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.
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.
An early and unusual Tiffany Favrile glass Cypriote vase. The rounded body of the vase is decorated near the tapered neck and near the foot with an iridescent swirling motif in richly saturated tones of gold and ochre, framing a series of central pointed oval "window" panels of textured "Cypriote" glass, resting on a small circular foot, signed on the underside. Cypriote is a textured glass achieved at Tiffany Glass and Decorating Company by rolling glass over a marble or iron surface covered with pulverized bits of the same glass. Its iridescence and bubbles resembled the decomposed surface of Roman glass discovered during archeological explorations on the island of Cyprus, hence its name. Lava glass evolved from Cypriote glass by using thicker, brighter glass and dripping golden glass irregularly over the surface. Tiffany created a unique numbering system for his artistic glass. Beginning in 1892, glassware was progressively signed 1-9999. The next series deployed an "A" as a prefix, making it easy to date this "E" prefix vase to 1896. Vases with prefixes of J, N and V have dates confirmed by international exhibitions, as do vases with suffixes of J and M. Vases from 1928, the last year of production were signed with a suffix "W". It appears that starting in 1906 each new year ushered in a new letter. While the diligence of the Tiffany Studios records cannot be veri
fied due to a catastrophic fire that closed the factory in 1928, if one follows the logic of the numbering system it is possible that as many as 490,000 artistic vases were produced at the Tiffany Studios New York from 1892-1928. 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. 59, cat. no. 57; and in: "Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 79.
A pair of French 18 karat textured gold "Chevalerie" earrings by Van Cleef & Arpels. The pendant hoop earrings designed with a complex geometric patterning that lends them significant visual interest. Circa 1972. Together with a letter of authenticity from Van Cleef & Arpels dated 14 February 2019. In the 1970s, Van Cleef & Arpels moved away from the gem-studded opulence of the post-war years and instead focused their efforts on creating dynamic forms out of precious metals. Inspired by the moon landing, simple, forms such as these earrings were modeled so as to appear "cratered." Important, too, as an influence was kinetic art, inspiring a new dynamism and sense of movement and patterning of the famed firm''s designs, strongly represented in these earrings. Voluminous but not overly heavy, the earpendants, with their unusual surface texture, represent a subtly different interpretation of the classic hoop design.
A French Art Nouveau lithograph, titled "Reverie" ("Dream"), by Alphonse Mucha. This is one of Mucha's most frequently printed designs. "La Plume" sold this edition without the lettering. However, the original use of the design was as an in-house poster for the printer Champenois, used to usher in the new year of 1898. The design shows a woman leafing through what may be a sample book of printer's designs. The circular halo decorated with floral motifs behind her is one of the most elaborate ones Mucha ever used, as well as one of the largest in terms of its relation to the size of the picture.Further distinguishing this example is the presence of Mucha's original wax seal on the ribbon used to wrap the lithograph as a gift given by the artist. In our 50 years specializing in his artwork, this is the first time we have seen Mucha's wax seal.Pictured in: Alphonse Mucha, The Complete Posters and Panels, by Jack Rennert and Alain Weill, Abage Publishers, Chicago, p. 163, figure 39, variant 2.
We are committed to making this website available to as many people as possible and is engaged in continued efforts to ensure that this website is accessible to those with special needs, including those with visual, hearing, cognitive and motor impairments. Our efforts in that regard are ongoing. Many internet users can find websites difficult to use. We recognize that this is an important issue, and we are working to ensure that this website is accessible to all persons who wish to use it. Our efforts to improve this website in this regard are in process, so if you come across a page or feature you find inaccessible or difficult to use, please send your feedback to email@example.com.