MULLER FRÈRES Lunéville, France
Vase c. 1925
Heavy cased clear glass over black glass with silver foil inclusions; acid-etched and deeply wheel-carved with a large zig zag motif
Signed: MULLER FRES LUNEVILLE (etched signature)
For more information see: Glass, Art Nouveau to Art Deco, Victor Arwas (New York: Harry N. Abrams, Inc., 1987) pp. 231-6;L’Europe de L’Art Verrier, des Precurseurs de l’Art Nouveau a l’Art Actuel 1850-1990, Giuseppe Cappa (Mardaga: Liège,1991) pp. 344-7.
H: 8” x Dia: 8″
French Art Deco “Heptagon” clip / brooch set with a large fancy cut madeira citrine and 8 baguette madeira citrines all set in 18K gold, signed GA in a diamond French touch mark, French Eagle’s head mark for 18k gold, c. 1935
Paul-Auguste Gagné (Sculptor) France
Egyptian Revival garniture set, circa 1875
Gilt bronze and carved rouge marble mantle clock and candelabra in a high Egyptian Revival style
Marks: P.A. Gagne (elaborate incised scroll signature on the back of the portrait bust)
For more information on Gagné see: Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 4, E. Bénézit (Paris: Librairie Gründ, 1976) p. 579.
For other related Egyptian Revival garniture sets see: Egyptomania: Egypt in Western Art, 1730-1930 (Paris: Éditions de la Réunion des Musées Nationaux and Ottawa: National Gallery of Canada, 1994)
H: 20 3/4″ x D: 6 3/4″ x W: 14 1/2″
OLIVIER DE SORRA
SOCIETE FAIENCIERE HERALDIQUE DE PIERREFONDS
Six-branch vase c. 1900
Copper color glaze with blue oxide flower crystallization
H: 11″ x Dia: 9″
The Societe Faienciere Heraldique de Pierrefonds pottery studio was founded in the village of Pierrefonds in 1903 by Count Hallez d’Arros and is renowned for it’s crystalline and flambe glazes
MAURICE BOUVAL (born Toulouse, died 1920) France
M. COLIN France
“Nymph Embracing a Blossom” candle holder c.1900
Silvered cast bronze in the form of a nymph on a leaf embracing a blossom
Marks: M. Bouval (script signature) and COLIN, (Foundry) written above
For other examples of Bouval’s work see: The Paris Salons 1895-1914, Vol. V: Objets d’Art & Metalware, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1999), p. 127; Ecole to Deco, Small Sculptures from a Private Collection, Stephen C. McGough ed. (Oberlin, Ohio: Allen Memorial Art Museum, 1979) pp. 33-4; Art Nouveau Sculpture, Alastair Duncan (New York: Rizzoli, 1978) pp. 30-1.
H: 3″ x W: 6 1/2″ x D: 4 3/4″
SEVARD France (active 1920’s/1930’s)
Dinanderie vase with fish fins c. 1925
Hand wrought and hand hammered copper with a rich chocolate-brown
patination and bronze fin-like handles, gilt detailing
Marks: Sevard (inscribed signature), “France”
H: 7 7/8” x W: 8 3/4”
LOUIS MAJORELLE (1859-1926) France
MOUGIN FRÈRES Nancy, France
Fiddleback Fern trefoil bowl c. 1900
A rare stoneware example of Majorelle and the L’Ecole de Nancy with a mauve and sea-green glaze, crystalline formations in interior in a trefoil loped form with fiddleback ferns at each interval.
Marks: Majorelle. de (impressed facsimile signature) MOUGIN NANCY, 10.K , L
Illustrated: Majorelle: Une Aventure Moderne, Roselyne Bouvier (Paris:
La Bibliothèque des Arts/Editions Serpenoise, 1991) p. 34, illus. 32.
H: 3 1/4″ x W: 6 3/4″
ANDREE FLAMANT-DUCANY-GIDE France
VALSUANI FONDEUR (1899-1981) Paris, France
Cubist mask sculpture 20th Century
Cast bronze with rich brown-black patina (possibly cast at a later date by the Valsuani Foundry)
Marks: G. Flamant, 2/8 C. Valsuani Cire Perdue (signed on chin)
H: 11” x W: 7” x D: 5 ½”;
On stand: H: 18 ½”
Flamant-Gide was born in Nimes, France. He was both a painter and sculptor and exhibited regularly at the Salon des Artists Francais beginning in 1923. He sculpted in an angular Cubist style influenced by African Art and was a fellow artist of Joseph Csaky, Gustave Miklos, Jacques Lipchitz and Henri Laurens who were considered the leading Art Deco sculptors in Paris during the 1920’s.
Cubism drew its influence from: Cezanne’s structural analysis in his oil landscapes, e.g. ‘La Montagne Sainte Victorie’ c.1887; Gauguin’s figurative landscapes, e.g. ‘Haymaking’ 1889; and African tribal Art such as Gabon masks. European artists were greatly influenced by African and Oceanic Art during the late 1890s and early 1900s. African sculpture, with its bold shapes and lines, had a great impact on the development of Cubism. Maurice de Vlaminck became a keen admirer and collector of African masks after seeing them in a Paris anthropological museum. He purchased similar masks and his excitement for these works displaying bold primitive expressions and simplistic design filtered through to Matisse, Derain, Gris and Picasso, who all became collectors as well. By the 1920s African art exhibitions were common in Paris and other cities throughout Europe.
Cubist sculpture brought the simplified shapes of Cubist painting together with the three-dimensional modeling medium of sculpture. The first Cubist sculpture, which could be properly deemed as such was made by Picasso in 1909 and was titled ‘Head of a Woman’. However Picasso did experiment with sculptural forms as early as 1907 when he found himself fascinated and deeply influenced by African masks. Cubist sculpture was mostly reminiscent of Analytical Cubism in its stripping away of illusionist details to reveal the fundamental form contained in each individual subject, be it human or still-life.
The Valsuani foundry was started by the brothers Claude and Attilio Valsuani who learned the foundry trade while employed at the Hebrard foundry. While working for Hebrard, Claude Valsuani showed great promise as a finisher and eventually worked his way up to become the Technical Director of the Hebrard foundry. In 1899 Claude Valsuani started his own foundry in Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting (cire perdue). In 1905 he moved his foundry to 74 Rue des Plantes in Paris. Among the famous sculptors who had the Valsuani foundry cast their works were: Renoir, Picasso, Despiau, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele then took over the foundry and continued the tradition of producing extremely fine bronzes until the 1970’s.
MAISON OSTERTAG (Place Vendome, Paris) 1920’s and 30’s
ARNOLD OSTERTAG (Jeweler / Designer)
VERGER FRERES (maker)
Art Deco jewel mounted mechanical covered box c. 1925
Of rectangular stepped form, the black enamel box hinged and accented at the top with a gold bezel mounted sugar loaf shaped coral; spring loaded to pull down and reveal a cinnabar red enamel interior, the exterior with gold champlevé set highly stylized geometric initials and further ornamented with geometric square cut out gold applied handles embellished with salmon coral beads and red enamel bands, all resting on a recessed agate base and conforming black onyx base punctuated with a gold bezel mounted sugar loaf shaped coral on each corner.
Marks: Ostertag (on a gold plaque inset into the underside of the onyx base)
H: 4″ x W: 3 1/2″ x D: 3 1/2″
Arnold Ostertag was a Swiss-born jeweler who became a dominant force in the creation of fine jewels and objects in Paris during the 1920s and 30s. After studying dentistry in Chicago, Ostertag embarked on a world tour and, while traveling through India, became fascinated by jewels. He later settled in Paris and opened a very successful salon on the Place Vendome. In design and quality, Ostertag’s jewels, which frequently featured Indian themes, rivaled the production of many of the most famous Parisian jewelry houses. In fact, the renowned clockmaker George Verger/Verger Freres, produced wonderful clocks and mechanical objects for Ostertag, as well as for many other world renowned jewelers and likely masterminded the mechanism of the Art Deco box above. In addition to making pieces for Ostertag, Maison Verger made pieces for Cartier, LaCloche, Marzo, Boucheron, Hermes, Van Cleef & Arpels, Chaumet, Mauboussin, etc. Arnold Ostertag was popular on the international front and made many trips to America spending time in both New York, as well as Los Angeles where he befriended many Hollywood stars. He also received commissions during his trips to make exquisite custom jewelry and precious jeweled objects such as this fine Art Deco box.
Eugene Schopin (1831-1893) Montigny-sur-Loing, France.
Renaissance-Revival style Majolica wall shelf, circa 1872.
Hand modeled and cast ceramic with highly stylized caryatids and floral details glazed with rich cobalt blue, green, gold and cream colored glazes.
Marks: M-S-L (Montigny-sur-Loing), RA.
H: 8 ½” x W: 14” x D: 6 ¾”.
Eugene Schopin founded his ceramic factory in Montigny-sur-Loing in 1872. Painters like Jean-Baptiste Corot, Eugène Thirion (1839-1910), Adrien Schulz (1851-1931), Numa Gillet (1868-1940) and Lucien Cahen-Michel (1888-1980) were attracted to this area by the beauty of the landscape and light. Eugene Schopin collaborated with these artists to create a range of models inspired by Impressionism and decorated according to the new demands of the public.
ANDRÉ THURET (1898-1965) France
“Organic” vase/bowl c. 1930
Handblown and formed clear glass with bubble technique encapsulating a frosty white oxide.
Signed: ANDRÉ THURET
H: 2 3/8″ x D: 4″ x W: 6 1/4″
Andre Thuret was one of the first modern French studio glass artists and a contemporary of Maurice Marinot. He was born on November 3, 1898 in Paris. It is by science that Andre Thuret came to art. It is in Thuret the engineer and the chemist who serve Thuret the vase artist. The scientist places at the disposal of the creator of forms, rates/rhythms and colors the fluid and transparent beauty of glass and the reactions of metallic oxides. He worked in a traditional glass blowing technique at a temperature often exceeding 1,000 degrees. Thuret exhibited at the Salon d’Automne in 1928 and 1932 and obtained his first plate of the Company of Encouragement to Art. He was invited to exhibit in the United States in 1929-1930. Andre Thuret received his Chevalier of the Legion of Honor in 1947.
JEAN BAROL (1873-1966) France
MONTIERES (founded 1917) Montieres-les-Amiens, France
“Celestial Star, Planet and Comet” iridescent vase c. 1920
Earthenware in a spherical form with four flanges in an overall purple, red, blue, green, gold iridescent glaze
Marks: Montieres (inscribed in the glaze, near the Saturn)
H: 6 1/4″ x W: 6 1/4″ x D: 6 1/4″
Jean Despres (1889-1980) France.
Modernist covered centerpiece, circa 1940.
Hand-wrought and hand-hammered silver plate.
Marks: J. Despres (script incised signature on the edge on one handle),
JD French Jean Despres touchmark (2x).
For related works see: Jean Després: Maestro Orafo Tra Art Déco e Avanguardie, Melissa Gabardi (Milano: IDEA Books, 1999) Metallkunst: Kunst vom Jugendstil zur Moderne (1889-1939) Band IV, Karl H. Brohan (Berlin: Brohan-Museum, 1990); Silver of a New Era: International Highlights of Precious Metalwork from 1880 to 1940 (Rotterdam: Museum Boymans van-Beuningen, 1992)
H: 5 ¼” x W: 11 ½” x diameter: 8 ¾”