Theodore B. Starr (attr.) American Art Nouveau brooch, High style openwork graphic design in 18k gold and set with two large oval cabochon emeralds and one tear drop emerald (20 carats TW) with 144 old European round cut diamonds (approx. 9 carats TW) and six small cabochon emeralds as accents, c. 1900
Marcus & Co. Art Nouveau brooch, “Tibula” shaped 18k yellow gold brooch set with three natural pearls, the natural center button pearl approx. 10 mm in diameter (G.I.A. certificate, 3 natural freshwater pearls, weight 24.90 grams, measurement range from 5.46 to 12.26mm), 16 sugarloaf cabochon sapphires, the two large and high dome middle sapphires with a purple hue, 20 pave set round diamonds all surrounded with clear plique-a-jour further trapped with platinum flakes, signed c. 1897
Marcus & Co Art Nouveau pendant necklace, Handwrought 18K yellow gold set with a large cabochon natural emerald center stone surrounded by green enamel details with gold looping bezel mounts and platinum topped diamond side details set with 43 diamonds, cabochon emerald pendant drop with a green enamel and gold capped top, signed, c. 1900
Marcus & Co Art Nouveau pendant necklace, Handwrought 18 K yellow gold set with a large cabochon natural emerald center stone (approx. 30+ carats TW, G.I.A. certificate, moderate clarity enhancement, 18.30 x 18.20 x 12.20mm) surrounded by green enamel details with gold looping bezel mounts and platinum topped diamond side details set with 43 diamonds (approx. 6 carats TW), cabochon emerald pendant drop (approx. 15 carats TW) with a green enamel and gold capped top, elaborate looping 18K yellow gold chain, signed, c. 1900
Amedee de Caranza Art Nouveau Rare Iridescent Art Glass vase 1903-1906
AMÉDÉE DE CARANZA (active 1875-1914) (b. Turkey / active France)
COPILLET ET CIE Noyon
Nasturtium vase 1903-1906
Blown glass with floral & foliate luster decoration handpainted on a muted iridescent ground.
Signed: A. de CARANZA (on the side near base)
Marks: Copillet et Cie, Noyon, 842 (twice)
For more information and related illustrations: European Art Glass (New York: Ray & Lee Grover, Charles E. Tuttle Publishers, Inc., 1970) pp. 69, 94-96; L’Art Du Verre En France 1860-1914, Janine Bloch-Dermant (Edita Denoel, 1974) pp. 36-37; Glass: Art Nouveau to Art Deco, Victor Arwas (New York: Abrams, 1987) pp. 56-58; L’Europe de L’Art Verrier, des Precurseurs de l’Art Nouveau a l’Art Actuel 1850-1990, Giuseppe Cappa (Liège: Mardaga, 1991) pp. 72-74.
H: 10″
Copillet, H.A. Thomas Henri Alfred Copillet was originally a printer, and produced a local newspaper in Paris. When he moved his works to 13 Fauburg de Paris he acquired a kiln in the process, and thus in 1903 was began a new glass works. His designers were Amedee de Caranza and Edouard de Neuville. They produced a whole range of Art Nouveau glassware, many with a dark iridescent finish. They also produced opaline glass, and glass panels for use in church windows. The company went bankrupt in 1906, although the new management (Lefevre and Lhomme) kept a little of the production going for a while, the factory was destroyed during the First World War.
Charles Greber French Art Nouveau “Chameleons” vase c. 1905
CHARLES GREBER France
“Chameleons” vase c. 1905
Stoneware with crystalline-structure glaze in creamy white beige and blue tones with floral motifs and three full scale chameleons perched on the edge.
Marks: C. Greber (incised script)
H: 6 1/4″ x Dia: 7 1/2″
The potter-sculptor has awakened Darwin’s theory of evolution with this vase and has furthermore humanized these reptiles with an amusing sense of cameraderie.
Rozenburg Pottery Holland, W.P. Hartgring Art Nouveau Mantle Clock, 1904
W. P. HARTGRING
ROZENBURG POTTERY The Hague, The Netherlands
Blackbird mantle clock 1904
Handpainted earthenware with exotic foliage and a bird, porcelain face, gilt bronze surround, original clock mechanism.
Marks: H (artist’s monogram) 534, Rozenburg den Haag trademark, date mark symbol for 1904
For more information see: Art et Décoration, vol. 8 (1900) 193, illus. p. 189 (A. Sandier, La ceramique à l’Exposition); Kunst und Kunsthandwerk, vol. 3. (1900) 395, illus. p. 392; Art et Décoration, vol. 9 (1901) 56 Abb. S. 54 (A. Sandier, La Ceramique à l’Exposition II); Der Moderne Stil, Julius Hoffmann, Vol. 3, (1901) Taf. 53.; La Kunstgewerbeblatt Neue Folge, Vol. 12. (1901) p. 95, Abb. S. 82,89; “The International Exhibition of Modern Decorative Art at Turin – The Dutch Section,” Enrico Thovez in The Studio, vol. 26 (1902), pp. 204-6; Kunst und Kunsthandwerk, Vol. 7 (1904), p. 568, Abb. S. 574-5, (K. Ruge, Kunst und Kunstgewerbe auf der Weltausstellung zu St. Louis); Art et Décoration, vol. 17 (1905) p.86 Abb. S. 77, 88 (G. Mourey, L’Art Decoratif Hollandais); Sprechsaal, Vol. 38, (1905) p. 517 (W.H. Zimmer, Die Weltausstellung in St. Louis; Rozenburg, Monographie einer Manufaktur 1883-1917, Marjan Boot et al. (Munich: Verlag Künst & Antiquitäten, 1984); Sammlung Bröhan: Kunsthandwerk 1-Jugendstil, Werkbund, Art Deco, Glas, Holz, Keramik, (Berlin: Karl H. Brohan, 1976) p. 367-380.
Paul Follot for La Maison Moderne, Art Nouveau waist clasp, silver and chrysoprase, signed c. 1900
PAUL FOLLOT Paris, France
LA MAISON MODERNE Paris, France
Art Nouveau waist clasp c.1900
Gilt silver with chased whiplash design set with 19 cabochons of chrysoprase.
Marks: P. FOLLOT, French swan mark (silver standard mark for small objects)
Illustrated: Documents sur l’Art Industriel au XXe Siecle (Paris: Edition de la Moderne) p. 20, plate 5, n. 53-11
PAUL FOLLOT (1877-1941) French
In the Late 1890’s, Follot studied under graphic designer Eugène Grasset at the Ecole Normale d’Enseignement du Dessin in Paris and later succeeded Grasset in that post. From 1901 to 1904, he designed metalwork, jewelry and textiles for La Maison Moderne, art critic Julius Meier-Graefe’s gallery in Paris. He became director of the interior design studio Pomone of the Paris department store Le Bon Marché in 1923, introducing the Art Deco style into many middle-class home.
Karl Berghof / Kayserzinn Extremely Rare German Jugendstil Art Nouveau Pewter Vase 1904
KARL BERGHOF Germany
J. P. KAYSER SOHN Krefeld, Germany
Vase 1904
Pewter squared vase with round flange top, open work details
Marks: Kayserzinn 4541 7 (in a raised oval)
Illustrated: Zinn des Jugendstils, Eckard Wagner (Cologne: Rheinland-Verlag, 1978), p. 63, cat. no. 148; J. P. Kayser Sohn Krefeld: Fabrik kunstgewerblicher Metallgegenstände, Musterbuch 1907 (Munich: Verlag Dry, 1982) p. 46.
***This is an extremely rare, other worldly Kayserzinn form.
WMF Jugendstil Art Nouveau Four Seasons Jewelry box c. 1900
WMF [Württembergische Metallwarenfabrik] Germany
“Four Seasons” Art Nouveau Jewelry box c. 1900
Silver plate with Jugendstil design buttress handles and open work handle with a frieze of Art Nouveau maidens representing the four seasons, velvet lined with two original keys.
Marks: WMF mark, I/O (in a box), E
For more information see: WMF: Glas, Keramik, Metall, 1925-1950, Jörg Schwandt (Berlin: Kunstgewerbemuseum, Staatliches Museum Preussischer Kulturbesitz, 1981); Metallkunst, Band IV (Berlin: Brohan-Preussischer Kulturbesitz, 1981) pp. 546-579.
Louis Majorelle French Art Nouveau “Fiddleback Fern” bowl c. 1900
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.
Maurice Bouval French Art Nouveau Nymph Silvered Bronze Candleholder c. 1900
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.
Sèvres / Genevieve Rault Rare French Art Nouveau grand vase 1907
MLLE GENEVIÈVE RAULT (décor 1907) France
MANUFACTURE NATIONALE DE SÈVRES France
Andromeda branches grand vase 1907
Glazed porcelain with pâte-sur-pâte applications. The multicolored “Andromeda” foliage and branches in shades of pink, salmon, green and taupe on a cream background.
Marks: underglaze green S and 1907 (in triangular cipher), MANUFACTURE RF NATIONALE surrounding DÉCORÉ A SÈVRES 1907, underglaze blue GR (conjoined monogram).
H: 16″ x Dia: 7 1/2″
This example from the Sèvres Manufacture is a tour-de-force of early 20th century porcelain. The graphic Art Nouveau design of the pastel foliage and white blossoms of the Andromeda vase is brought to life thanks to the fine detailing of every individual blossom made with hand-applied pâte-sur-pâte or paste porcelain.
Tiffany & Co. / Art Nouveau “Frog on a lily pad” covered snuff box 1880
TIFFANY & CO. New York, NY
“Frog on a lily pad” cigarette case 1880
Hand wrought sterling silver with repoussé and chased gold design of a frog sitting on a lily pad with a dragonfly in it’s mouth, “lap over edge” and hand hammered details, gilt interior and spring action to the hinge when the sides are pressed
Tiffany Archive Illustration: Design for Cigarette Case No. 5804, No. 1019, 249, stamped Tiffany & Co. New York, February 26, 1880
Model and Archive illustration: Bejewelled by Tiffany 1837-1987 Clare Phillips (New Haven and London: Yale University Press, 2006)
For more information see: Tiffany Silver, Charles H. Carpenter, Jr. (New York: Dodd, Mead & Company, 1978); The Silver of Tiffany & Co., 1850-1987, Charles H. Carpenter, Jr. and Janet Zapata (Boston: Museum of Fine Arts, 1987).
Marks: Tiffany & Co., 5804, M, 2540, Sterling-Silver, 1019
H: 3/4” x W: 2 7/8” x D: 2 1/8”
The Frog and the Dragonfly
from The Lost Lagoon
by Reg Down, 2010
Once upon a time a dragonfly lived beside a lake high in the mountains. He flitted from bulrush to bulrush – and zipped after mosquitoes. He snapped them out of the air so quickly that no one could ever quite see what he was doing.
One day, as he was flying across the water, his beautiful wings glistening like rainbows, he came across a frog.
“Ribbit!” said the frog. “Come here, Mr. Dragonfly. I would like to have a better look at you.”
But the dragonfly was clever. In fact, he was so clever that his eyes were made up of hundreds of eyes all put together on the top of his head. And each one of those eyes said to him: “That frog wants to eat me!”
So he landed on top of a bulrush where the frog could not get him, and said, “Yes, Mr. Frog, I am close enough for you. What do you want?”
“Ribbit! Ribbit!” croaked the frog, “I think you should come closer because my eyes are not very good.”
So the dragonfly came a little closer. He flitted to a flower floating on the water—but still not close enough for the frog to grab him with his mouth.
“Yes, Mr. Frog, what do you want?” he asked.
“Oh, Mr. Dragonfly,” said the frog, “I have an itch on the end of my nose and my legs aren”t long enough to reach it. But your legs are scratchy—they will be able to scratch my itchiness much better that I ever could.”
The dragonfly found this quite funny. He thought, “That frog wants to eat me! I am sure that frog wants to eat me!” So he flew behind the frog and landed on his back.
The frog could feel the dragonfly crawling on his back, but he could not turn around to grab him. “Oh, Mr. Dragonfly,” he said, “you have to come closer to my nose. In fact, my lips are getting very itchy—please come closer.”
So the dragonfly went and sat between the frog”s eyes. Now the frog”s eyes were looking into the dragonfly”s eyes, and the frog saw that the dragonfly had far, far more eyes than he had. So he said, “Oh, Mr. Dragonfly, you are surely much, much more wise than I am. You have so many eyes that you can see the whole world!”
And the dragonfly replied, “Of course I can see the whole world! I have so many eyes that I am the wisest of all flies!”
“Well,” said the frog, “I have a little tickle in the bottom of my throat—what is happening there?”
And the dragonfly looked, and looked, and looked…….and Snap! the frog ate him up.
Christian Thomsen / RC Denmark Rare “Frog and Dragonfly” Art Nouveau vase 1901
CHRISTIAN THOMSEN (1860-1921) Denmark
ROYAL COPENHAGEN
“Frog and Dragonfly” vase 1901
Glazed porcelain with a frog in 3-D sculptural relief looking at a dragonfly seated on a calla lily leaf looking up at the blossom.
Form number 280
Marks: ROYAL COPENHAGEN, CROWN, 465/250, 3 wavy lines (Royal Copenhagen) insignia, inscribed A. 250
For more information see: Musterbuch KPF, um 1930, Illustration number 204; Porzellan, Kunst und Design 1889 bis 1939, vom Jugendstil zum Funktionalismus (Berlin: Bröhan-Museum, 1993) p. 467, ill. 435; Sammlung Bröhan: Kunsthandwerk 2, Metall, Porzellan (Berlin: Bröhan Museum, 1977), pp. 222-285.
H: 9″ x Dia: 3 1/2″
Christian Thomsen was employed at the Royal Porcelain Manufactory (Royal Copenhagen) in 1898, and was employed there until his death in 1921. Thomsen is said to have had a huge impact on Royal Copenhagen’s success throughout the 20th century. A large part of the recognition by the Royal Porcelain Factory has enjoyed over the years, they can thank Christian Thomsen for. He produced more than 100 different figurines, especially he had a fondness for agricultural characters, children figurines, figurines inspired by Hans Christian Andersen’s fairy tales, fauns and trolls, and not least charming animals and bird figures.
Hector Guimard for Maison Coilliot / Art Nouveau glazed lava tile 1898
HECTOR GUIMARD (1867-1942) France
MAISON COILLIOT Lille, France
Tile c. 1898
Fired and glazed lava with abstract whiplash motifs in various tones of aqua blue on the obverse and a partial graphic on the reverse with polychrome floral and linear details.
Marks: 16 (on top of tile)
French architect Hector Guimard (1867-1942) realized the decorative possibilities of glazed lava, a substance made from mixing pulverized lava with clay when he built a villa for Louis Coillot, (1898-1900) a ceramics manufacturer in Lille who monopolized the distribution of the material. Guimard sided the entire facade of Maison Coilliot in lava stone.
***A related glazed lava tile from the Castel Henriette is in the Collection of the Musee d’Orsay.
The Maison Coilliot is an Art Nouveau house located on 14, rue de Fleurus in Lille, France. Louis Coilliot, a French ceramic entrepreneur, was fond of enameled lava and wanted to popularize the technique. To do so, Coilliot commissioned Hector Guimard, an architect he’d met at the 1897 fair La Céramique et tous les arts du feu, (“Ceramic Arts & Glass Making”), to apply the technique to his house’s façade. Coilliot’s factory and warehouse were located to the rear of his house, and therefore the façade held a double
purpose, both decorating the front of his home and advertising his business.
For more information see: Hector Guimard, 1867-1942: Architektur in Paris um 1900 (Munich: Museum Villa Stuck, 1975)
Friedrich Gornik Bronze “Pelican” Art Nouveau Vide Poche c.1910
Friedrich Gornik (1877-1943) Austria.
“Pelicans” vide poche c. 1910.
Bronze with a natural gold patina of two pelicans on a rock, one seated and the other eating fish.
Marks: F Gornik and monogram.
For more information on Friedrich Gornik see: Der Österreichische Werkbund, Astrid Gmeiner & Gottfried Pirhofer (Salzburg & Wien: Residenz Verlag,1985) p. 228; Österreichische Keramik des Jugendstils, Waltraud Neuwirth (Munich: Prestel-Verlag, 1974) p. 156.
Black Starr & Frost American Art Nouveau Sterling Mounted Jewelry Box c.1900
BLACK STARR & FROST New York, NY
Art Nouveau Sterling and Mahogany Jewelry Box c.1900
Mahogany jewelry box with thick sterling silver decorative graphic mountings in an elaborate Art Nouveau whiplash design, original key
Marks: Eagle mark (Company logo) BLACK STARR & FROST, Sterling
For more information see: American Jewelry Manufacturers, Dorothy T. Rainwater (West Chester, Penn.: Schiffer, 1988)
H: 4 1/2″ x W: 10 1/2″ x D: 7″
SOLD
One of America’s oldest fine jewelers, Black, Starr and Frost traces its roots to 1810. In that year, Erastus Barton and Frederick Marquand opened Marquand and Barton near New York’s Maiden Lane. The firm added and lost partners numerous times and it also frequently moved locations in accordance with the addresses of its prestigious clientele. Its merchandise was eclectic and greatly varied including, lamps, jewelry, paintings, porcelain, and artistic objects. In 1876, the firm changed its name from Black, Ball, and Co. to Black, Starr, and Frost, and moved to 251 Fifth Avenue. Its inventory became focused on jewelry and silver objects, some imported from Europe, some produced in-house. For many decades, the renowned jewelry house, Black, Starr, and Frost was considered one of the great American jewelers. In 1876, it was invited to exhibit at the Centennial Exposition in Philadelphia along with renowned firms like Tiffany & Company, Whiting, and Gorham. In 1939, the firm was one of five American jewelers invited to exhibit at the New York’s World’s Fair. In 1929, it merged with Gorham to become Black, Starr, Frost – Gorham.
Amphora Art Pottery / Art Nouveau Organic vase c. 1900
AMPHORA ART POTTERY Turn-Teplitz, Austria
Organic vase c. 1900
Glazed earthenware
Marks: AMPHORA (in oval), AUSTRIA (in an oval), 8026, 41
For more information see: Deutsche Kunst und Dekoration, ( March 1901) pp. 346-349; Sammlung Bröhan: Kunsthandwerk, Glas, Holz, Keramik,Vol. 1 Band II (Berlin: Bröhan Museum, 1976), pp. 284-293.
Edmond Lachenal French Art Nouveau Green glazed pitcher / vase form c. 1900
EDMOND LACHENAL (1855-1930) Paris, France
Green glazed pitcher / vase form c. 1900
Marks: E LACHENAL (impressed and glazed in a rectangle on base)
For information on Edmond Lachenal see:”Edmond Lachenal”, Fritz Minkus, Kunst und Kunsthandwerk, IV (1901) pp.390-98; La Céramique Art Nouveau, Edgar Pelichet and Michèle Duperrex (Lausanne: Les Éditions du Grand-Pont, Switzerland, 1976) pp. 66,71,74,78,83,112,115; “l’Atelier Lachenal à la galerie Georges Petit “ in Les Echoes d’Art” (1933), p. Vll; Art Nouveau: Belgium & France, exh. cat. Yvonne Brunhammer et al. (Houston, TX: Institute for the the Arts, Rice University, 1976), p. 48; Le Japonisme (Paris: Éditions de la Réunion des Musées Nationaux, 1988) cat no. 377, p. 321; Japonisme: the Japanese influence on western art in the 19th and 20th Centuries, Siegfried Wichmann (Parklane: New York, 1980) pp. 339, 349; cat. no. 920.
Mathilde Augé / Ely Vial Limoges French Art Nouveau Eucalyptus vase c. 1900
MATHILDE AUGÉ France
ELY VIAL France
Eucalyptus vase c. 1900
Colored enamels on copper with foil-backing depicting eucalyptus berries and leaves, gilt details
Signed: MA (artist’s monogram)
For more information see: The Paris Salons 1895-1914 Jewellery, Vol. I: Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994), p. 44; The Paris Salons 1895-1914, Objets d’Art et Metalwork, Vol. 5, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994) p. 58; 1900, Philippe Thiébaut et al., exhib. cat. (Paris: Réunion des musées nationaux, 2000), p. 256.
Firmin-Marcelin Michelet French Art Nouveau “Four Seasons” sculpted vase c. 1900
FIRMIN-MARCELIN MICHELET Sculptor (1875-1951) France
GENTIL ET BOURDET [pottery]
“Four Seasons” vase c. 1900
Glazed stoneware in a cream color with tan and light brown highlights molded with four female profiles and corresponding floral branches below representing the “Four Seasons” of the year
Marks: F. Michelet (underglaze), Gentil et Bourdet Architectes Ceramistes
Another example of this vase is in the collection of the Brighton Museum Brighton, England
Exhibited: French Art Nouveau from English Collections, City of Bristol Museum and Art Gallery, 1977, Cat. No. B7.
Illustrated: Art Nouveau, Art Deco and the Thirties; The Ceramic, Glass and Metalwork Collections at Brighton Museum (Brighton: The Royal Pavillion, 1986)cat. no. 41, p. 22.
For more information on Firmin-Marcellin Michelet see: Étains 1900:
200 Sculptures de la Belle Époque, Philippe Dahhan (Paris: Les Éditions de l’Amateur, 2000), p. 274.
Val Saint-Lambert “Oignon de Jemeppe” Belgian Art Nouveau art glass vase c.1900
Cristalleries du val Saint-Lambert (1826-) Belgium
Jemepper-Sur-Meuse
Gevaert Romain/Ledru Leon
“Oignon de Jemeppe” art glass vase c. 1900
Hand blown coffee colored art glass vase with pulled feathering decoration in a burgundy-brown coloration with an elongated neck pulled from a bulbous body.
Marks: VSL (the mark is a variant colored feather pulled detail in the glass on the bottom of the vase)
H: 15 3/8″ x D: 5 3/4″
Price: $12,500
Val Saint Lambert is a Belgian crystal glassware manufacturer, founded in 1826. Val St Lambert is the official glassware supplier to H.M. King Albert II of Belgium.
Val Saint Lambert was founded in the Val-Saint-Lambert Abbey by a chemist, M. Kemlin, who had previously worked for the Vonêche crystal works in the Ardennes. Val Saint Lambert is renowned for its Art Nouveau and Art Deco pieces.
Olivier de Sorra / Pierrefonds (Count Hallez d’Arros) French Art Nouveau six branch vase c. 1900
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″
Price: $7,250
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
Amphora Art Pottery / Eduard Stellmacher Art Nouveau “Fern fronds” vase c. 1900
EDUARD STELLMACHER Turn-Teplitz, Austria
AMPHORA ART POTTERY Turn-Teplitz, Austria
“Fern fronds” vase c. 1900
Glazed earthenware with applied three-dimensional fern fronds
Marks: STELLMACHER TEPLITZ, Amphora mark, 1145, 7
For more information see: Deutsch Kunst und Dekoration, ( March 1901) pp. 346-349; Sammlung Bröhan: Kunsthandwerk, Glas, Holz, Keramik, Vol. 1 Band II (Berlin: Bröhan Museum, 1976), pp. 284-293.
Egide Rombaux (attr.) Belgian Art Nouveau “Nymph and Iris” sculpture c.1900
EGIDE ROMBAUX attr. (1865-1942) Belgium
Nymph with Iris Blossoms c.1900
Finely hand carved ivory in the form of a full figure nymph with an iris blossom and buds, blue agate base with gilt bronze mounts
For more information see: Art Nouveau and Art Deco Lighting, Alastair Duncan (New York: Simon & Schuster, Publishers, 1978)
H: 9 1/2″
Price: 9,750
Egide Rombaux, born 1865 in Brussels, was the son of the sculptor Félix Rombaux and student of Charles van der Strappen and Joseph Lambeaux. Rombaux was one of the more eminent of the Belgian School at the turn of the century; he was awarded the prestigious Prix de Rome in 1891, and subsequently became a professor at the Institut superieur des Beaux-Arts in Anvers. Sculptor and medalist, he principally did ivory groups (such as his ‘Venusberg’, displayed at the 1897 chryselephantine Tervuren exposition, and his ‘Daughter of Satan’, now at the Musée Royale des Beaux-Arts in Brussels), portrait busts and statues. He also collaborated with silversmith Franz Hoosemans on a delightful range of candelabra and tablelamps.
Scandinavian Art Nouveau “Wisteria” bronze photo frame c.1910
SCANDINAVIAN ART NOUVEAU
“Wisteria” bronze photo frame c.1910
Elaborately detailed, acid etched and multi-patinated bronze table top photo frame with gilt details of a cascade of wisteria blossoms, leaves and vines.
Overall Frame: H: 12” x W: 7 ½”
Oval photo window opening H: 5 ½” x W: 4”
Orfevrerie Christofle / French Art Nouveau Petite vase with wheat decor c. 1900
ORFÈVRERIE CHRISTOFLE Paris, France
Petite vase c. 1900
Patinated copper with applied gold work at the rim of the vase and the wheat and grass motif
Marks: Christofle touchmark, CHRISTOFLE
For more information on Christofle see: La Dinanderie Française 1900-1950, Dominique and Marie-Cécile Forest (Paris: Les Editions de l’Amateur, 1995), pp. 152-8.
French Art Nouveau Bronze and frosted glass grape cluster and vine lamp c. 1900
FRENCH ART NOUVEAU
JULIEN CAUSSE attr. (1869-1914) Bourges, France
Bronze and frosted glass grape cluster and vine lamp c. 1900
L: 24″ x dia (grape cluster): 7″
Julien Causse was born in Bourges, France and worked from 1890 – 1914. He studied in Paris under Falguiére and exhibited at The Salon des Artists Francais in the 1890s, obtaining honourable mentions in 1882 and 1900 and a third class medal in 1893. He also took part in the exposition Universelle of 1900.
Amphora Art Pottery / Riessner, Stellmacher & Kessel / Art Nouveau Ewer c. 1900
EDUARD STELLMACHER (designer) Turn-Teplitz, Austria
RIESSNER, STELLMACHER & KESSEL Turn-Teplitz, Austria
AMPHORA ART POTTERY Turn-Teplitz, Austria
Ewer c. 1900
Glazed porcelain
Marks: RStK MADE IN AUSTRIA Turn-Teplitz Bohemia, AMPHORA (in oval), 16, 531
For more information see: Deutsche Kunst und Dekoration, ( March 1901) pp. 346-349; Sammlung Bröhan: Kunsthandwerk, Glas, Holz, Keramik, Vol. 1 Band II (Berlin: Bröhan Museum, 1976), pp. 284-293.
Henry van de Velde Silver mounted Eugene Baudin French Art Nouveau vase c. 1900
HENRY VAN DE VELDE (1863-1957) Belgium (design mount)
for “LA MAISON MODERNE” Paris, France
ALPHONSE-EDOUARD DEBAIN France (execution mount)
EUGÈNE BAUDIN (1853-1918) France (pottery)
Vase c. 1900
Matte-glazed pottery, cranberry bright turquoise and white highlights, elaborate Art Nouveau whiplash silver mount.
Marks: E Baudin, AD (silversmith monogram), French 950 silver assay mark
For more information on van de Velde ceramics see: Ceramics of the 20th Century, Tamara Préaud and Serge Gauthier (New York: Rizzoli, 1982) illus. no. 67, p.42; Art Nouveau and Art Deco Silver, Annelies Krekel-Aalberse (New York: Harry N. Abrams, Inc.,1989), pp. 63, 90, 264.
For other A-E. Debain designs see: The Paris Salons 1895-1914, Vol. V: Objets d’Art & Metalware, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1999), p. 208.
For related Van de Velde mount designs see: Jugendstil, Irmela Franzke (Munich: Battenberg Verlag, 1987), illus. 169, p. 87.
H: 8 1/4” x W: 4”
Clement Massier / French Art Nouveau “Bamboo and Flying Crane” Vase circa 1900
CLÉMENT MASSIER (1845-1917) France
MASSIER ART POTTERY Golfe Juan, France
“Bamboo and flying crane” vase c. 1900
Earthenware tapering form with applied handles, hand painted with bamboo and flying cranes with gilt motives and details
Marks: Clement Massier Golfe Juan (block impressed letters)
For more information and other works by the Massier family see: Lost Paradise: Symbolist Europe (Montreal, Quebec: The Montreal Museum of Fine Arts, 1995) p. 176, cat. 269; Jugendstil Art Nouveau, Floral and Functional Forms, Siegfried Wichmann (New York/Boston: Graphic Society/Little, Brown & Co., 1984) p. 45; Art Nouveau Belgium France. Exh. cat. Yvonne Brunhammer et al. (Houston, TX: Institute for the the Arts, Rice University, 1976); La Céramique Art Nouveau, Edgar Pélichet, Michèle Duperrex (Paris: La Bibliothèque des Arts, 1976) p. 89
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