in pale green, against a mottled opaque white and orange ground. The vase features the soufflé, or "blown-out" technique, making the leaves and flowers stand out from the shape of vase. Pictured in: "Daum - Maitres Verriers" by Edita Denoel, Edita S.A. Lausanne, 1980, p. 61.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau "Snow Drop" Vase by Daum

A French Art Nouveau cameo glass "Snow Drop" vase by Daum, featuring carved light blue flowers on brown stems against a mottled white and blue ground. A similar vase is pictured in: "Daum Nancy: Maîtres Verriers" by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2001, p. 68, cat. no. 43.

French Art Nouveau 'Snow Drop' Vase by Daum

French Art Nouveau Glass and Wood Footed Bowl by Emile Gallé

A French Art Nouveau glass and wood footed bowl by Emile Gallé, featuring a multicolored pinched-sided glass bowl in yellow, purple, and green. The bowl sits atop a carved walnut foot with openwork floral design and scrolled base. Pictured in "Meubles et Ensembles Style 1900" by Edith Mannoni, page 54. Provenance: Private collection of Mr. Robert S. Walker.

French Art Nouveau Glass and Wood Footed Bowl by Emile Gallé

French Art Nouveau Wheel Carved Cameo Glass Bottle

A French Art Nouveau wheel-carved cameo glass bottle with stopper. The bottle is decorated with an iris flower on an opalescent background. A vase with similar decoration is pictured in: "Liberty: Natura e materia" by Donata Patrussi and Giovanni Renzi, Milan: Giunti, 2011, p. 85.

French Art Nouveau Wheel Carved Cameo Glass Bottle

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved cameo glass vase by Daum, featuring a decoration of blue flowers and light blue/grey stems and leaves on an opaque, mottled white and yellow ground. A vase with similar decoration is pictured in: "French Cameo Glass" by Berniece and Henry Blount, Des Moines: Dr.& Mrs. Henry Blount, Jr., 1968, p. 74, cat. no. 102.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau cameo glass vase by Daum, comprised of three pinkish-red poppy flowers wheel carved to show different stages of bloom, against a sky blue martelé technique background, with brown foliage and peach tones towards the bottom to represent the rising sun. A vase with similar decoration is pictured in: "Daum: Maitres Verriers, 1890-1980," by Noël Daum, Lausanne: Edita Denoël, 1980, p. 115 (bottom left); and in: "Daum Nancy III: Daum Frères – Verreries de Nancy, 1880-1930," by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, p. 118.

French Art Nouveau Cameo Glass Vase by Daum

French Art Nouveau "Mimosa" Vase by Daum

An artistic French Art Nouveau mimosa vase by Daum featuring pink cameo overlay naturalistically modeled as a languid orchid. The influences of Japanese culture permeated fin de siècle Paris and could be felt in museums and in homes. Similarly, a nascent fascination with natural forms, found in publications of the day like Ernst Haeckle''s Kunstformen der Natur, manifested itself in a proliferation of flowers in French art and design and in an intense investigation of flora where artists rivaled botanists. This piece borders on abstraction. The orchid, splayed open and surrounded by copious pollen spores, is imbued with feminine sensuality. The imaginative color palate and curving lines surpass the glass design standards of the day and render this piece a beguiling objet d''art.

French Art Nouveau 'Mimosa' Vase by Daum

French Art Nouveau Vase "Squash Blossom" by Daum

A French Art Nouveau clear glass vase with green cameo overlay in a squash blossom motif by Daum. The vase has deep green leaves, buds, flowers and a squash suspended from sinuous vines. A vase with similar decoration is pictured in: "Daum: Collection du muse des Beaux-Arts de Nancy," Paris: Réunion des musées nationaux, 2000, cat. no. 224.

French Art Nouveau Vase 'Squash Blossom' by Daum

"Rose de France" Vase by Emile Gallé

A French Art Nouveau "Rose de France" vase by Emile Gallé. In 1870, Nancy, the home of Gallé, was annexed by Germany as a result of the defeat of France in the Franco-Prussian war. Gallé chose to use the motif of the red rose, which only bloomed in the Mt. Saint-Quentin province of Lorraine, as a symbol of his strident patriotism. In 1902 a vase from this series was presented to the Russian emperor as a prestigious gift from France. The vase shows Gallé''s innovative technique of glass marquetry which involved the incorporation of glass fragments of various thickness, shapes and colors into the still malleable glass. The multi-layering of glass and the use of metallic foils behind the glass make this piece so exceptional. A similar vase is pictured in: "Gallé", catalogue for the exhibition at le Musée du Luxembourg, Paris, November 1985-February 1986, "Paris: Éditions de la Réunion des muse nationaux", 1985, p. 149.

'Rose de France' Vase by Emile Gallé

"Irises" French Art Nouveau Cameo Glass Vase by Burgun & Schverer

A French Art Nouveau "Irises" cameo glass vase by Burgun & Schverer with intercalaire decoration of lavender irises with green stems on a carved brilliant rose colored ground.

'Irises' French Art Nouveau Cameo Glass Vase by Burgun & Schverer

"Fruit Branch" Vase by Emile Gallé

A French Art Nouveau mold blown cameo glass "Plum" vase by Emile Gallé. The applied blue and yellowish burgundy fruits rest on brown leaves, all on a yellow ground. A similar vase is pictured in: "Glass by Gallé," by Alastair Duncan and Georges de Bartha, New York: Harry N. Abrams, Inc., 1984, p. 196, plate 298.

'Fruit Branch' Vase by Emile Gallé

French Art Nouveau Cylindrical Snail Vase by Daum

A French Art Nouveau "Vigne et Escargots" vase by Daum. The vase features grape clusters, vines and leaves in low relief with an an applied snail on one of the upper leaves, all against a mottled amber, pink, red, plum and white glass ground. Some of the grapes are also applied to to heighten the natural effects of the grape clusters. The scene is loosely landscape-based, with roots at the bottom and vines hanging down from the top, but the complex composition makes the piece entirely surreal. During the Art Nouveau period artists frequently used scenes from nature to convey human emotion, and vice versa. This autumnal piece is dark and mysterious, with gnarls, roots, and snails slithering on it. The motifs, patterns, and textures on the vase imply a time of transience, like the changing of the seasons. The "Vigne et Escargots" vase was produced in five layers beginning with a colorless glass core. The top two thirds of the intercalaire layer is colored with sulfure de cadmium inclusions and the bottom third is powdered with améthyste inclusions. After being cased with colorless glass, the glass was colored with translucent white inclusions in the top two thirds of the vase and améthyste in the bottom two thirds. Cirrus clouds at sunset were created with améthyste inclusions sprinkled atop burgundy inclusions. The base features a spattering of opaque verte de paris in ... clusions. To create a soot-like atmosphere, bistre inclusions were sprinkled about the grapes. The final layer consists of burgundy inclusions in the top third and améthyste, opaque verte de paris, and translucent white inclusions in the bottom two thirds. The vase was subsequently blown into an inverted baluster form with an undulating trefoil mouth and a splayed thick concave firing foot. In the constriction between the body and foot, the body was twisted counter-clockwise, while the constriction between body and neck was twisted clockwise. The striation created by the twisting of the intercalated layers create a sense of rising air. The bodies of the burgundy snails were subsequently created with drawn out upper and lower tentacles and fused with yellow powdered glass. For the snails'' shells, a core of colorless glass was coated in light gray-brown, dark gray-brown and black powdered glass and cased in another layer of colorless glass. The snail shells were fused to the body using this very powdered glass mixture. After the design was painted in wax upon the vase, the background and snails were acid-etched, allowing the intercalated layers to show through and the snails to be given a frosted appearance. The grape vine design and snails were subsequently hand carved, taking care to detail the snail shell''s bands. A vase with similar decoration is pictured in: Daum Frères: Maîtres Verriers, 1892-1935, by Katharina Büttiker-Weber, Zurich: Galerie Katharina Büttiker, 1986, cat. no. 79.

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French Art Nouveau Cylindrical Snail Vase by Daum

French Art Nouveau Cameo Glass Vase by Daum

A French Art Nouveau wheel-carved cameo glass vase by Daum, featuring green leaves and orange berries against a dark orange and mottled light green ground. A vase with similar decoration is pictured in: "Daum" by Clotilde Bacri, Noël Daum and Claude Pétry, Paris: Michel Aveline Éditeur, 1992, p. 95.

French Art Nouveau Cameo Glass Vase by Daum

Art Nouveau pâte-de-verre tray by Bergé and Walter,

A French Art Nouveau glass pâte-de-verre tray designed by Henri Bergé and executed by Amalric Walter, featuring yellow, orange and green striations. The tray is adorned with an ocean scene featuring a blue/green crab atop seaweed. A similar tray is pictured in "Almaric Walter (1870-1959)" by Keith Cummings, Kingswinford (UK): Broadfield House Glass Museum, 2006, page 73 plate 113.

Art Nouveau pâte-de-verre tray by Bergé and Walter,

Walter and Finot Glass Tray

A French Art Nouveau glass pâte-de-verre paperweight (press-papiers) designed by A. Finot and executed by Amalric Walter, cast in the form of a female nude with light brown hair reclining on a bed of leaves colored in various tones of yellowish/orange and green. A similar piece, entitled Femme couchée, is pictured in: La pâte de verre, by Nöel Daum, Paris: Edition Denöel, 1984, page 105, plate 129.

Walter and Finot Glass Tray

French Art Nouveau pâte-de-verre Vase, titled "Primeveres" by Rousseau,

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.

French Art Nouveau pâte-de-verre Vase, titled 'Primeveres' by Rousseau,

French Art Deco Pâte-de-Verre Glass Vase by Gabriel Argy-Rousseau

A French Art Deco pâte-de-verre vase, "Le Jardin des Hespérides (Garden of the Hesperides)," by Gabriel Argy-Rousseau, depicting three women in various poses picking apples from a tree. The women are in red; the apples are vibrant red. All are on a pale ground. Each woman picks from a tree with a brown trunk. The lower portion of the vase is darker red, resembling a floor, with a Greek key motif. Pictured in: "G. Argy-Rousseau: Les Pâtes de Verres", catalogue raisonné by Janine Bloch-Dermant (Paris: Les Editions de l''Amateur, 1990), pages 72-73 & 208, cat. no. 26.01; color pictures in: "G. Argy-Rousseau: Glassware as Art" by Janine Bloch-Dermant, New York, Thames and Hudson, Inc., 1991, pages 72-73. Bloch-Dermant describes this vase as "a hymn to nature," and "a masterpiece... outside of time." She adds that it is "a reference to Greece," from which Argy-Rousseau "inherited his feeling for nature." Bloch-Dermant cites Attic vases of the fifth century B.C., or the tragicomic theme of Greek masks as influences. "(G. Argy-Rousseau: Glassware as Art" by Janine Bloch-Dermant, New York, Thames and Hudson, Inc., 1991, pages 35, 41, 66).

French Art Deco Pâte-de-Verre Glass Vase by Gabriel Argy-Rousseau

"La Danse" by Clement Massier

A French Art Nouveau plate by Clement Massier. Loïe Fuller employed smoke, billowing fabrics and dramatic lighting in her choreography, creating an ethereal, otherworldly effect, the likes of which the world had never seen. Clement Massier drew inspiration from her for this iridescent glazed ceramic charger, where Fuller seems to be floating in a sea of the unknown. The feathered decoration in the enamel work merges with her swirling draperies, further accented by iridescent green and purple highlights against a golden ground. The inspiration for the subject matter of the plate was undoubtedly the dancer, Loïe Fuller, whose dances with swirling silks and experimental lighting made her a legend. A similar charger is pictured in: "Loïe Fuller: Goddess of Light," by Richard Nelson Current and Marcia Ewing Current, Boston: Northeastern University Press, 1997 (see center color images).

'La Danse' by Clement Massier

French Art Nouveau Round Ceramic Decorative Charger by Clément Massier

A French Art Nouveau iridescent enamel-glazed ceramic charger by Clément Massier, after a design by Alphonse Mucha, depicting a woman''s profile in Byzantine dress and jewels. The particularity of this ceramic plate is that it combines Massier''s talent as a ceramist and Mucha''s talent as a draftsman. Indeed, the blond Byzantine head depicted on the charger was originally designed by Mucha in 1897, as part of his artistic diptych "Byzantine Heads."

French Art Nouveau Round Ceramic Decorative Charger  by Clément Massier

French Art Nouveau Ceramic Covered Jar by Rupert Carabin

A French Art Nouveau ceramic covered jar by Rupert Carabin, depicting a female nude wrapped around a gourd form, with a deep green glaze. All of Carabin''s ceramic work was done by his own hand. This piece was made by Moulines, 20, rue Laffite. Pictured in: "L''oeuvre de Rupert Carabin 1862.1932," by Colette Merklen, page 228 and in "Dynamic Beauty: Sculpture of Art Nouveau Paris," by Macklowe Gallery, The Studley Press, 2011, p. 81.

French Art Nouveau Ceramic Covered Jar by Rupert Carabin

"Femme au Pieuvre" French Art Nouveau Glazed Ceramic Inkwell by Rupert Carabin

A French Art Nouveau "Femme-Pieuvre," brown glazed ceramic inkwell by Rupert Carabin, wherein a woman ecstatically rips open the head of an octopus, spilling its ink. A beautiful play on an ancient mean of sourcing ink, this sculpture''s tranquility and solidity give it the aura of an ancient carving. Pictured in: "The Paris Salons 1895-1914, volume IV: Ceramics and Glass" by Alastair Duncan, p.76; "L''Oeuvre de Rupert Carabin 1862-1932, Catalogue D''exposition, Galerie du Luxembourg", 1974, pp.229 and 232; "Art Nouveau, Sculpture" by Alastair Duncan, Academy Edition, 1978, p.20; and in: "Le Modern style" by Laurence Buffet-Challié, p.74, plat 2.

'Femme au Pieuvre' French Art Nouveau Glazed Ceramic Inkwell by Rupert Carabin

French Art Nouveau Ceramic Inkwell by Carabin

A French Art Nouveau "Femme à la Coloquinte," glazed ceramic inkwell by François-Rupert Carabin. The inkwell features a nude woman embracing an unusually large gourd. A similar sculpture is pictured in: "L''ouevre de Rupert Carabin, 1982-1932," catalogue of the exhibition at le Musée du Luxembourg, Paris, 1974, p. 230, cat. no. 189.

French Art Nouveau Ceramic Inkwell by Carabin

"Chalmont" planter by Hector Guimard

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.

'Chalmont' planter by Hector Guimard

Petite Coupe Sur in Enamel and Gold by Thesmar

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.

Petite Coupe Sur in Enamel and Gold by Thesmar

"Chalmont" planter by Hector Guimard

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.

'Chalmont' planter by Hector Guimard

French Art Nouveau Ceramic Urn by Majorelle & Mougin

A French Art Nouveau ceramic urn designed by Louis Majorelle and produced by Mougin, featuring swirls of blue on a beige and ash-colored ground, with a snail at at the base. Similar piece pictured in: "Les Frères Mougin, sorciers du grand feu: gres et porcelaine 1898-1950" by Jacques G. Peiffer, p. 157.

French Art Nouveau Ceramic Urn by Majorelle & Mougin

French Art Nouveau Ceramic Vide-Poche by Bussière

A French Art Nouveau ceramic vide-poche designed by Ernest Bussière and produced by Keller et Guérin, consisting of two interlocking conch shell dishes with delicate pink, cream and green glazes.

French Art Nouveau Ceramic Vide-Poche by Bussière

French Art Nouveau Ceramic Vase by de Feure

A French Art Nouveau porcelain vase by Georges de Feure, featuring a blue and pink floral decoration on a glazed cream-white ground. Made for La Maison Art Nouveau Bing. Similar vase in the collection of the Musée des Arts Décoratifs. Similar vases pictured in: "Art Nouveau Bing: Paris Style 1900" by Gabriel Weisberg, p. 204, pl. 198.

French Art Nouveau Ceramic Vase by de Feure

French Art Nouveau Ceramic "Gourd" Vase by Ernest Bussière

A French Art Nouveau ceramic "Gourd" vase designed by Ernest Bussière and produced by Keller et Guérin, featuring stylized high-relief berries on the gourd form, with green and purple enameled glazes. This vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.261).

French Art Nouveau Ceramic 'Gourd' Vase by Ernest Bussière

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau vase designed by Ernest Bussière and produced by Keller et Guérin, depicting two lizards in high relief wrapped around the rim. The vase features iridescent milky-green and mauve glazes with iridescent highlights. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau Ceramic Vase by Bussière

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau vase by Keller and Guérin, from a design by Ernest Bussière, featuring the form of a closed flower in relief, with iridescent milky-green and mauve glazes. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p. 260).

 French Art Nouveau Ceramic Vase by Bussière

French Art Nouveau Ceramic Tray by Lachenal

A French Art Nouveau ceramic tray by Edmond Lachenal, featuring a decoration of three frogs hanging on to the sides of a lily pad, in light brown and green glazes. A similar tray is pictured in: "Edmond Lachenal and His Legacy," by Martin Eidelberg and Claire Cass, New York: Jason Jacques Gallery Press, 2007, p. 100, cat. no. 22.

French Art Nouveau Ceramic Tray by Lachenal

French Art Nouveau "Ombellifère" Ceramic Vase by Bussière

A French Art Nouveau iridescent glazed ceramic "Ombellifère" vase designed by Ernest Bussière and produced by Keller et Guérin, depicting ombelle blossoms in low relief, with six flowers whose stems extend away from the body of the vase to form delicate handles. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau 'Ombellifère' Ceramic Vase by Bussière

French Art Nouveau Ceramic Vase by Lachenal

A French Art Nouveau ceramic vase by Edmond Lachenal, featuring a stylistic depiction of leaves and vines with intricate piercing and carving in a graduated light green to green glaze. A similar vase is pictured in: "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass" by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p. 266 (Grès vase, from La Société Nationale des Beaux-Arts, 1898); and in: "Edmond Lachenal and His Legacy," by Martin Eidelberg and Claire Cass, New York: Jason Jacques Gallery Press, 2007, p. 81, cat. no. 12.

French Art Nouveau Ceramic Vase by Lachenal

French Art Nouveau Ceramic Planter by Bigot

A French Art Nouveau earthenware planter by Alexander Bigot for the architect Cintrat, featuring an organic pattern that repeats itself around the base.

French Art Nouveau Ceramic Planter by Bigot

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau ceramic vase designed by Ernest Bussière and produced by Keller et Guérin. The vase is decorated with vegetal forms and has a glaze of pale green with traces of purple. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau Ceramic Vase by Bussière

French Art Nouveau Covered Porcelain Jar by de Feure

A French Art Nouveau covered porcelain jar designed by Georges de Feure and manufactured by Dufraisseix & Abbot, Limoges for Art Nouveau Bing. In the manner of de Feure''s renowned textiles, this piece is decorated with elegantly painted abstract floral and vegetal designs. Pictured in "The Paris Salons 1895-1914: Volume IV Ceramics & Glass," by Alastair Duncan, Page 159.

French Art Nouveau Covered Porcelain Jar by de Feure

French Art Nouveau Gilt Bronze Clock by Dufrène

A French Art Nouveau clock in gilt bronze by Maurice Dufrène with dancing figures modeled by Félix Voulot for the Parisian atelier La Maison Moderne. A similar model of this clock is part of the permanent collection of the Museum fur Kunst und Gewerbe, Hamburg. Signed, "F. Voulot 1900". Pictured in The Paris Salons: 1895-1914, Volume V: Objects d''Art & Metalware, by Alastair Duncan, pages 38 and 227. Also pictured in L''Ofevrerie et Le Bronze, L''Art Decoratif, by Charles Torquet, page 207.

French Art Nouveau Gilt Bronze Clock by Dufrène

French Art Nouveau Ceramic Clock by Follot

An Austrian Art Nouveau porcelain and silvered clock by Paul Follot. This clock prominently features the arabesquing line of the Art Nouveau movement, both in shape and in the relief decoration. Abstract blue flower buds decorate the clock in panels at the top and behind the clock face. The silvered clock face and pendulum are also decorated in the whiplash motif, which makes this clock a complete and total work of Art Nouveau. A similar clock is pictured in: "Art Nouveau: The French Aesthetic," by Victor Arwas, London: Andreas Papadakis, 2002, p. 333; a similar clock is also pictured in the 1904 Louis Majorelle catalog, in the "Les Algues" Chamber, near the end of the catalog.

French Art Nouveau Ceramic Clock by Follot

French Art Nouveau silver and plique-à-jour "Capucines" Enamel Clock

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.

French Art Nouveau silver and plique-à-jour 'Capucines' Enamel Clock

English Art Nouveau "Tudric" Clock by Archibald Knox

An English Art Nouveau "Tudric" clock by Archibald Knox. The clocks has Roman numerals in relief. It is decorated with 12 abalone disks in two vertical columns. The clock hands are also decorated with abalone disks. This pewter and abalone clock is listed as model 097, for Liberty & Co. This clock is featured in A.J. Tilbrook and Gordon House, ''The Designs of Archibald Knox for Liberty & Co.'', 1976, p. 107 for an illustration of the model. Peter Barnet and MaryAnn Wilkinson, ''Decorative Arts 1900: Highlights from Private Collections in Detroit'', 1993 p. 14, cat no. 13 for a similar model. Stephen A Martin, ''Archibald Knox'', Academy Editions, 1995, p. 90 features a variant of this model.

English Art Nouveau 'Tudric' Clock by Archibald Knox

French Art Nouveau Gilt Bronze Clock by Dufrène

A French Art Nouveau clock in green and brown patinated bronze, by Maurice Dufrène. The clock has dancing figures modeled by Félix Voulot for the Parisian atelier La Maison Moderne. A similar model of this clock is part of the permanent collection of the Museum fur Kunst und Gewerbe, Hamburg. Signed, "F. Voulot 1900". Pictured in The Paris Salons: 1895-1914, Volume V: Objects d''Art & Metalware, by Alastair Duncan, pages 38 and 227. Also pictured in L''Ofevrerie et Le Bronze, L''Art Decoratif By Charles Torquet, page 207.

French Art Nouveau Gilt Bronze Clock by Dufrène

Bronze Nude lighted Sconce on Marquetry Easel by Georges Flamand

A French Art Nouveau bronze draped female nude in the form of a two-light sconce by Georges Flamand. The draped maiden, in a two-color patina, is supporting two lighting elements mounted on a wooden marquetry easel with a floral and thistle motif.

Bronze Nude lighted Sconce on Marquetry Easel by Georges Flamand

Boudoir Lamp by Edouard Colonna

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.

Boudoir Lamp by Edouard Colonna

French Art Nouveau "Pivoines" Table Lamp by Émile Gallé

A French Art Nouveau "Pivoines" table lamp by Émile Gallé. The lamp features a vibrant detailed decoration of crimson red peonies wrapped around the base and shade, surrounded by foliage of plum-colored leaves. The patinated bronze mounts replicate the foliage theme and have scarab beetle terminals. A similar lamp is pictured in A. Duncan, G. de Bartha, "Gallé Le Verre," London, 1984, p. 153, pl. 214.

French Art Nouveau 'Pivoines' Table Lamp by Émile Gallé

Gallé Lamp – Celebration of Spring

An Art Nouveau cameo glass and Vienna Faience glazed figural lamp by Emile Gallé and Podany. The porcelain base is formed from three dancing women with outstretched arms holding a garland of pink roses. The blossoms echo the elegant dome-shaped rosy-hued shade. Both the inside and the outside of the shade are decorated with pink and green flowers in carved relief.

Gallé Lamp – Celebration of Spring

French Art Nouveau Side Chairs by Vallin

A pair of French Art Nouveau side chairs by Vallin, featuring a carved mahogany "Wheat" patterned motif and leather upholstery. Similar chairs are pictured in: "The Paris Salons, 1895-1910, Volume III: Furniture" by Alastair Duncan, Antique Collectors'' Club, Publishers, page 555 (Dining room, collection of Eugène Corbin, Le Salon d''Automne, 1910).

French Art Nouveau Side Chairs by Vallin

French Art Nouveau Games Table by Louis Majorelle

A French Art Nouveau games table by Louis Majorelle, featuring an inlaid marquetry top and carved legs and skirt. The marquetry decoration features stems, leave and, flowers around a central, bordered section. There is also marquetry decoration on the table skirt. The carving on the skirt and table legs feature three-leaf clovers, which climb the legs and end in flower buds. A similar table is pictured in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue).

French Art Nouveau Games Table by Louis Majorelle

French Art Nouveau Pedestal by André

A French Art Nouveau walnut pedestal attributed to Emile André, featuring sinuous legs with understated organic carvings. A similar pedestal is pictured in "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 40 (Exposition de l''Ecole de Nancy, Paris, 1903).

French Art Nouveau Pedestal by André

French Art Nouveau "Cephataria" server by Louis Majorelle

A French Art Nouveau French walnut server by Louis Majorelle in the "Cephataria" motif. The server has two drawers with gilt-bronze handles in a leaf motif, double door storage below and is elaborately carved throughout in a floral motif. Similar pieces are pictured in the 1906 Majorelle catalogue (see Salle à Manger "Céphataria").

French Art Nouveau 'Cephataria' server by Louis Majorelle

French Art Nouveau Vitrine by Emile Gallé

A French carved and fruitwood marquetry inlaid Ombelliféres vitrine by Emile Gallé. The vitrine has marquetry ombelle flowers in its interior and on the panel below the bottom shelf. The interior has two small carved half shelves. The top and bottom have elaborately carved ombelle decorations. It sits on four sinuously carved feet. The vitrine''s front marquetry panel features three Berce des prés composed in a similar manner to Kitao Shigemasa''s Tree peony and Finch. Through Takashima Hokkai, Gallé was able to borrow a copy of Fleurs, oiseaux par Shigemasa (Kachoe shashin zue). Like Shigemasa, Gallé worked in the aesthetic of kacho-e (birds and flower painting) with a thorough understanding of the grammar of ikebana (flower arrangement). Gallé''s expertise was so great that he was entrusted with organizing an ikebana retrospective for the 1900 Exposition Universelle. Ikebana is composed of three elements: shin (heaven, sun, male), soe (earth, female), and hikae/tai (humanity, child.) Gallé has arranged his flowers according to the Moribana school, a style of ikebana that came at the apex of the Meiji restoration. Shigemasa had his peonies according to Moribana principles: the right most "soe" flower leans at 45°, the middle "shin" flower at 10° and the leftmost "hikae" flower at 75°. Pivotal to ikebana is the principles of harmony and balance. It is the function of the 4 ... 5° soe flower through angle to balance out the 75° hikae flower. While Gallé did not follow the rigid rules of Moribana, this should not be seen as an indication of inferiority. Rather, Gallé has merely solved the problem of balance in a different manner. While Shigemasa created a sense of balance through angle, Gallé made rendered the leftmost flower in madagascar ebony . The dark value serves as a visual weight, balancing an arrangement that otherwise approaches imbalance. Next to the Berce des prés is an Écaille martre (Tiger moth.) Native to the same prairies as the Berce des prés, the inclusion of the Écaille martre gives the vitrine the crepuscular setting that Gallé loved so much. Literature: Alastair Duncan and Georges de Bartha, "Gallé Furniture," Woodbridge, Antique Collector''s Club, 2012, p. 307, pl.42, for a similar example.

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French Art Nouveau Vitrine by Emile Gallé

Louis Majorelle French Art Nouveau "Orchid" Table

A French Art Nouveau two-tiered ""Caltha des Marais" table with ormolu mounts by Louis Majorelle. The table was created at the height of Majorelle''s most fertile period. While pastiches marked Majorelle''s early career, Majorelle''s mature style reduced the excessive ornament of the ancien regime into the fluid line of modernity. This reduction is most apparent in the table''s skirt, where the baroque swag motif transforms into a graduating concave form. The table''s ormolu mounts are bereft of foliate scrolls and grotesque motifs. Instead, Majorelle''s sophisticated naturalism takes inspiration from the flowers of his native Nancy. Marsh marigolds form the top of each mount. Among the few flowers to grow in the caliginous marshes, their yellow petals are a welcome respite to the eye. So loved was the marsh marigold that Shakespeare proclaimed they grew at heaven''s gate, "Hark, hark! The lark at heaven''s gate sings...His steeds to water at those springs, On chaliced flowers that lies; And winking Mary-buds begin, To ope their golden eyes." The marsh marigolds terminate in "saggitaire fleche d''eau" or arrowhead leaves. Both flowers were endemic to lakes in the Vosges region. The tabletop is set with Amboyna burl veneer. Amboyna veneer is among the world''s rarest and most expensive veneers — holding the distinction of being the original wood used on Rolls Royce dashboards. ... Against the sobriety of the walnut skirt, the Amboyna burl gives the table an air of luxury. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396 (Chairs and tables Salon, 1904); and in: "Louis Majorelle: Master of Art Nouveau Design," by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, plate 57.

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Louis Majorelle French Art Nouveau 'Orchid' Table

French Art Nouveau Chairs by Gauthier

A pair of French Art Nouveau upholstered chairs by Gauthier. The chairs have graceful carving on the backs and legs. They are upholstered in a green leafy fabric.

French Art Nouveau Chairs by Gauthier

French Art Nouveau Cabinet by Emile Gallé

A French Art Nouveau "Grenouilles" beechwood cabinet by Emile Gallé. This carved cabinet features dragonfly, mushroom, and landscape marquetry decoration, as well as carved frog-leg feet and a pierced dragonfly design in the top gallery. The panel for the key escutcheon is cast in bronze with the complementary pattern (left and right) in carved wood. Similar cabinet pictured in: "Art Nouveau Furniture," by Alastair Duncan, p. 74, no. 62. As well as in Emile Gallé, by Philippe Garner, p. 84

French Art Nouveau Cabinet by Emile Gallé

French Art Nouveau Chair by Gauthier

A French Art Nouveau upholstered chair by Gauthier. The chair''s back and legs are gracefully carved, and the ornament in relief beneath the seat is repeated as carving in the chair back. The chair is upholstered in a leafy green fabric.

French Art Nouveau Chair by Gauthier

Gauthier Dining Suite

A French Art Nouveau dining suite featuring a dining table with two custom leaves, a set of six mahogany dining chairs with tooled leather and brass tacks and a sideboard featuring a mirror, bronze accents and a marble top by Camille Gauthier & Paul Poinsignon. The sideboard is carved with berries and leaves. It has bronze inlays and a bronze drawer-pull in a sinuous leaf and twisted vine motif. The berries and leaves are also carved into the legs and base of the table. Each tooled leather chair back is affixed with bronze studs and decorated with a different floral image. Dimensions: Dining Table: 29-1/2'''' high x 45'''' wide x 50-1/2'''' long, extends with three leaves to 122-1/2". Dining Chairs: 38¾'''' high x 17'''' wide x 17'''' deep. Sideboard: : 62¾'''' high x 51'''' wide x 21'''' deep.

Gauthier Dining Suite

"Tale of Genji" Commode by Émile Gallé

A French Art Nouveau marquetry commode by Émile Gallé. With original key. The syncretic influence of Japanese art is keenly felt in Gallé''s commode. The beginning of Galle''s fascination with Japanese art can be traced back to his friendship with Hokkai Takashima (1850-1931), a fellow botanist and member of the École de Nancy. Their botanical dialogue was facilitated by the Shokobutsu mei-i, a book of Japanese names for botanical species. It is from Hokkai that Gallé gained a spiritual and symbolic understanding of nature. Along with other École de Nancy artists, Hokkai and Gallé exhibited together in the display window of René Wiener''s papeterie. The store served as the office of Wiener''s arts journal, the Nancy artiste, which regularly featured on its covers contemporary examples of Gansai (Japanese watercolor), Byobu (folding screens) from the Rinpa school, Sumi-e (ink painting), and Ukiyo-e (woodblock prints). As a show of gratitude, Hokkai bequeathed a vast art book collection to Wiener. It is from this record that we know with certainty of which Japanese artists Gallé had knowledge. One of the books in Hokkai''s collection was Hokusai''s Les cent paysages du Fuji (Fugaku hyakkei.) This 1835 expansion of Hokusai''s 36 views of Mount Fuji contained more elaborate iterations of his original compositions. The commode features two drawers and four cabriole legs. ... The front of the drawers features a marquetry panel with mountains, unkai (sea of clouds) and usugumo (wisps of clouds) motifs. It is likely from works like Hokusai''s Yama mata yama (Mountains Upon Mountains) that Gallé assimilated the unkai (??) motif. The Yama mata yama is the album''s only zenithal view, allowing this phenomenon which is normally only visible from high elevations. On the top of the commode, a sunset mirage overlooks the entire scene. Meanwhile in the foreground, Gallé has included a usugumo motif rendered in warm brown wood. The wisps of cloud motif originates in a stanza in the Tale of Genji in his mourning for Fujitsubo. Those thin wisps of cloud trailing there over Mountains caught in sunset light Seem to wish to match their hue To the sleeves of the bereaved. There is a distinct temporal quality in the commode''s composition. The left side panel depicts a diurne while the right side panel depicts a nocturne. The juxtaposition of day and night in Japanese ukiyo-e was a subject much beloved by Hokusai and Hiroshige and was termed chuya (chu meaning day and ya meaning night). The Japanese nocturne was clearly a subject of great fascination to Gallé as well as evidenced by his "Nuit Japonais" vase. A similar commode is pictured in: "Gallé Furniture", by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 329, plate 15.

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'Tale of Genji' Commode by Émile Gallé

French Art Nouveau Dragonfly Table by Émile Gallé.

A French Art Nouveau two tiered table by Émile Gallé. The table''s four legs are the carved bodies of dragonflies, their wings outstretched and frozen mid-flight. The table top rests on the dragonflies'' heads and wings, with a fluid curvature in the corners creating a crown for the winged creatures'' heads. Marquetry on the table top depicts flowers on long-leafed stems, with shadows of foliage in the background. Decoration in darker tones and larger, starker motifs, decorate the lower tier, playing on the shadows in which it is naturally shrouded. The dragonfly works of Gallé''s provoked very strong critical reaction when they were debuted in 1900, with champions of Art Nouveau lauding the modernity of the dragonfly as caryatid, while detractors were horrified by the very idea of insects as table legs. Time has certainly found favor with this design, as it has found pride of place in museum collections worldwide. A similar table is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 207, plate 192a.

French Art Nouveau Dragonfly Table by Émile Gallé.

Gueridon Table by Louis Majorelle

A French Art Nouveau marble top guéridon by Louis Majorelle. The legs, apron and cross piece of this triangular table are carved with flowers, vines and leaves. Fashioned of marble and carved and molded mahogany, the Chevrefuille guéridon''s sophisticated and dynamic design is enhanced by the sinuous curves of its chevrefuille (honeysuckle) motif. In this piece, Majorelle breathes new life into old tradition.The tabletop is inset with the highest grade rosso di verona marble: white veined orange nodules set within a red matrix. The guéridon''s top, apron, legs and stretcher are carved with chevrefuille (honeysuckle) motif. The two words that make up chevrefoil, chevre (from chevreuil (roe deer)) and feuille (leaf), reveal the vine''s negative connotation within French culture. Chevreuil fauns putatively became intoxicated from the shoots of the chevrefeuille. The chevreuil was so named after the chevre (goat) due to its goat like head. The goat with its nineteenth century evocation of the occult and sexuality only added to the plant''s profanity. The Chevrefuille guéridon refers to Marie de France''s thirteenth century "Chevrefeuille", a French variation of the Tristan Legend. Majorelle had previously created furniture based on the flowers of the Tristan legend, but none so magnificently convey the essence of the story as this guéridon. With the ubiquity of Wagner''s Tri ... stan und Isolde in fin-de-siecle France, contemporary artistic circles would have easily understood the work''s iconography. Isolde had told Tristan that if a chevrefuille (honeysuckle vine) wraps itself around a branch of hazelwood (noisitier), the two could not be separated without killing them both. While lying in wait for Isolde, Tristan carves a line into a hazelwood branch and plants it along her courtly procession: "Belle amie, ainsi en est-il de nous: Ni vous sans moi, ni moi sans vous!" "Beautiful friend so it is with us: neither you without me, or me without you." After the lover''s commit suicide, a hazel entwined by a honeysuckle emerge from their grave despite King Mark''s attempt to exterminate them. Despite the illicit nature of the lover''s affair, the couple never consummate, thus maintaining Isolde''s virginity. The honeysuckle''s deforms the hazel tree, minimizing its utility. Through the form of the table and the honeysuckle''s iconographic meaning, Majorelle creates drama between the sacred and the profane. The form of the guéridon evokes the architecture of the gothic church, from the reuleaux shape of the tabletop to the y-shaped dome of the stretcher. The honeysuckle twists about the table without corrupting the table''s divine form, thereby creating the purity of the union in death. This message was communicated in "Liebestod", the climactic end of Tristan und Isolde that literally means love-death. A similar gueridon appears in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue).

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Gueridon Table by Louis Majorelle

French Art Nouveau Triangular Table by Louis Majorelle

A triangular French Art Nouveau table by Louis Majorelle. This two-tiered triangular table is made of mahogany. Its carved legs are finished with bronze sabots. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 413 (Pedestals, La Société des Artistes Décoratuers, 1910).

French Art Nouveau Triangular Table by Louis Majorelle

Spanish Art Nouveau Armchairs by Joan Busquets

A pair of Spanish Art Nouveau armchairs with giltwood frames by Joan Busquets. Made for Antonio Gaudi''s Palacio Güell, Barcelona, Joan Busquets crafted much of Gaudi''s furniture. A member of a family that was long involved in the design and manufacture of furniture in Spain, Joan Busquests was a proponent of Art Nouveau and modernism at the turn of the 20th century Spain. Most often associated with the architect and designer Antonio Gaudi and the movement specific to the Catalan region of Barcelona, Busquets''s designs encompass a broader range of European Art Nouveau, particularly those of France and Belgium. His furniture is often reduced in scale, embodies the rococo in an inventive way and uses gilding to enhance and lightened design, as well as to serve as a reflective element. This chair model looks identical to a suite of furniture designed in collaboration with Antonio Gaudi for the Güell Palace, Barcelona that is pictured in situ in a photograph from the palace. These chairs appear to be identical to those pictured. From 1840 on, Joan Busquets produced furniture for numerous distinguished clients in Barcelona, and also supplied the aristocracy in Madrid, Cuba, Puerto Rico and the republics of Central and South America. The leitmotiv of Busquets''s firm was the golden sunflower with sinuous stem (to which must be added other motifs based on flora and fauna, suc ... h as lilies, orchids and snails), evident in his furniture designs. Provenance: Pedro Uhart, Paris Allan Stone Gallery, New York (acquired from the above ca. 1986) Exhibited: New York, Allan Stone Gallery, Furniture by Gaudi and Busquets, September 9 - November 26, 1996. New York, Allan Stone Gallery, Nouveau to Modern: Transitions in Art and Design, January 16-March 2, 2013.

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Spanish Art Nouveau Armchairs by Joan Busquets

French Art Nouveau Desk by Louis Majorelle

A French Art Nouveau desk in walnut, veneer wood fruit and bronze by Louis Majorelle. The three drawers of the desk are decorated in marquetry with flowers. The same pattern is repeated on the desk''s upright piece, which features letter holders on both sides. The pulls on the two upper drawers are in the shape of flowers. The desk''s legs are deeply carved and sinuous. A similar desk is pictured in Alastair Duncan, "The Paris Salons Volume III, Furniture", Antique Collectors'' Club, England, 1996 variant reproduced on page 403 and in Alastair Duncan, "Louis Majorelle," Abrams, New York, 1991, page 99.

French Art Nouveau Desk by Louis Majorelle

French Art Nouveau Table by Louis Majorelle

A French Art Nouveau table by Louis Majorelle. This two-tiered mahogany table is carved with vegetal forms and flowers. The three legs are also carved, and the top is composed of beautifully grained wood.

French Art Nouveau Table by Louis Majorelle

French Art Nouveau Vitrine by Emile Gallé

A French Art Nouveau "le cerisier" (cherry tree) vitrine by Emile Gallé featuring marquetry and carving throughout with original stylized fleur-de-lys brass shelf rests and a key with floral decoration. The mirrored vitrine backing enables one to view the backside of the collection housed within. This unusual piece was originally electrified when manufactured. The beginning of Gallé''s fascination with Japanese art can be traced back to his friendship with Hokkai Takashima (1850-1931), a Japanese nobleman, fellow botanist and member of the École de Nancy. Takashima introduced Gallé to a mesmerizing world of Japanese woodblock prints and textile designs, which he frequently incorporated into his work. Gallé''s early success at the 1900 Paris Exposition Universelle was with his "Japonisante" vitrine, a piece that featured "cherry blossom" openwork. In Gallé''s personal life, the cherry blossom held sentimental value, reminding him of his trips to Saillon, Switzerland. In his journal, Gallé mused "the cherries ripen in the snow falling from the dandelions." The gentle dark wood ripples in the marquetry evoke alpine mist and clouds taking the viewer to this enchanting scene. A similar vitrine is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 295, plate 17.

French Art Nouveau Vitrine by Emile Gallé

"Aux Nénuphars" Two-Tier Table by Majorelle

Table Aux Nénuphars – A French Art Nouveau two-tier mahogany, tamarind wood and gilt bronze table by Louis Majorelle in the "water lily" motif, featuring applied bronze lily pad and vine decoration. The organic shape and rounded dip in each of the table''s two tiered planes mimics the appearance of a water lily suspended in water, creating a beautiful cohesion in the design. Known as the master furniture maker of the Art Nouveau style, Louis Majorelle was the recipient of the Grand Prize at the St. Louis World''s Fair, and international acclaim at the Paris Exposition Universelle of 1900. He remains among the most sought after designers of the early 20th century, and the most celebrated of the Nancy Art Nouveau artists. Those works by Majorelle that feature gilt bronze accents, produced by his team of highly skilled craftsman with the utmost attention to detail, are considered the most exceptional of the artist''s oeuvre, and are among the most collectible. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 382, and in: "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue) -- see Cabinet de Travail "Nénuphars".

 'Aux Nénuphars' Two-Tier Table by Majorelle

French Armchairs by Louis Majorelle

A pair of French Art Nouveau "Pommes de Pin" armchairs by Louis Majorelle. Similar armchairs are pictured in: "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronnerie"s (the 1906 Majorelle catalogue) (Salon "Pommes de Pins").

French Armchairs by Louis Majorelle

Art Nouveau Sellette by Gaillard

A French Art Nouveau walnut wood selette by Eugène Gaillard. The selette has three shelves. The middle shelf extends beyond the carved, curving legs in two directions. It is supported by four sinuous bronze arms. There is decorative carving below the top shelf, and the legs end in gently curving feet.

Art Nouveau Sellette by Gaillard

"Chardons des Sables" Commode

A French Art Nouveau "Chardons des Sables" chest of drawers by Émile Gallé. The "Chardons des Sables" (sand thistle) commode is a moving meditation on mortality. Gallé created this piece in 1903, after he was diagnosed with leukemia. He died the following year. Gallé has rendered a vista redolent of a longing for return. The commode''s central "sand thistle" motif alludes to a passage in Victor Hugo''s poem Les contemplations, Paroles sur la dune (1854): Maintenant que mon temps décroît comme un flambeau Que mes tâches sont terminées; Maintenant que voici que je touche au tombeau Par les deuils et par les années, (...) Je regarde, au dessus du mont et du vallon, Et des mers sans fin remuées, S''envoler sous le bec du vautor aquilon, Toute la toisuon des nuées (...) Et je pense, écoutant gémir le vent amer, Et l''onde aux plis infranchissables; L''été rit, et l''on voit sur le bord de la mer Fleurir le chardon bleu des sables. Now that, like candlelight, my lifetime wanes And my tasks are complete; Now that I, passing years and faced with pains, Find the grave at my feet, (...) I watch, high over mountaintop and vale And ever-surging sea, Before the beak of that vulture the gale, The woolen clouds all flee. (...) So I reflect, hearing the wind''s harsh roar, And the wave''s boundless pow ... er Though summer smiles, and on the sandy shore, See the blue sand thistle flower. Like Victor Hugo in Les contemplations, Paroles sur la dune, the sand thistle figured on the marquetry frontispiece is towards the end of its bloom season. Most of the flower heads have turned dark brown and three have detached from their rosettes only to blow away in the ocean gale. To understand the extent of Gallé''s thematic dedication, one need only look at a blackened sand thistle leaf located in the center back of the commode top. The leaf is of the same value as the aqueous background, rendering it nearly imperceptible. Though seemingly a superfluous detail, the leaf''s inclusion completes the piece''s narrative: the plant, like the artist, fades into oblivion. Gallé''s pairing of image and poem is steeped in Japanese tradition. Gallé believed that Japanese artists painted with a "spirituel pinceau" (spiritual brush) and that marine plants were "bulleuse calligraphie" (blistered calligraphy). Unlike his previous Hugo-inspired furniture, Gallé has opted not to include the refrains of the poem that inspired this piece in the marquetry. Instead the work itself has become the poem. Gallé had previously synthesized land and sea in his 1889 Flora Marina, Flora exotica jardiniere. While his prior explorations of the theme relied heavily on allegory and ornate high relief carving, the "Chardons des Sables" commode is a prime example of Gallé''s aesthetic maturation into a thoroughly modern artist. Gone are the ink and shellac outlines and the sand-shaded wood. Rather, Gallé has taken advantage of the striations, figuring and coloration of the natural veneer. The "Chardon des sables" commode stands on four short legs with five long drawers in a carcass of walnut. The first and fifth drawer feature umbelliferae friezes. The second to fourth drawer fronts are veneered with marquetry panels showing "Chardon des sables" in front of the sea. The sky background of the second and third drawer utilizes Burmese rosewood. While rays are a cell type present in all hardwoods, woods in which the rays appear as parallel minute dark stripes of wood are rare. This feature, termed "storied rays," are only found in choice species of tropical hardwoods. For the background of the commode''s frontispiece, the ray patterning serves as a secondary pattern to the dominant dark veining. In this way, although the sky and sea are represented by different wood species, the storied rays imbue the piece with a visual harmony. The Burmese rosewood used in the sky was selected so that the height between each striation decreased as it approached the horizon thereby creating a depth of field. The striation terminates two-thirds of the way down the third drawer. The uniformity from this point until the horizon line mimics the way in which clouds merge into a continuous layer in the deep background. The Le Champ du Sang commode, a piece created three years prior to this one, for the Exposition Universelle de 1900, was designed in a similar compositional formula: foreground flowers and low horizon line. The horizon line was articulated as a hard edge with two contrasting pieces of wood spliced together. The stillness of the scene is palpably felt. As opposed to Le Champ du Sang, the Chardons des Sables commode features a remarkably seamless transition between the sky and the undulating ripples of the sea. Recent close examination has confirmed that the pattern was formed by cutting a single piece of veneer using two different methods. This is evidenced by the wood''s ray arrangement. The first quarter of the drawer is uniformly colored with horizontally storied rays. In the undulating dark brown pattern of the bottom three-quarters of the drawer, the ray arrangement becomes varied (horizontally, obliquely and vertically.) Horizontal storied rays only become visible in crown cut veneer where the wood is cut tangentially to the growth ring. Meanwhile, the varied "storied ray" arrangement only becomes visible when the wood is rotary cut, wherein, the log is centered on a lathe and turned against a broad cutting knife set into the log at a slight angle. To create the veneer''s pattern, the wood must have first been rotary cut. The log had to be subsequently removed from the lathe, and a steam-powered band saw had to rip the wood precisely a few millimeters to the left and right of the rotary cut''s terminus. The method used in the fourth drawer was an extremely time-consuming and precise method of cutting-- all done for the sake of capturing the artist''s compelling personal vision. The characteristic dark-veined swirled grain rotary cut pattern combined with the pommele markings present throughout distinguish the wood as Bubinga, a wood sourced from Equatorial Africa. The density of the pommele-figured Bubinga causes a chatoyant (changeable luster) effect. The resultant sheen simulates the way that light dapples across the water, ideal for Gallé''s representation of the ocean. The work stands out not only in its exceptional artistic technique but also marks the culmination of a scientific career. A lifetime as a botanist had given Gallé a penchant for morphological accuracy. Gallé had previously depicted other species of brittle stars, namely the Striped Ophiolepis superba. While Ophiolepis superba features short to non-existent arm spines, Gallé has chosen to depict the long arm spined Ophiothrix fragilis (hairy brittle star). Using an astounding economy of means, Gallé articulated these spines using the natural wood texture of the Cocos nucifera (Red Coconut Palm.) The contrasting red-brown, black and light gray-brown fibrovascular bundles of the Coconut Palm respectively articulate the negative space between the spines, the shadows of each spine, and the delicate mucosal spines themselves. In another instance of material specificity, the bumpy conceptacles (reproductive cavities) on a bladderwrack are rendered by Gallé using birdseye-figured Acer saccharum (Sugar Maple.) Gallé collected and preserved a variety of seaweed and shell specimens while in the Keller villa. Charles Keller (alias Jacques Turbin) was an anarchist, activist, poet and archaeologist. Keller had built a seafront villa in Carnac, Brittany after the excavation in 1862 of the Saint-Michel Tumulus, a megalithic grave mound. He regularly invited Gallé to this seaside retreat, and even when Gallé returned to Nancy, Keller was sure to send new species to add to Gallé''s burgeoning herbarium. Gallé''s choice of motifs on the commode''s top go far beyond scientific interest in morphological accuracy. Integral to Gallé''s macchia is the dissimilarity of the stiff and flexible, the brittle and fluid. Unlike the closely-related sea star, brittle stars have sinuous flexing arms, giving their legs an efflorescent appearance. This quality makes the brittle star an ideal object of representation. Conversely, the thick stem of the star thistle reads to the viewer as kelp in this underwater milieu. At the point in which the marine becomes flora and flora becomes marine, the conceptual unity of the piece reaches its culmination. Hugo, Victor, E. H. Blackmore, and A. M. Blackmore. 2004. Selected poems of Victor Hugo: a bilingual edition. Chicago: University of Chicago Press. Gallé, Emile. 1908. Écrits pour l''art: floriculture, art décoratif, notices d''exposition, 1884-1889. Paris: Renouard. https://archive.org/details/critspourlartflo00gall. Pictured in: "The Paris Salons 1895-1914 Volume III: Furniture," by Alastair Duncan, Antique Collectors Club, 1996, page 235.

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'Chardons des Sables' Commode

French Armchairs by Louis Majorelle

A pair of upholstered French Art Nouveau walnut armchairs by Louis Majorelle. The chairs have carved arm supports and carved front feet in a vegetal motif. They are upholstered in a sea foam green textured fabric. A similar model is pictured in: Alastair Duncan, "Louis Majorelle: Master of Art Nouveau Design," London, 1991, p. 116 (for the model with a rounded back)

French Armchairs by Louis Majorelle

Art Nouveau Pedestal Table by Louis Majorelle

A French Art Nouveau pedestal table by Louis Majorelle. The circular two tier table in beech and walnut wood features carved vegetal motifs in bas-relief. Both the table top and the lower shelf are made of beautifully grained wood.

Art Nouveau Pedestal Table by Louis Majorelle

French Art Nouveau Pedestal by Louis Majorelle

A French Art Nouveau walnut 3 tiered pedestal by Louis Majorelle, featuring a rotating tray on the top. Leaves and berries adorn the upper portion of the legs.The gently curving legs are also deeply carved. Firmly rooted in the craft of woodwork and furniture-making, Louis Majorelle''s furniture subtly recalled the splendors of furniture from the 1700s. Majorelle often ornamented his pieces with gracefully sculpted organic and sumptuous natural forms, like the grape bunches featured here. Using a new vocabulary of natural forms and flowing lines of Art Nouveau, Majorelle''s furniture merged old and new in a tantalizing way. The sinuous natural forms of his works, like those sumptuous accents, were inspired by the C-scrolls of the Louis XV era. In an age when France was still humiliated by the Franco-Prussian War of 1870, and when luxury production in other countries was threatening the cultural hegemony the French saw as their birthright, Majorelle''s ability to suggest the nation''s glory days was paramount. Pictured in, "Louis Majorelle, Master of Art Nouveau Design," by Alastair Duncan, 1991, p. 202.

French Art Nouveau Pedestal by Louis Majorelle

A French Art Nouveau Wooden Pedestal by Emile Gallé

A French Art Nouveau selette by Émile Gallé. Gallé made very few selettes of this quality and design during his career, and even fewer of those with curved lower pieces that reunite in the middle, culminating in a gorgeous flower in full bloom. This model is very similar to the famous version with banana leaves, called Bananie. The marquetry on the top and middle sections of the selette, depicting flowers and leaves, is extremely bright and detailed. The variations of color emphasize the differences between the brighter lilies of the valley and the darker background. The curves and flowing details of the wood carving surrounding the top shelf come to challenge the stricter straight lines used for the contour of the piece. The balance between curves and straight line work in perfect harmony and together underline the subject matter. A similar selette is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 245, plates 4 & 4a.

A French Art Nouveau Wooden Pedestal by Emile Gallé

French Art Nouveau Table by Edouard Colonna

An exceptional French Art Nouveau fruitwood table by Edouard Colonna with a black felt center, flanked by a scalloped decoration of vegetal carvings. The slightly curved legs adorn a rich decor of flowers and plants in relief. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 108.

French Art Nouveau Table by Edouard Colonna

French Art Nouveau "Aubepines" Arm Chairs

A pair of French Art Nouveau carved walnut arm chairs, by Louis Majorelle, model "Aubepines." The chairs have hawthorn leaves and berries carved on the arms, backs, legs and seat support. Similar armchairs are pictured in: "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue); and in: "Louis Majorelle: Master of Art Nouveau Design," by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, plate 62.

French Art Nouveau 'Aubepines' Arm Chairs

Three Legged Mahogany Table attributed to Eugène Vallin

A French three legged mahogany table attributed to Eugène Vallin.

Three Legged Mahogany Table attributed to Eugène Vallin

French Armchairs by Louis Majorelle

A pair of French Art Nouveau "Pommes de Pins" walnut armchairs by Louis Majorelle. The chair backs and seats are upholstered in green fabric. They have carved arms, legs and spindle sides. This model of arm chair was used in the bed chamber of Madam Majorelle. Pictured in: "Majorelle: Une Aventure Moderne," by Roselyne Bouvier, Paris: La Bibliothèque des Arts, 1991, page 118, plate 120.

French Armchairs by Louis Majorelle

Gauthier & Poinsignon French Settee

A French settee by Camille Gauthier & Paul Poinsignon. The settee in mahogany has carved stylized flowers on the back, arms and below the seat. Upholstered in green fabric.

Gauthier & Poinsignon French Settee

Armchair by Louis Majorelle

A French armchair by Louis Majorelle. This gracefully-proportioned chair has simple linear carvings on its legs. It is upholstered in green velour. A similar chair is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396.

Armchair by Louis Majorelle

French Art Nouveau Pedestal by Jacques Gruber

A French three tier sellette in walnut with floral motifs by Jacques Gruber. This gracefully carved round sellette has three curving legs.

French Art Nouveau Pedestal by Jacques Gruber

Pair of French Gauthier & Poinsignon Side Chairs

A pair of French side chairs in mahogany by Camille Gauthier & Paul Poinsignon. The chairs have carved stylized flowers on their backs, arms and below the seats. They are upholstered in green fabric.

Pair of French Gauthier & Poinsignon Side Chairs

Nouveau Wall Shelf with Calla Lilies

An Art Nouveau style wall shelf with Calla Lilies, also known as bog arum. The Calla lily was endemic to the lakes of the Vosges, the mountain range of the Alsace-Lorraine region. The Vosges were of considerable inspiration to the artists of the ecole d''nancy and the eighteenth century of the Hautes Vosges frequently attracted the school''s botanical artists.

Nouveau Wall Shelf with Calla Lilies

French Art Nouveau Games Table by Gallé

A French Art Nouveau games table by Emile Gallé, featuring inlaid fruitwood marquetry depicting thistles and card suit symbols. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 130, plate 1.

French Art Nouveau Games Table by Gallé

French Art Nouveau "Aux Pins" Armchair by Majorelle

A French Art Nouveau carved walnut upholstered armchair, "Aux Pins," by Louis Majorelle. The chair has carved wooden sections depicting pine cones, a recurring motif in Majorelle''s naturalist vocabulary. A similar chair appears in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue), as Cabinet de Travail "Les Pins", and in "The Paris Salons, 1895-1910, Volume III: Furniture," by Alastair Duncan, Antique Collectors'' Club, Publishers, page 407.

French Art Nouveau 'Aux Pins' Armchair by Majorelle

French Art Nouveau Table by Majorelle

A French Art Nouveau table by Louis Majorelle. The table top is decorated with leaves and flowering vines in fruitwood marquetry. The table''s marquetry sides are ornamented with a band of irises.

French Art Nouveau Table by Majorelle

French Art Nouveau Wooden Armchair by Edouard Colonna

A French Art Nouveau armchair, by Edouard Colonna, in carved mahogany with green upholstery. A similar chair is pictured in "The Paris Salons, 1895-1910, Volume III: Furniture," by Alastair Duncan, Antique Collectors'' Club, Publishers, page 108.

French Art Nouveau Wooden Armchair by Edouard Colonna

French Art Nouveau Armchair by Majorelle

A French Art Nouveau walnut armchair by Louis Majorelle, featuring sinuously curved arms and legs. The top of the chair is decorated with an intricately carved floral motif. It is upholstered in a feather-like pattern fabric in grey, rust and browns.

French Art Nouveau Armchair by Majorelle

French Art Nouveau Wooden "Ombelle" Table by Emile Gallé

A French Art Nouveau "Ombelle" carved walnut table, by Emile Gallé. The table is decorated with fruitwood marquetry featuring a butterfly alighting on an ombelle blossom and has three carved feet. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 202, plate 182.

French Art Nouveau Wooden 'Ombelle' Table by Emile Gallé

French Art Nouveau Wooden Table by Louis Majorelle

A French Art Nouveau mahogany center table by Louis Majorelle, the rounded top above a slightly bowed frieze, over downswept tapering channeled legs joined by a conforming undertier, ending in attenuated foliate cast sabots. A similar table is pictured in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue) .

French Art Nouveau Wooden Table by Louis Majorelle

French Art Nouveau Pedestal by Selmersheim

A French Art Nouveau rosewood two-tiered pedestal by Anthony Selmersheim. While the top tier is circular, the lower shelf has four symmetric lobes. The four supports are sinuous and carved. A similar pedestal is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 464.

French Art Nouveau Pedestal by Selmersheim

French Art Nouveau Games Table by Gallé

A French Art Nouveau games table in cedar and walnut by Emile Gallé, featuring inlaid marquetry when closed and open. When closed, the marquetry decoration is of tree branches with buds and flowers and can serve as an end table. Opened, the motif is more foliate. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 134, plates 8 and 8a.

French Art Nouveau Games Table by Gallé

French Art Nouveau Pedestal by Majorelle

A French Art Nouveau two-tier wooden pedestal by Louis Majorelle, featuring a triangular top, a clover-shaped second tier and three sinuous, carved supports. A similar table is pictured in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue).

French Art Nouveau Pedestal by Majorelle

French Art Nouveau Desk by Selmersheim

A French Art Nouveau mahogany desk by Selmersheim, featuring original bronze pulls on the 14 separate drawers and the shelf that slides out from the desk''s right side.

French Art Nouveau Desk by Selmersheim

French Art Nouveau Table by Louis Majorelle

A French Art Nouveau mahogany two-tiered square table by Louis Majorelle, featuring featuring a detailed border on the top tier and bronze sabots on the legs. A similar table is pictured in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue).

French Art Nouveau Table by Louis Majorelle

Majorelle Table with Detailed Border

A French Art Nouveau mahogany table by Louis Majorelle, featuring a detailed border on the top tier and bronze sabots on the legs. A similar table is pictured in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue).

Majorelle Table with Detailed Border

French Art Nouveau Desk

A French Art Nouveau mahogany Ecole de Nancy desk, featuring a hand-tooled leather top, letter rack and bronze drawer pulls with a floral motif. The rounded carved details also draw inspiration from vegetal forms.

French Art Nouveau Desk

French Art Nouveau Table by Majorelle

A French Art Nouveau marquetry walnut and macassar ebony salon table by Louis Majorelle. The table top is decorated with leaves and vines. The legs have carved flowers. Pictured in "Louis Majorelle: Master of Art Nouveau Design" by Alastair Duncan, Harry N. Abrams, New York, Publishers, page 204 (plate 131, Salon furniture).

French Art Nouveau Table by Majorelle

French Art Nouveau Side Table by Edouard Colonna

A French Art Nouveau mahogany side table with carved decoration in an abstract curvilinear vegetal motif by Edouard Colonna (1862-1948). Along with Louis Comfort Tiffany, Edouard Colonna was one of the main designers who worked for Siegfried Bing and who, under Bing''s guidance, was responsible for the creation of what is known today as the Modern Style, or Art Nouveau. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. Colonna furniture, jewelry and designs for small objects like scarf and money holders would become the backbone of Bing''s business. By 1898 a number of his works were on display at Bing''s L''Art Nouveau. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 109.

French Art Nouveau Side Table by Edouard Colonna

A French Art Nouveau Wooden Pedestal by Emile Gallé

A French Art Nouveau two-tiered square pedestal with carved and marquetry decoration by Emile Gallé. The pedestal has two marquetry shelves depicting leaves. Its four sinuous legs are enhanced with carved arch supports. A similar selette is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 253, plate 18.

A French Art Nouveau Wooden Pedestal by Emile Gallé

French Art Nouveau Walnut Vitrine

A French Art Nouveau walnut vitrine in ash and rosewood, featuring clemantis depicted in marquetry and deep carving. The vitrine has two lockable storage areas, each with a shelf, and two drawers that swing out from the body. There is also a shelf in the glass-fronted area near the top of the piece. The vitrine''s three legs are decorated with carved roots.

French Art Nouveau Walnut Vitrine

Louis Majorelle French Art Nouveau Triangular "Gueridon" Table

A French Art Nouveau mahogany triangular gueridon with elegant carved decoration and curvilinear design by Louis Majorelle. Each leg ends in a gilt broze sabot. A similar table is pictured in: "Louis Majorelle: Master of Art Nouveau Design," by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, p. 108, plate 103.

Louis Majorelle French Art Nouveau Triangular 'Gueridon' Table

"Aux Grenouilles" Umbrella Stand, by Emile Gallé

French Art Nouveau marquetry "Aux Grenouilles" umbrella stand, by Emile Gallé. This stand for umbrellas and walking sticks incorporates frog (Grenouille) handles and feet in cast bronze, a decorative fillip that provides an otherwise utilitarian piece of furniture with a novel and charming appeal. The cabinet''s feet are syntheses of the legs of a pickerel frog and the feet of a lion. While Galle''s artistic antecedents created chimeric creatures of their own, their fabrication was more of a fantasy than a representation of reality. By the turn of the century, the rapidly developing field of microbiology had rendered the creation of chimeras a foreseeable event. The writings and discoveries of Louis Pasteur added an entirely new class of symbols to Galle''s oeuvre. Galle wrote of Pasteur''s discoveries "we can decipher, behind the chimeric anatomies, the realities that have become manifest, submitted, cataloged, grown in test tubes." In 1892, Galle honored Pasteur for his contributions to science with a vase. The vase is decorated with all manners of mythological creatures and microorganisms. In the cabinet''s "Grenouilles" feet, the artist syncretizes the symbols of two different "currents." The morphology of the lion''s paw offers the viewer a "peaceful stream of our predilections." The lion paw with its hallowed history calls to mind the conservative values of nobility and ... honor. By comparison, the hind legs of the pickerel frog originate from the "fast...deep…[and] powerful" current of modernity that offers symbols free from prescribed values. In the hands of Galle''s genius, these symbols generate all manners of novel methods of furniture construction that are evident The cabinet features two doors opening to reveal two shelves. The left door is veneered with two dragonflies that dart amongst the pickerel rush. This American aquatic plant was popular amongst French horticulturalists as a staple in ornamental fish ponds. Galle''s "Aux Grenouilles" design was the only instance in which Galle represented the pickerel rush. The Grenouille cabinet is a rare example of Galle''s use of sand shading. This eighteenth-century technique involves the submersion of veneer pieces in hot sand. This provides a subtle gradation that is visible in the outer serrated margin of the pickerel leaf and the background of the mushroom landscape. The upper right-hand drawer is decorated with a frieze of carved wood arrowheads that wraps around the cabinet''s sides. The arrowheads are furled into arabesques that echo the dragonflies in the gallery. Similar "Aux Grenouilles" umbrella stand pictured in Gallé Furniture, by Alastair Duncan and Georges de Bartha, Antique Collectors'' Club, Page 287, Plate 5.

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'Aux Grenouilles' Umbrella Stand, by Emile Gallé

Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

"L''Anémone des Bois", A French Art Nouveau masterwork by René Lalique. Created in 1897, this 18 karat gold brooch showcases Lalique''s mastery of "plique-à-jour" enamel and also represents one of his earliest explorations of the art of molded glass. The brooch is accented by two oval faceted aquamarines weighing approximately 8.10 and 3.75 carats. More than any technical mastery or gemological import, the brooch is distinguished by its aesthetics and its deep meaning. This exquisite "Anémones des Bois" Brooch is an important example of René Lalique''s early work, predating his international debut at the Exposition Universelle of 1900. While his most prolific version of the anemone motif was the "Anémone couronnée" or poppy anemone, only a few choice pieces depict the "Anémone des Bois" or wood anemone. Unlike the poppy anemone, which grew in the balmy Mediterranean summer, the Anémone des Bois was known to the French as the harbinger of spring. While the forest floor lay dormant, the wood anemone alone reared its small head. Areas where the poor could pick this humble flower were demarcated with signs reading "Les Halles." The Anémone des Bois lined the border of the forest, enticing promenading couples into the forest''s embrace for an afternoon tryst. Pure white anemones thus became a symbol of virginal purity, mourning its imminent profanity by carnal desire. Lalique ... knew these traditions well from spending his childhood and summer holidays in the commune of Aÿ in Marne, located on a plateau overlooking the hillsides of Champagne. Two forests dominated the Marne landscape. To the west lay the old-growth forest of Sermiers, and to the east lay La forêt domaniale du Chêne à la Vierge. Promenading in the forest was a popular Sunday pastime for locals, especially as a way to escape the unrelenting dry heat of the noonday sun. Lalique expanded upon the theme of carnal desire, using the anemone to allegorize the stages of courtship. Our Anémone des Bois marked the beginning of this five-year-long exploration. With its petals slightly closed, the flower embodies the initial "rejet" or rejection of love. Fitting of a depiction of "rejet" the work epitomizes divine symmetry and youthful vigor. The flower''s posture relates to local wisdom: villagers could tell rain was coming when the Anémone des Bois closed its petals. By closing its petals, the flower rebuffs the words and sexual advances of the man. The second anemone in the series has its petals in disarray but receptive to potential pollination. An anemone in this position embodied "l''acceptation de l''amour" or the acceptance of love. The third anemone is the most sensual of the series, two anemones approach a passionate kiss, embodying the "consommation" or consummation. The final anemone in the series was completed in 1901. Titled "Mort de l''anémone" it is Lalique''s only representation of the blue anemone. Through the consummation, its petals have been dyed and its purity defiled. In macabre detail, the skeletal structure of the anemone''s rhizomes, or underground stems, are put on full view. The plant has been uprooted, and the encounter has finished. Contemporary novelist Émile Pouvillon related the death of the anemone to the act of deflowering in his 1895 short story "Les Anémones sont Mortes." The story''s heroine, a young country girl, loses herself in a bout of unrestrained euphoria with her lover. In their rolling about, "Anémones des Bois" are ripped out and bruised. At the 1898 Salon, the first Anémone des Bois was a critical triumph. Displayed with the second and third anemone in the series, the first was favored for its fully articulated plique-à-jour leaves. In the premier French decorative arts magazine Art et Décoration, the Anémone des Bois was praised for its "candid whiteness" and leaves that suggest "an infinitely complicated and precious architecture." Our Anémone des Bois is resplendent with the technical acuity that made Lalique known as the "master of modern bijoux (jewelry.)" In his early years, Lalique personally designed and modeled each mold for his creations in clay. These molds were then cast in iron and coated with a paste of resin and beeswax, hand-tooled for detail. The finish pressed-glass jewel was submerged in a bath of hydrofluoric acid, frosting the exterior. A thin layer of "jade green" powdered enamel was sifted and annealed onto the piece. The venation of each petal was painstakingly cut, revealing the plain crystal underneath. The warm glow of the gold backing gives the piece a breathtaking amber hue.

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Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

Art Deco Platinum, Diamond, and Enamel Jabot Pin

A French Art Deco platinum, diamond and enamel jabot pin designed in a floral motif with flowers at each end, set with 100 old European-cut diamonds with an approximate total weight of 2.90 carats, and black enamel forming the two flowers. This type of brooch, usually long and vertically shaped, consists of a single central pin with two decorative ornaments at either end. The lower ornament, which either clicks or screws into place, is detachable, allowing the connecting pin to be slipped through the garment. When fastened, the pin is invisible, so the two ornaments seem to float on the fabric. In the 1920''s and 1930''s, Cartier was famed for its jeweled jabots, which it called cliquet pins or brooches (named for the "click" made when the detachable ornament is snapped on to the pin). Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.

Art Deco Platinum, Diamond, and Enamel Jabot Pin

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

An American Art Deco platinum and enamel watch/brooch with diamonds, rubies and emeralds by Tiffany & Co. The watch/brooch has 215 round-cut diamonds with an approximate total weight of 4.65 carats, and 14 baguette diamonds with an approximate total weight of 1.00 carat, 20 square-cut diamonds with an approximate total weight of .90 carat, 6 cabochon rubies and 1 carved bead ruby with an approximate total weight of .52 carat and 11 cabochon and calibre-cut emeralds with an approximate total weight of .33 carat. "The style for decorative arts of the 1920''s was streamlined; form was reduced to basic geometry and the color palette was made strong and bold as opposed to the delicate pastels that were fashionable in the decades before the war. This trend became solidly established at the 1925 Paris Exposition des Arts Décoratifs, Industriels et Modernes, where visitors were electrified by the explosion of contrasting primary colors, geometric pattern and stylized natural subjects that burst on the scene," Falino and Markowitz. Similar pictured and discussed in American Luxury Jewels from the House of Tiffany, by Falino and Markowitz, editors, Antique Collectors'' Club, 2009, page 144, Plate 91. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

Ostertag Paris Art Deco Diamond and Platinum Double Clip Brooch

A French Art Deco platinum double clip brooch with diamonds by Ostertag. The double clip brooch has 182 round and baguette-cut diamonds with an approximate total weight of 9.50 carats, G/H/I color, VS/SI clarity. Original bill of sale from M.S.Arnold Ostertag. The clips are designed in a stylized wing motif. Signed box, ''Paris Arnold Ostertag''. The firm of Ostertag, founded in the 1920''s by Swiss-born, Arnold Ostertag (1883 – c.1940) is said to have created objects that rivaled the creations of the more celebrated houses of Cartier, Van Cleef & Arpels, and Boucheron. The Ostertag Maison was located in Paris, at number 16 Place Vendôme, near other important jewelry houses of the day. During the 1920s and 1930s, Ostertag was especially known for jewelry and objets d''art based on Asian and Indian designs. One style, known as Tutti Frutti, popular from the early 1920s to the late 1930s, combined influences from Islamic religious architecture and so-called Hindu or Indian styles. Emeralds, carved rubies, and sapphires – often imported from worldwide locations – were interspersed with diamonds. The jewels were crafted into unique pieces using the highest known techniques of the day and arranged into flowers and leaves, studded with berries and fruit. Many of the creations were purchased by an elite clientele that ranged from empresses, kings, and dukes to celebrities. Ostert ... ag was among the renowned Parisian jewelers, led by Cartier and Mauboussin, that were invited to commission masterpieces in collaboration with other respected and well-known jewelry and timepiece houses of the day. Ostertag''s objets d''art and decorative clocks made by the revered clockmaker, George Verger, are jeweled works of art. In 1929 Ostertag exhibited jewelry and objets d''art at the Musée Galliera. Ostertag''s Paris shop continued until late 1939, when he left for America, where he died around 1940. His biographers, Proddow and Healy, write that Ostertag regularly visited America in years between World Wars I and II. They write that he would come to New York in mid-October, spend two months in Los Angeles, then visit Florida, and return to Paris via Cannes at Easter. After two months in Paris, he spent July in Deauville, August in the south of France, and September in Biarritz. At the onset of World War II, Maison Ostertag closed its doors forever. Discussed in Art Deco Jewelry by Sylvie Raulet, Rizzoli, 1985.

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Ostertag Paris Art Deco Diamond and Platinum Double Clip Brooch

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

An Antique English 18 karat gold, diamond, natural pearl and enamel hinged bracelet by Hunt & Roskell of London. The bracelet features 84 old mine- and rose-cut diamonds that have the approximate total weight of 2.70 carats. The natural pearl center plaque of the bracelet is removable and can be worn as a brooch. The center pearl measures 8.55 mm. with 4 additional pearls that measure 5.9 mm. With original brooch attachments and original signed fitted box. Selected as jewelers and goldsmiths to Her Majesty in the 1840s, Hunt & Roskell of New Bond Street were prominent participants in the Crystal Palace Exhibition of 1851, the first of the competitive international expositions that provided dynamic impetus to creativity and accomplishment in the fine and decorative arts. Their work ran from glamorous (diamond and gem-set tiaras convertible into necklaces) to exotic (bracelets set with rare Indian portrait diamonds), and they were owners for a time of the legendary Hope blue diamond. In keeping with the firm''s tradition of versatility, this chic bracelet, with its creamy natural pearls set off by sparkling antique-cut diamonds, conceals a brooch fitting under the velvet interior of its original morocco leather box.

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

Loïe Fuller" Lithograph by Orazi

A French "Théâtre de Loïe Fuller" lithograph by Manuel Orazi. The poster depicts the dancer Loïe Fuller with flowing red hair and her signature billowing costume, surrounded by stylized flowers. Realistically-drawn flowers descend from the poster title. The artist''s insignia appears on the lower right of the image. A similar poster is pictured in:" Loïe Fuller: Magician of Light," Exhibition at the Virginia Museum, March 12-April 22, 1979, Richmond: The Virginia Museum, 1979, p. 76; and in: "The Kogod Collection," E. Greenwich, RI: Meridian Printing, 2004, p. 242.

 Loïe Fuller' Lithograph by Orazi

French Art Nouveau "Danseuse A L'Écharpe No. 12" gilt bronze sculptures by Agathon Léonard.

A French Art Nouveau "Danseuse A L'Écharpe No. 12" gilt bronze sculpture by Agathon Léonard. Originally created as a smaller group of ceramic figures, possibly based on the dancer Loïe Fuller, the series was completed in hard porcelain by the Manufacture Nationale de Sèvres as a fifteen-piece table-top group, "Jeu de L'Echarpe." After acclaim at the Paris Exposition Universelle of 1900, the French foundry Susse Frères produced bronze casts of these, incorporating discreet lighting on some models. Published/Exhibited: Macklowe and Goldring, "Dynamic Beauty: Sculpture of Art Nouveau Paris," 2011, p. 190; Böstge, "Agathon Léonard: Le geste Art Nouveau," 2003, p. 75.

French Art Nouveau 'Danseuse A L'Écharpe No. 12' gilt bronze sculptures by Agathon Léonard.

English Victorian silver-plated suite by Elkington & Co.

A suite of three English Victorian silver-plated objects by Elkington & Co. The suite comprises a pair of four-light candelabra and an epergne. Each candelabrum is decorated with three sphinxes that sit atop a splayed paw-footed platform. The stem and arms are adorned with a classic foliage decoration. The epergne is ornately decorated and accented with enamel work surrounding the "Three Graces;" daughters of Zeus who were said to represent youth, beauty, mirth and elegance. The graces presided over banquets and gatherings, to delight the guests of the gods. Elkington & Co. was founded by George Richards Elkington and his brother Henry Elkington in the 1830''s. The company, over the years, was very successful and known to be a prime producer of silver-plated objects. Elkington received various royal warrants of appointments including an appointment from the emperor of Austria.

English Victorian silver-plated suite by Elkington & Co.

French Art Nouveau Bronze Sculpture by Rivere

A French Art Nouveau patinated bronze sculpture by Théodore Rivie`re, featuring two intricately-sculpted figures from the story of Carthage. The woman has emerald eyes and her crown is accented with rubies. The subject of this figural sculpture is taken from Gustave Flaubert''s novel, "Salammbô." The story takes place between 241 and 238 BC, during the war between Carthage and its mercenaries, who were in revolt. Mâthô, the Lybian rebel chief, fell in love with Salammbô, the daughter of the Carthaginian leader. This scene depicts the moment when the mortally wounded Mâthô dies at Salammbô''s feet, declaring his love for her. The figure of Salammbô, the femme fatale,also inspired other Symbolist artists. Pictured in: "Art Nouveau 1890-1914", V&A exhibit by Paul Greenhalgh, page 122; "Nineteenth Century Sculpture" by Maurice Rheims, p. 372 # 15; and in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p. 229.

French Art Nouveau Bronze Sculpture by Rivere

French Art Nouveau Lighted Gilt Bronze Inkwell with Sculpture by Korschann

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.

French Art Nouveau Lighted Gilt Bronze Inkwell with Sculpture by Korschann

French Art Nouveau Bisque Ceramic Sculpture by Leonard and Sevres titled "Danseuse Tambourin à Droite"

A French Art Nouveau bisque ceramic figural sculpture by Agathon Léonard, titled "La danse du tambourin, tete penchée à droite" ("Tambourine dance, head leaning to the right"), from the series "Le jeu d''écharpe." Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. The series was produced in both bronze and ceramic. Le jeu d''écharpe was inspired by the dancer Loïe Fuller. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p. 186; and in: Agathon Léonard: Le geste Art Nouveau, by Ingelore Böstge, Paris: Somogy editions d''art, 2003, p. 52, cat. no. 14.

French Art Nouveau Bisque Ceramic Sculpture by Leonard and Sevres titled 'Danseuse Tambourin à Droite'

French Art Nouveau Gilt Bronze Vide-Poche by Max Blondat

A French Art Nouveau gilt bronze vide poche by Max Blondat, titled "An Embrace." The vide poche features the heads and torsos of a man and a woman sweeping up from the sides of the dish. Each of the lovers has an arm around the other. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 57.

French Art Nouveau Gilt Bronze Vide-Poche by Max Blondat

French Art Nouveau Tray with Sculpted Femme Fleur by Louis Chalon

A French Art Nouveau gilt bronze tray with sculpted femme fleur by Louis Chalon, titled "Pirouetting Femme-fleur." The female nude stands, with upraised arms, on a rose blossom. A vine climbs up her legs, and she wears a foliate wrap on her back. The tray rim is decorated with flowers. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 107.

French Art Nouveau Tray with Sculpted Femme Fleur by Louis Chalon

French Art Nouveau Tray and Inkwell by Flamand

A French Art Nouveau gilt bronze tray and inkwell by Georges Flamand, with a woman''s face set in leaves with powder blue turquoise cabochon decorations. The inkwell is shaped like a flower. It is titled "Inspiration at Dawn." Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 128.

French Art Nouveau Tray and Inkwell by Flamand

French Art Nouveau Silvered Figural Sculpture by Leonard

A French Art Nouveau silvered bronze figural sculpture by Agathon Léonard, featuring a woman dancing and playing a tambourine. This figure is one of "Le jeu d''écharpe" (The Scarf Set), originally produced and cast by Sèvres, and awarded a Gold Medal at the 1900 Paris Exposition Universelle. The series was later cast in bronze by the Susse Frères foundry, with special limited editions in silvered bronze, such as this piece. Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. Le jeu d''echarpe was inspired by the dancer Loïe Fuller. Pictured in "Agathon Léonard: Le geste Art Nouveau" by Ingelore Bostge, page 68 cat. 49.

French Art Nouveau Silvered Figural Sculpture by Leonard

"La Fée" Bronze Sculpture by Louis Chalon

A French Art Nouveau "Fairy" or "La Fée" bronze sculpture by Louis Chalon. A nude female figure stands on an open flower with complex, textured roots. On her back are four "wings" in the shape of orchid leaves. An orchid petal rises from the back of her head. Signed in base of sculpture. The base of the sculpture is marble. A similar sculpture is pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris," by Macklowe Gallery, The Studley Press, 2011, p. 106.

'La Fée' Bronze Sculpture by Louis Chalon

French Art Nouveau Patinated Bronze Sculpture by Sarah Bernhardt

A French Art Nouveau patinated bronze sculpture by Sarah Bernhardt. This sculpture is known to be a self-portrait with a chimera personification. The Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The term chimera has come to describe any mythical or fictional animal with parts taken from various animals, or to describe anything composed of very disparate parts, or perceived as wildly imaginative, implausible, or dazzling. This work has be accessioned into the permanent collections of The Museum of Fine Art Boston, The Virginia Museum of Fine Art and the Princeton Museum. There was also a sculpture given by the artist to King Edward VII and Queen Alexandra, and it remains in the Royal Collection Trust.

French Art Nouveau Patinated Bronze Sculpture by Sarah Bernhardt

French Art Deco Vase by Claudius Linossier

A rare French Art Deco ovoid-shaped vase by Claudius Linossier. This geometric vase is constructed with silver-domed brass heel and patinated fire decoration and silver inlays on a hammered brown background. Claudius Linossier (1893-1953) was a highly important French Art Deco metal artist who chose to work in the very old and very difficult technique of dinanderie, which involved decorating hand-raised copper vessels with specially-made metal oxides that were hammered into the surface, and, when heated, produced subtle and beautiful colors. For more information about Linossier and this technique, have a look at our bio of him. His pieces can be found in many museums and private collections. Bibliography: "Claudius Linossier dinandier" - Jean Gaillard, Lyonnaise Editions of Art and History, Lyon, 1994. Our vase, appearing on an archive photograph reproduced on page 166, referenced 605 (year 1925) and accompanied by a note of the artist: [Black vase, red copper, silver. 60 Dollars. Very beautiful ovoid shape]

French Art Deco Vase by Claudius Linossier

Chalon "Octopus Dancer" Sculpture

A French Art Nouveau gilt bronze figural sculpture by Louis Chalon. Chalon''s dancing woman with an octopus at her feet, one of its tendrils wrapped around her leg, is a pure expression of feminine sensuality. Her veils summon the Orient, imbuing her with exoticism. Her freeform dance movement and extended limbs enact her sexual ecstasy. The piece explores the turn-of-the century fascination with Japanese shunga, artwork that depicts sensual pleasures. Many showed women being engulfed by an octopus in varied and multiple ways. A similar sculpture is pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris," by Macklowe Gallery, The Studley Press, 2011, p 101.

Chalon 'Octopus Dancer' Sculpture

German Art Nouveau Bronze Sculpture by Hoetger

A German Art Nouveau bronze sculpture, "La Pleureuse," by Bernhard Hoetger, depicting a weeping woman with her head in her hands. The sculpture is executed in patinated bronze. Bernhard Hoetger (born 4 May 1874 in Dortmund; died 18 July 1949 in Interlaken) was an important German sculptor, painter and handicrafts artist of the Expressionist movement. The son of a Dortmund blacksmith, he studied stone carving and sculpture in Detmold from 1888 to 1892, before directing a workshop in Rheda-Wiedenbrück. After some time at the Dusseldorf Arts Academy, he took a trip to Paris, where he was deeply influenced by Auguste Rodin. Hoetger''s bronze sculpture of the American dancer Loïe Fuller shows evidence of Rodin''s influence, and marks the height of Hoetger''s accomplishments in the Art Nouveau style. Hoetger resided in Paris and participated in the founding of the Salon d''Automne in 1905. In 1911, Hoetger was employed as professor and "maitre" to the "artistic colony" of Darmstadt, where he remained until 1919. In 1914, inspired by Becker-Modersohn, he traveled to Worpswede. It was here where he met Ludwig Roselius, a German coffee merchant, with whom he would go on to create his masterpiece, Bremen''s Böttcherstraße, in an Expressionist style. In 1949 he settled in Switzerland, where he died.

German Art Nouveau Bronze Sculpture by Hoetger

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face over original silk lining. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, two years before William Carr Hutton died, a showroom ... in London was opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd. PROVENANCE: Victor and Gretha Arwas, Editions Graphiques, London, circa 1983. Pictured in Victor Arwas, "Liberty Style," Tokyo, 1983, p. 118, no. S.24

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Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face. PROVENANCE Victor and Gretha Arwas, Editions Graphiques, London, circa 1983. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, two ... years before William Carr Hutton died, a showroom in London was opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.

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Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face. PROVENANCE: Victor and Gretha Arwas, Editions Graphiques, London, circa 1983. William Hutton & Sons Ltd wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, two years before William Carr Hutton died, a showroom in London was opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver picture frame with a floral decoration by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd. wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, two years before William Carr Hutton died, a showroom in London w ... as opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.

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Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face. PROVENANCE: Victor and Gretha Arwas, Editions Graphiques, London, circa 1983. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd. wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, ... two years before William Carr Hutton died, a showroom in London was opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.

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Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face. PROVENANCE Victor and Gretha Arwas, Editions Graphiques, London, circa 1983. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd. wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry. After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, tw ... o years before William Carr Hutton died, a showroom in London was opened. William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances. In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.

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Silver, Enamel Picture Frame by William Hutton & Sons, Ltd.

Austrian Art Deco Nickel-Plated Jazz Band Sculptures

A set of two Austrian Art Deco nickel-plated Jazz Band sculptures, comprising a saxophone player and a drummer, by Franz Hagenauer. Karl Hagenauer was an influential designer in the Art Deco style. He enrolled at the Vienna School of Applied Arts at age eleven. He studied with Josef Hoffmann and Oskar Strnad and created designs for the Wiener Werkstätte art collective. After wartime service in the infantry, he resumed his training and qualified as an architect. He joined the family business in 1919 and soon took on leadership in both design and management. Karl Hagenauer was responsive to the change in public taste influenced by the popularity of the Vienna Secession. While Karl was the principal designer of everyday objects (and some sculptures), his younger brother Franz specialized in sculpture. Franz Hagenauer also studied from an early age with Franz Cižek at Vienna''s School of Applied Arts, and joined the family business at age twenty. His interest and talent lay in sculpture with sheet metals rather than cast figures. Later in his career he was head of metalwork and metal design classes at the Academy of Applied Arts. Franz took over the running of the company after Karl died in 1956. A band of seven musicians sold Sotheby''s, New York, June 15, 2011, lot 81. Base dimensions: Saxophone 18-3/4" x 12-1/2 ". Drum 12-3/4" diameter

Austrian Art Deco Nickel-Plated Jazz Band Sculptures

French Art Nouveau Bronze Vase by Korschann

A French Art Nouveau vase by Charles Korschann in gilt-bronze. The vase has a diamond-shaped base that tapers to a narrow rounded top, where it intersects with swirling stems and flower buds that form the handle, and features sculpted decoration in relief. On the front, we see a nude female figure emerging from a field of poppies with flowers in her long, flowing hair. The composition is all about movement and abundance, with the entire space carpeted in flowers and the maiden''s hair spilling out over the frame. The reverse, on the other hand, is more sedate and controlled, depicting a stylized arrangement of flower buds, stems and leaves in a structured, ordered composition, executed in a lower relief with thin incised lines echoing the shape of the three flower buds like ripples in the water. The vase combines many common motifs from Symbolist and Art Nouveau design: bats (shown in relief on the top), poppies and seductive women, or femmes fatales. Together, they evoke a mysterious dream-state, suggested in the identification of poppies with opiates and bats with the night.

French Art Nouveau Bronze Vase by Korschann

Stoneware Mask by Rupert Carabin

A French stoneware mortuary mask by Rupert Carabin. The mask is of a man''s face. It is finished in beige and brown glaze. In the pursuit of sophisticated anatomical knowledge, Rupert Carabin attended public dissections at the Paris faculty of medicine. While there, he became acquainted with Jules Talrich, the presider of public dissections and head ceroplastician. Soon after, Rupert Carabin began an apprenticeship with the anatomist. In the midst of his training, Carabin sold mortuary masks for 100 F a head, the equivalent of $1100 in today''s money. The lucrative occupation allowed him to support himself while pursuing his true passion of erotic sculpture. Mortuary masks were modeled when the face of the deceased was too damaged to display, and embalming was no longer a sufficient method of repair. This rare intact example renders the deceased in an entirely unidealized state 8-12 hours after death. The face is in a supine position with the head turned three-quarters to the right. The skin shows significant bloating, livor mortis (wine-colored discoloration from blood pooling in the vessels), and tardieu spots (dark pinpoint spots created from ruptured capillaries). Carabin created this effect through a slip of iron oxide and an uneven beige and brown glaze. Carabin was known to have added pestled human ashes to his glazes, an addition that was most likely responsible for ... the mask''s irregular complexion and dramatic variation in color. This work is signed Carabin and bears a monogram representing a cat. Étienne Eichholtzer. "Le fonds photographique de François-Rupert Carabin (1890-1915) : le regard dévoilé ." Art et histoire de l''art. 2014. Ffdumas-01547084f Brunhammer, Y., and C. Merklen. 1974." L''Oeuvre de Rupert Carabin, 1862-1932." Paris: Galerie du Luxembourg. Universite´ de Nantes. 1980. [Actes du] Colloque de Nantes, 21-24 Avril 1976. 1, 1. Paris: Minard. Stead, E´vanghe´lia. 2013." La chair du livre: mate´rialite´, imaginaire et poe´tique du livre fin-de-sie`cle." Paris: PUPS. Reprinted as No. 195 p. 237 and p. 231 of the book The work of Rupert Carabin 1862-1932

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Stoneware Mask by Rupert Carabin

French Art Nouveau Bronze Sculpture by Carabin

A French Art Nouveau bronze sculpture of a castanet dancer in motion with flowing gown by Rupert Carabin. This barefoot woman holds her castanets out in front of her. Carabin made a number of sculptures of dancers in different poses.

French Art Nouveau Bronze Sculpture by Carabin

Tiffany & Co. Silver Bowl

Antique Tiffany & Co. New York, oval Sterling silver bowl with Floral Design.

Tiffany & Co. Silver Bowl

Carved Aquamarine Polar Bear by Gerd Dreher

A carved aquamarine polar bear sculpture in miniature by famed gem carver Gerd Dreher. Gerd Dreher is a German from the Idar-Oberstein region. His family has been carving gems for five generations. The bear''s coat has detailed textured carving. The sculpture''s color recalls that of glacial ice in Arctic fjords.

Carved Aquamarine Polar Bear by Gerd Dreher

19th Century Sculpture of a French Bulldog

A late 19th century sculpture of a French bulldog, carved in white and black mottled stone, with gold link collar adorned with red stone, and green stone eyes.

19th Century Sculpture of a French Bulldog

French Art Nouveau Bronze Sculpture by Savine

A French Art Nouveau sculpture, "Four Peacocks," by Léopold Savine, depicting the bust of a woman surrounded by four peacocks whose tails form pedestal on which her bust sits. Executed in patinated and silvered bronze. Pictured in: "Art Nouveau" by Judith Miller, p. 201; "Bronzes: Sculptors and Founders 1830-1930" by Berman, p. 775 # 2854; "Art Nouveau The French Aesthetic" by Victor Arwas page 249; and in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p.236.

French Art Nouveau Bronze Sculpture by Savine

French Art Nouveau Gilt Bronze Vide-Poche by Rousseau

A French Art Nouveau gilt bronze figural vide-poche by Loiseau-Rousseau titled "Riding the Wave," with the head of a woman situated below a breaking wave. The vide-poche has the shape of a sea shell. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p. 202.

French Art Nouveau Gilt Bronze Vide-Poche by Rousseau

French Art Nouveau Bisque Ceramic Sculpture titled "Danseuse Tambourin à Gauche" by Leonard and Sevres

A French Art Nouveau ceramic bisque figural sculpture by Agathon Léonard, featuring a woman dancing with a tambourine, titled "La danse du tambourin, tete penchée à gauche" ("The tambourine dance, head leaning to the left"}, from the series "Le jeu d''écharpe." Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. The series was produced in both bronze and ceramic. Le jeu d''écharpe was inspired by the dancer Loïe Fuller. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p. 187; and in: Agathon Léonard: Le geste Art Nouveau, by Ingelore Böstge, Paris: Somogy editions d''art, 2003, p. 51, cat. no. 12.

French Art Nouveau Bisque Ceramic Sculpture titled 'Danseuse Tambourin à Gauche' by Leonard and Sevres

German Art Nouveau Bronze Figural Vide-Poche by Bernhard Hoetger

A German Art Nouveau patinated bronze figural vide poche by Bernhard Hoetger featuring a windblown nude with floral vines climbing her leg and giving her some modesty. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 146.

German Art Nouveau Bronze Figural Vide-Poche by Bernhard Hoetger

French Art Nouveau Plaster Plaque by Rupert Carabin

A French Art Nouveau plaster plaque, titled "Allegory of Wine," by Rupert Carabin. The plaque, which is painted brown, features two nude women in bas-relief, one seated with her arms extended, the other standing in profile and coyly holding a dish of fruit. The delicate interaction of the two women celebrates the female form and feminine sensuality. Freed from the constraints of corsets and fashion, Art Nouveau sculpture frequently explored the female nude and embued her with a new mystique. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 83.

French Art Nouveau Plaster Plaque by Rupert Carabin

Art Nouveau Bisque Ceramic Sculpture by Agathon Leonard titled "Danseuse au Cothurne"

A French Art Nouveau bisque ceramic figural sculpture by Agathon Léonard, featuring a woman holding her dress with her right hand. Titled "Danseuse au cothurne" from "Le jeu de l''écharpe." This figure is one of the "la danse" (the dance) set, originally produced and cast by Sèvres and presented by the artist at the 1900 Paris Exposition Universelle. A cothurne (English translation cothurnus) was a laced boot worn by actors in Greek and Roman tragedies. Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. The series was produced in both bronze and ceramic. Le jeu d''echarpe was inspired by the dancer Loïe Fuller. This smaller size series is extremely rare. A similar model is pictured in "Agathon Léonard: Le geste Art Nouveau" by Ingelore Boestge, Somogy editions d''art, Paris 2003, p.51, Plate number 13.

Art Nouveau Bisque Ceramic Sculpture by Agathon Leonard titled 'Danseuse au Cothurne'

French Art Nouveau Silvered Figural Sculpture by Leonard

A French Art Nouveau silvered bronze figural sculpture by Agathon Léonard featuring a woman dancing titled "Danseuse chantant" (singing dancer). This figure is one of "Le jeu d''écharpe" (The Scarf Set), originally produced and cast by Sèvres, and awarded a Gold Medal at the 1900 Paris Exposition Universelle. The series was later cast in bronze by the Susse Frères foundry, with special limited editions in silvered bronze, such as this piece. Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. Le jeu d''echarpe was inspired by the dancer Loïe Fuller. A similar model is pictured in "Agathon Léonard: Le geste Art nouveau," by Ingelore Boestge, Somogy editions d''art, Paris 2003, p.62, Plate number 35. Provenance: Elizabeth Taylor

French Art Nouveau Silvered Figural Sculpture by Leonard

Art Nouveau Patinated Bronze Figural Sculpture by Ségoffin

A French Art Nouveau patinated bronze figural sculpture, depicting a dancer with scarves and cymbals by Victor Ségoffin (1867-1925). Born in Toulouse, educated at Ecole nationale superieure des Beaux-Arts in Paris under Louis-Ernest Barrias and Pierre-Jules Cavelier, Segoffin won the Prix de Rome for sculpture in 1897.

Art Nouveau Patinated Bronze Figural Sculpture by Ségoffin

Art Nouveau Silver and Enamel Vase by Feuillatre

A French Art Nouveau silver and enamel vase by Eugène Feuillatre. The vase is decorated with leafed branches holding pink and gold cloisonné flowers and buds against a sky blue background. It rests on a braided silver stand with three carved feet. The rim is decorated with silver scarabs. A similar vase is pictured in: "Art Nouveau: The French Aesthetic", by Victor Arwas, London: Andreas Papadakis, 2002, p. 397.

Art Nouveau Silver and Enamel Vase by Feuillatre

Bronze Figural Jardiniere by Marionnet

A French Art Nouveau patinated bronze figural jardiniere by Alfred Marionnet. The body of the jardinere is decorated with a nude female embracing the vessel. The woman''s naked feed extend beyond the jardinere''s curving form. The vessel is also decorated with branches that have leaves and berries in relief. The rim of the jardinere is encircled by entwined branches.

Bronze Figural Jardiniere by Marionnet

Enamel and Bronze "Femme-fleur Lily" by Godet

A French Art Nouveau enameled bronze Femme Fleur by Henri Godet (1863-1937). The sculpture depicts the patinated bronze head and neck of a young woman growing out of an enameled red and yellow lily flower. It rests on a red marble base, with the flower perched on a green enameled leaf decorated with a gilt bronze flower. Literature: Alastair Duncan, "Art Nouveau Sculpture," New York, Rizzoli International, 1978, p. 47, for another example from the collection of Victor Arwas. "Dynamic Beauty: Sculpture of Art Nouveau Paris", Macklowe Gallery, New York, 2011 exhibition catalogue; pp. 133-34 for similar examples from this rare series, and p. 135 for an identical example on another base from a later date.

Enamel and Bronze 'Femme-fleur Lily' by Godet

Bronze Vase by Charles Korschann

A French Art Nouveau patinated bronze vase by Charles Korschann. The vase features an ascending spiraling band decorated with cloud-like swirls, women''s faces, pansy blossoms and stars.

Bronze Vase by Charles Korschann

French Art Nouveau Bronze Bust by Chalon

A French Art Nouveau gilt bronze bust of a woman by Louis Chalon, "The Sunflower at Dawn." The young woman wears her wavy hair loose, with a headband decorated with a feather and flower. Her right shoulder is ornamented with drapery and a floral-motif brooch. A large sunflower covers her bare breasts. A similar bust is pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 111.

French Art Nouveau Bronze Bust by Chalon

Bronze Portrait of Sarah Bernhardt by Paul François Berthoud

A French Art Nouveau gilt and patinated bronze portrait of Sarah Bernhardt by Paul François Berthoud. Sarah Bernhardt was the most important dramatic actress of the 19th century. She is portrayed here with a jeweled sash and flowing hair, no doubt a reference to her role as Gismonda in the play by Victorien Sardou. A sculpture belonging to this series is in the collection of the French National Museum.

Bronze Portrait of Sarah Bernhardt by Paul François Berthoud

French Floriform Candlesticks by Paul Follot

A pair of French Art Nouveau silvered metal floriform candlesticks by Paul Follot. Follot was one of the main artists represented by "La Maison Moderne," a Parisian gallery that championed the avant-garde artists of the day. Follot was one of the few French artists to achieve success in both the Art Nouveau and Art Deco periods, and his work can be found in museum collections worldwide. Similar candlesticks are pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 263.

French  Floriform Candlesticks by Paul Follot

Paul Follot Coffee and Tea Service

A rare and important French Art Nouveau silvered metal coffee and tea service by Paul Follot. The set includes a tray, tea and a coffee pots, and containers for sugar and cream. The set is decorated with whiplash curves, fabric-like folds and a spray of monnaie du pape ("the Pope''s money") leaves. This set was manufactured by Metallwarren Fabrik, F.w. Quist, Esslingen, Germany. All five pieces are signed "Follot". The service was exhibited at the Salon Décorateurs in 1904. The model is in the Musee d''Orsay, the V & A, and the Brohan Museum. Circa 1902. In the year 2000, an identical set was exhibited: Art Nouveau 1890-1914 at the Victoria & Albert Museum and the National Gallery of Art. Provenance: Purchased in Wiesbaden, Germany from a prominent lady who is now in her late sixties. This tea service, with its original box, was her mother''s wedding gift. Similar set pictured in: "Art Nouveau: The French Aesthetic," by Victor Arwas, p. 393 Art Nouveau Belgium France, by Yvonne Brunhammer, p. 206, pl. 306 "Art Nouveau: 1890-1914," by Paul Greenhalgh, p. 234, pl. 14.13. "The French Decorative Arts, the Societé des Artistes Décorateurs 1900-1942," by Cf. Y. Brunhammer + S. Tise, Paris 1990, p. 16-17. "Art Nouveau," by Judith Miller, page 180. Dimensions: 16¾" wide x 24¼" long (tray)

Paul Follot Coffee and Tea Service

French Art Nouveau Gilt Bronze Lighted Sculpture of Loie Fuller by Raoul Larche

A French Art Nouveau gilt bronze lighted sculpture, "Loïe Fuller," designed and sculpted by François-Raoul Larche. This is the most famous of all bronzes to be made in the Art Nouveau aesthetic, representing the famous American dancer and choreographer, Loïe Fuller performing one of her dances. Her flowing robes and fabrics conceal two light bulbs. This sculpture has been the subject of numerous museum exhibitions, most notably at the Virginia Museum of Fine Arts and the Villa Stuck Museum in Germany.

French Art Nouveau Gilt Bronze Lighted Sculpture of Loie Fuller by Raoul Larche

Austrian Art Nouveau Bust of Ophelia by Josef Öfner

An Austrian Art Nouveau patinated bronze bust of Ophelia by Josef Öfner. Like the sculpture by Maurice Bouval, Öfner depicts Ophelia as a sleeping woman adorned with flowers. The sculpture rests on a painted wood base. The Austrian sculptor Josef Öfner (born in Tannheim, Austria in 1868) studied under Auguste Kühne and Otto König and was active in Vienna around the turn-of-the-20th-century. Like many of his peers, Öfner applied his skills to both decorative and visual arts, producing gilt bronze vases and trays in addition to figural busts. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 218.

Austrian Art Nouveau Bust of Ophelia by Josef Öfner

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

An American Art Nouveau bronze and favrile glass mounted table candelabrum by Tiffany Studios New York. The candelabrum has six arms. Each candle holder is decorated with green favrile jewels. A similar candelabrum is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 385, plate 1571.

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

Tiffany Studios New York "Tel el Amarna" Vase

A Tiffany Studios New York "Tel el Amarna" Favrile glass vase with an iridescent blue body and a brilliant cobalt blue foot and rim featuring an Egyptian-inspired grey and white "Tel el Amarna" motif. Similary decorated vases are pictured in: "The Art of Louis Comfort Tiffany," by Tessa Paul, New York: Exeter Books, 1987, p. 75.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Studios New York "Tel el Amarna" Glass Pedestal Vase

A Tiffany Studios New York Art Nouveau Favrile glass pedestal vase. Iridescent sepia body with iridescent gold shoulders featuring a sage-green and beige ''Tel el Armana" motif. A similar vase is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 160.

Tiffany Studios New York 'Tel el Amarna' Glass Pedestal Vase

Glass "Paperweight" Tiffany Vase

A Tiffany Studios New York Art Nouveau ''paperweight'' glass vase. White blossoms with pink millefiori florets sprinkled throughout a green pulled-leaf motif, all featured on a clear background. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was cut into thin pieces and were then worked into clear glass. A vase with similar decoration is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 158.

Glass 'Paperweight' Tiffany Vase

Tiffany Studios New York "Cypriote" Glass Vase

An Art Nouveau "Cypriote" glass vase by Tiffany Studios New York. The vase has iridescent gold over a brown base. The iridescence includes hints of pinks and blues. Provenance: PROPERTY OF DR. JEROME AND MRS. GAYLE LANDY 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. A similar vase is pictured in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 108.

Tiffany Studios New York 'Cypriote' Glass Vase

Tiffany Studios "Grapevine" Picture Frame

An Art Nouveau gilt bronze and glass "Grapevine" picture frame by Tiffany Studios New York with an oval aperture. A similar frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 95, figure 3-39.

Tiffany Studios 'Grapevine' Picture Frame

Tiffany Studios "Pine Needle" Picture Frame

An Art Nouveau gilt bronze "Pine Needle" picture frame by Tiffany Studios New York. The frame is rectangular with an oval center display and decorated in gilt bronze over mottled amber glass. A similar frame is pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, p. 63, fig. 2-44.

Tiffany Studios 'Pine Needle' Picture Frame

Tiffany Studios New York Art "Peacock Eye" Glass Vase

A Tiffany Studios New York Art Nouveau "Peacock Eye" glass vase by Louis Comfort Tiffany. Decorated with blue peacock eye feathers on an iridescent blue and green ground.

Tiffany Studios New York Art 'Peacock Eye' Glass Vase

Tiffany Studios New York Centerpiece

A Tiffany Studios New York Art Nouveau centerpiece, featuring deep-blue green iridescent Favrile glass decorated with a iridescent green leaf and vine decoration. The centerpiece has a removable "frog" to hold cut flowers. A similar centerpiece is pictured in: "Tiffany Favrile Art Glass," by Moise S. Steeg, Jr., Atglen, PA: Schiffer, 1997, p. 149.

Tiffany Studios New York Centerpiece

Tiffany Studios Scarab and Mosaic Box

A Tiffany Studios New York "Scarab" mosaic and gilt bronze covered box by Louis Comfort Tiffany. This round box is decorated with vivid mosaics of red, yellow, orange, green, turquoise blue and black. The cover has three applied favrile glass scarab beetles. The scarabs confirm Tiffany''s fascination for Egyptian archeological discoveries and are a fine expression of his inspiration. Louis Comfort Tiffany first traveled to Egypt in 1872, two years after the opening of the Suez Canal and near the height of the ensuing American "Eyptomania." Tiffany was immediately taken with the ancient cultural legacies and starkly exotic landscape of 19th Century Egypt, and upon his return to New York he devoted himself to the rendering of several large scale oil paintings depicting the landscape, ancient wonders and then modern architecture of Cairo and the surrounding area. From that point onward the aesthetic language of ancient Egypt was never far from Tiffany''s mind, and it would appear in various motif forms in various works for the rest of his artistic career. Those works that demonstrate Tiffany''s great passion and careful study of ancient Egypt are now considered among the rarest and most collectible of his oeuvre. After a second Nile River Cruise in 1908 Tiffany resolved to celebrate his long enchantment with all things Egyptian with a Fete that would be written about for d ... ecades to come. Invitations to the strictly Egyptian-themed evening were on aged parchment in both hieroglyphs and English, and hand delivered to each of the bash''s 400 guests. Each of the attendees had to submit their costumes to astrict guidelines of authenticity overseen by a committee comprised of Egyptologists and authorities on costume art. Egyptian-inspired music, composed by Theodore Steinway, was performed by the New York Philharmonic Orchestra as Pedro de Cordoba, playing Marc Antony, brought gifts of Favrile glass to a posing Cleopatra. Tiffany''s sons-in-law were dressed as Roman lictors, while his daughters were adorned with rare scarab objects from Tiffany''s personal collection, fashioned as jewelry. Robert De Forest, the famed president of the Metropolitan Museum of American Art, arrived as the Maharaj of Punjab; John D. Rockefeller attended dressed as a pharaoh and Egyptian beauty queens wearing gigantic scarab wings served them North African fare. Tiffany spared no detail and no expense to recreate the opulence of ancient Egyptian courts, and created many decorative arts especially for the occasion. Tiffany was particularly interested in the importance of the scarab beetle in Egyptian mythology, and sparingly employed decorative depictions of the insect in his works, most probably due to his understanding of the supreme and sacred nature of the motif. However, those works that did include scarabs executed in the ancient Egyptian style are considered of special personal importance to Tiffany, and are especially important to find in Tiffany collections. The Egyptian name for the beetle is derived from the verb "to be created" or "to come into the world." The Egyptians considered the beetle to be the incarnation of the creator god, who had regenerated himself cyclically. The beetle was thus understood as a potent symbol of rebirth, and was tied to understandings of the daily rising sun.

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Tiffany Studios Scarab and Mosaic Box

Tiffany Studios Covered Box

An Art Nouveau enamel covered box by Louis Comfort Tiffany. The intricate design features vines with tendrils culminating in paisleys almost replicating a Henna pattern and an example of Indian patterns that influenced Tiffany''s work. In the late 1870''s Tiffany''s partnership with Lockwood de Forest resulted in an introduction to the East Indian craft that attributed to the revival of Gilded Age America. This covered box is an example of such influence with a gold background and highlights with the blue enamel paisleys. Several pieces of Tiffany''s enamelware are marked with a four-digit number preceded by an "S." Since there are only a handful of such objects available, it may be that Tiffany designed them for himself, or to fulfill special commissions. The Tiffany & Co. archives contains many drawings marked "S.O." for items sold as commissioned. Perhaps "S" was Louis Tiffany''s way of identifying those earmarked for an exhibition, a special client, or himself. A similar jar is featured in: "The Jewelry and Enamels of Louis Comfort Tiffany," by Janet Zapata, p. 69.

Tiffany Studios Covered Box

Tiffany Studios New York Favrile Sprinkler Vase

A Tiffany Studios New York decorated Favrile glass rose water sprinkler vase. The vase is iridescent gold, with undertones of pink and blue. This "gooseneck" design is considered one of Tiffany''s most original and delicate forms, with a molded peacock feather decoration that circles the bulbous portion of the vase and continues along the mouth until fading in the neck. A similar sprinkler is pictured in: "Tiffany Favrile Art Glass", by Moise S. Steeg, Jr., Atglen, PA: Schiffer Publishing, Ltd., 1997, p. 33.

Tiffany Studios New York Favrile Sprinkler Vase

Tiffany Studios New York Enamel Box

A Tiffany Studios New York "Olive" covered box by, executed by the Enamelware Department of Stonebridge Glass Company, New York. This fabulous masterpiece is composed of enameled copper. The cover is decorated with olives, purple-brown copper branches and deep green leaves. From Paul Doros: "This enameled covered box clearly reveals the quality and innovative artistry that led to the company winning a gold medal at that world''s fair. It is of a familiar form but features an unusual motif and palette. Both the cover and slightly ribbed body have a repoussé design of ripening olives and pendant leaves on sinuous branches, one of them forming an irregular sculptural handle. The gold background is particularly noteworthy. Most Tiffany enamels of this type have a ground in shades of either red or blue. The background used in this object is perfectly suited, as it suggests olives ripening under a warm, golden sun. Hints of gold glimmer and sparkle through the slightly iridescent aubergine and purple olives, as well as the green leaves, adding to the illusion. It was pieces such as this one that caused contemporary critics to proclaim Tiffany''s enamels as "rare works of art" as well as "visions of delight." Paul Doros is former curator of glass at the Chrysler Museum of Art (Norfolk, Virginia) and author of The Art Glass of Louis Comfort Tiffany (New York: Vendome Press) ... , 2013. PROVENANCE Parke-Bernet Galleries Inc., New York Private Collection, New York, circa 1965 Thence by descent to the present owners LITERATURE Martin Eidelberg and Nancy McClelland, "Behind the Scenes of Tiffany Glassmaking: The Nash Notebooks," New York, 2001, pp. 21 and 178 (for the model executed in pottery) Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection," Woodbridge, Suffolk, 2004, pp. 466 (for the model executed in pottery) and 471 (for the model executed in bronze pottery)

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Tiffany Studios New York Enamel Box

Tiffany Studios New York "Tel el Amarna" Vase

A rare and monumental Tiffany Studios New York "Tel el Amarna" Favrile glass vase with an iridescent cobalt blue body and a brilliant turquoise blue foot and rim. Vases with zigzag decoration such as this have been commonly called "Tel el Amarna" after the decorative motifs of ancient Egypt. However, recent research has shown that Tiffany actually intended these vases to be referred to as "Byzantine", with the exception of vases featuring the brilliant blue color associated with the blue faience of the Eighteenth Dynasty of Amarna, Egypt, circa 1346 BC. This is the largest and most brilliantly colored vase of this genre that Macklowe Gallery has had the privilege of owning in our 50 years specializing in the artistic glass of Louis Comfort Tiffany. Similary decorated vases are pictured in: "The Art of Louis Comfort Tiffany", by Tessa Paul, New York: Exeter Books, 1987, p. 75.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Favrile Paperweight "Daffodil" Vase

A Tiffany Studios New York Favrile paperweight glass "Daffodil" vase, featuring yellow flowers with dark centers extending above green leaves. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was but into thin pieces and were then worked into clear glass. A vase with similar decoration is pictured in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, page 158.

Tiffany Favrile Paperweight 'Daffodil' Vase

Tiffany Studios New York "Tel el Amarna" Vase

A Tiffany Studios New York glass vase. A wide-shouldered, unique translucent gold body with a band of green colored Egyptian "Tel-El-Amarna" design around the neck. A vase with similar decoration is pictured in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 17, cat. no. 18.

Tiffany Studios New York 'Tel el Amarna' Vase

Tiffany Studios New York Favrile Glass Flower Form Vase

A Favrile flower form vase by Louis Comfort Tiffany featuring a pulled feather design in tones and hues of pink, yellow and white. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: "The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 34, cat. no. 31.

Tiffany Studios New York Favrile Glass Flower Form Vase

Tiffany Studios New York Favrile Vase

A Favrile glass vase by Tiffany Studios New York. The vase has a background of iridescent medium and turquoise blue swirls that is overlaid with thick opaque pink geometric decoration.

Tiffany Studios New York Favrile Vase

Tiffany Studios New York Glass "Gooseneck" Sprinkler Vase

A Tiffany Studios New York Favrile glass rose water sprinkler vase. This "gooseneck" design is considered one of Tiffany''s most original and delicate forms. A similar sprinkler is pictured in: "Tiffany Favrile Art Glass," by Moise S. Steeg, Jr., Atglen, PA: Schiffer Publishing, Ltd., 1997, p. 33; and in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 19, cat. no. 27.

Tiffany Studios New York Glass 'Gooseneck' Sprinkler Vase

Cypriote vase by Tiffany Studios New York

A silver colored Cypriote vase by Tiffany Studios New York. The body of the vase is subtly ribbed. The ribs extend into the vase''s neck, where they are more pronounced. 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. A vase with similar decoration is pictured in:" Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 66.

Cypriote vase by Tiffany Studios New York

Floral Vase by Tiffany Studios New York

A Favrile flower form vase by Louis Comfort Tiffany. The vase is iridescent yellow, with hints of orange, and has a ruffled rim. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: "Tiffany at Auction," by Alastair Duncan, New York: Rizzoli, 1981, p. 24, cat. no. 44; "The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 32, cat. no. 26; "Louis Comfort Tiffany," by Jacob Baal-Teshuva, New York: Taschen, 2001, p. 260; "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 74, fig. 27.

Floral Vase by Tiffany Studios New York

Tiffany Studios New York Favrile Glass Vase

A Louis Comfort Tiffany favrile glass "Red Hooked Feather" vase, featuring a rich red color enhanced by an iridescent multicolored pulled feather motif that encircles the vase. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York Favrile Glass Vase

Tiffany Studios New York Bluish Green Favrile Glass Vase

A bluish green Favrile glass vase by Louis Comfort Tiffany featuring a pulled silver iridescent border. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.

Tiffany Studios New York Bluish Green Favrile Glass Vase

Decorated Glass Vase by Louis Comfort Tiffany

A decorated glass vase by Louis Comfort Tiffany. This vase has a vivid iridescent blue pulled feather design on an iridescent charcoal background. A vase with similar decoration is pictured in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 212, fig. 169.

Decorated Glass Vase by Louis Comfort Tiffany

Intaglio Vase by Tiffany Studios New York

A Tiffany Studios New York intaglio carved cameo glass vase, featuring white flowers with blue and purple accents, dark blue scarabs adorning the white petals and green vines with leaves against an iridescent blue/green ground.

Intaglio Vase by Tiffany Studios New York

Tiffany Studios "Agate" Vase

An Agate Favrile glass vase by Tiffany Studios New York. This vase has dark vertical lines on a beige ground. The vertical theme is further emphasized by several ribs in the body of the vase, Louis Comfort Tiffany''s love of nature extended to the pebbles and small stones that washed up on the shores of Long Island and New England. This inspired him a create a glass that imitated cut agate. Illustrated by this vase, the intent was to suggest the striations found in veined stones, which were usually very opaque.

Tiffany Studios 'Agate' Vase

Tiffany Studios New York Favrile Paperweight Vase

A Favrile "paperweight" vase by Tiffany Studios New York. The earliest examples of "paperweight" objects appeared around 1900, Louis Comfort Tiffany loved this technique of encasing a design within a dome of transparent glass because it was a great vehicle for expressing his love of nature, particularly flowers. This vase is internally decorated with gladiolus flowers with yellow, green and purple threads. A vase with similar decoration is pictured in: "The Art Glass of Louis Comfort Tiffany," by Paul E. Doros, New York: The Vendome Press, 2013, p. 136, fig.82. Also pictured in "Louis Comfort Tiffany," by Jacob Baal-Teshuva, New York: Taschen, 2001, page 291.

Tiffany Studios New York Favrile Paperweight Vase

Tiffany Morning Glory Paperweight Vase

A Tiffany Studios New York "Paperweight" vase by Louis Comfort Tiffany. A major innovation in Tiffany''s work around 1900 involved the encasement of hot glass with an additional transparent layer--a technique associated with paperweights. The added layer of clear glass produced a three-dimensional effect, as though the plants existed in a lower level, beneath the surface. Most of Tiffany''s early "Paperweight" vases had a clear body with a gold iridescent core, adding to the poetic effect. This particular vase displays purple and white cream morning glories with green veined leaves and stems against an iridescent translucent light green hued ground. The difficulty of creating naturalistic imagery in hot glass should not be underestimated. The detailed representation of the morning glory blossoms with their star-like markings makes this vase highly desirable. A vase with similar decoration is pictured in: "Louis C. Tiffany: Artist for the Ages," by Marilynn A. Johnson, London: Scala Publishers, Ltd., 2005, p. 150, ca. not. 56; "The Art Glass of Louis Comfort Tiffany", by Paul E. Doros, New York: The Vendome Press, 2013, p. 140, fig. 89; and in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, page 163.

Tiffany Morning Glory Paperweight Vase

Jeweled Bronze Candlestick by Tiffany Studios New YorK

A jeweled bronze candlestick by Tiffany Studios New York featuring a decorated foot and a slender stem. The stem branches out in three arms with candle cups adorned with iridescent glass jewels. The candle stick includes a snuffer and bronze bobeche inserts for each candle cup. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar candlestick is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 384, plate 1566.

Jeweled Bronze Candlestick by Tiffany Studios New YorK

Bronze Bud Vase by Tiffany Studios New York

A patinated bronze bud vase by Tiffany Studios New York. The piece has seven small vases, six of which surround a raise seventh vase. Its six curving supports rest on a base in the shape of a water lily. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar bud vase is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 370, plate 1517.

Bronze Bud Vase by Tiffany Studios New York

"Pine-Needle" Covered Jewelry Box by Tiffany Studios New York.

A green glass and bronze "Pine-Needle" covered jewelry box by Tiffany Studios New York. PROVENANCE: From the Unreserved Estate of a Lady Various pieces from this pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 47-74.

'Pine-Needle' Covered Jewelry Box by Tiffany Studios New York.

Tiffany Studios New York Mosaic Candle Lamp

A Tiffany Studios New York Favrile glass and patinated bronze mosaic candle lamp. The mosaic candlestick base has inlaid panels of glass shading from green to blue running vertically along the side of the candlestick. The bronze candlestick is further decorated with blue glass tiles in a mosaic brick pattern surrounding the top of the stick. The Favrile shade adorns a green pulled feather design and is accented and outlined in gold iridescence set against a slightly iridescent tan background. A similar candlestick is pictured in the book Tiffany Lamps and Metalware by Alastair Duncan, page 385, illustration 1561. PROVENANCE: From the Unreserved Estate of Lynda Cunningham.

Tiffany Studios New York Mosaic Candle Lamp

Decorated Vase by Louis Comfort Tiffany

A Tiffany Studios New York Favrile glass decorated vase by Louis Comfort Tiffany. This vase, with a green background, is decorated with red and white swirling forms. Provenance: Important Tiffany & Glass from the Minna Rosenblatt Gallery, Christie''s, New York, 10 December, 2003 A similar vase is featured in Exhibition catalogue, "Louis C. Tiffany: Meisterwerke des Amerikanischen Jugendstil", Museum für Kunst und Gewerbe Hamburg, 1999, p. 159 model variant illustrated.