Important Lucien Gaillard “Staghorn beetle” silver and gold inlay magnifying glass, signed c. 1900
Silver hand finished and repoussed in the form of a staghorn beetle with horns encircling the round magnifying glass, gold details
Signed: L. GAILLARD (engraved) on lower right leg, head of Minerva (950/1000 pure silver)
The staghorn beetle was a favorite form for Gaillard and the inspiration for many examples of his work including jewelry, vases and this magnifying glass. A variant model in cast bronze can be seen in the collection of the Musee d’Orsay in Paris.
Alexandre Noll rare and early Art Deco mahogany and glass box c. 1930
ALEXANDRE NOLL (1890-1970) France
Covered box c. 1930
Mahogany with ebony peg details and 1 ¼ inch thick Saint-Gobain glass.
Marks: ANoll
Provenance: Private Collection New York, Galerie de Beyrie Paris, Odile Noll (A. Noll’s daughter), Alexandre Noll Estate
For more information see: Alexandre Noll, Olivier Jean-Elie, Pierre Passebon (Paris:Edition du Regard, 1999); Alexandre Noll: Les Matres de L’ Art Decoratif Contemporain, Collection dirigée par R. Moutard-Uldry edited by (Geneve: Pierre Cailler, 1954); Le Mobilier du Xxe Siécle: Dictionnaire des
Créateurs, Pierre Kjellberg (Paris: Les Éditons de l’Amateur, 1994) p. 455-456.
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.
Christopher Dresser / James Couper & Sons Aventurine blown glass “Clutha” pitcher c. 1895
CHRISTOPHER DRESSER (1834-1904) UK
JAMES COUPER & SONS Glasgow, Scotland
“Clutha” pitcher c. 1895
Aventurine blown glass with iridescent gold streaks and internal bubbles
Illustrated: “Liberty & Co.” Yuletide Gifts catalogue, 1895, “Clutha” Glass; Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 72
Christopher Dresser / James Couper & Sons Aventurine blown glass Clutha vase c. 1895
CHRISTOPHER DRESSER (1834-1904) UK
JAMES COUPER & SONS Glasgow
Clutha vase c. 1895
Aventurine blown glass with iridescent gold streaks and internal bubbles
Illustration: Christopher Dresser, Widar Halen (Oxford: Phaidon, Christies Limited, 1990) p. 196, illust. 228.
For more information: Liberty Style: the classic years, 1898-1910, Mervyn Levy (New York: Rizzoli International Publications, Inc., 1986); Christopher Dresser: the power of design, Christopher Wilk (New York: Zurland – Zabar, 1993).
Reinhold Klaus / Carl Geyling Atelier Vienna “Cubist Man with top hat and flowers” stained glass window c. 1930
REINHOLD KLAUS (1881-1963) Vienna, Austria
CARL GEYLING ATELIER (founded 1841) Vienna, Austria
Man with tophat and flowers c. 1930
Window of stained and hand-painted leaded glass
Provenance: Estate of Carl Geyling (1814-1880), Vienna
H: 17 3/4″ x W: 14 1/2″
Reinhold Klaus studied from 1898-1902 with Alfred Roller at the Kaiserlich-Königliche Kunstgewerbeschule in Vienna. In 1914 Klaus married into the Carl Geyling family and became extensively involved with with stained glass painting. As early as 1918 Klaus worked on a stained glass window for the Siegestempel am Bisamberg in Vienna. In 1934 he became a professor of stained glass painting at the Kunstgewerbeschule, as well as creative director of the C. Geylings Erben glass painting company. Reinhold Klaus, a member of the Künstlerhaus since 1924 received many prizes and honors. He worked on commissions for the St. Veits cathedral in Prague, the St. Stephan cathedral in Vienna and many others.
Flavio Poli for Seguso Large Murano Glass Bottle with Stopper c.1950’s
FLAVIO POLI (1900-1984) Italy
SEGUSO VETRI D’ARTE Italy
Bottle with stopper c. 1950’s
Spectacular large decanter or bottle with stopper with a golden cognac cased glass interior tear drop form suspended in a solid clear glass body by FLAVIO POLI (1900-1984) Italy for SEGUSO VETRI D’ARTE Italy
Andre Thuret French Art Deco Rare Handblown Art Glass Vase c. 1930
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.
Overall matte finish art glass vase with an elaborate mosaic technique inset with red rectangular patchwork sections and blue murrina jewels all on a chocolate brown body with a black glass foot
Marks: Tsuchida Yasuhiko 99, 77
For more information see: Tsuchida Yasuhiko, exh. cat., Franco Schiavon (Murano, Italy: Palazzo del Vetro, 2000).
Provenance: Pauly & Co. Venice
H: 4 3/4″ x Dia: 5 1/8″
Price: $5,450
Yasuhiko Tsuchida was born in Osaka, Japan in 1969. In 1988, soon after graduating TSUJI Culinary Institute, he left Japan to explore food and art in Paris. Since 1992, he has lived in Venice, Italy. Tsuchida has been making glass work in Murano Island since 1995, and next year assumed the office of art director at Schiavone Glass Co. Ltd. In 1996 he presented a glass sculpture entitled “Bamboo Collection”
with Japanese motif of bamboo. The work was highly acclaimed, which gave him a chance to start to hold solo exhibitions around the world. In 2000, Tsuchida became a member of the board of directors at Venetian Glass Institute, and a chief director there in 2003. In 2004, he won Honorary Technique Prize in Düsseldorf, Germany, and in 2008, received Award of Contribution to Cultural
Promotion from Grosseto city, Toscana. In the same year, he
represented Japan at International Open Exhibition of Sculpture, and won the Grand-Prix. In 2010, Tsuchida was invited to the Issei Miyake “IM10” Project Competition, and held a solo exhibition at Lorusso Gallery, Andria, Italy. Tsuchida continues to exhibit in many solo shows around the world.
Exhibited: The Twenty One (Millenium) Exhibition, Arzenal Gallery, Prague, 2000
For more information see: Sípek, Philippe Louguet, Dagmar Sedlická (Paris: Éditions Dis Voir, 1999); Borek Sipek and Christian Tortu: Collection Twentyone 2001 (Prague: Arzenal Edition, 2001)
H: 13″ x Dia: 4″
Price: $1,050
The Czech architect, furniture designer, and glass artist Borek Sípek was born in Prague in 1949. From 1964 to 1968 Borek Sípek studied furniture design at the Prague School for the Applied Arts. In 1969 he began to study architecture at the Hochschule für bildende Künste in Hamburg. In 1973 he studied philosophy at Stuttgart University. From 1977 until 1979 he was an academic assistant at the Hannover University Institute of Industrial Design. Borek Sípek took his degree in architecture at Delft Technical University. Then he taught design theory at Essen University until 1983. In 1983 Borek Sípek also opened an architecture and design practice in Amsterdam. He founded Alterego, a design business, with David Palterer. In the 1980s, Borek Sípek designed Postmodern furniture and glass objects, which brought him international renown. Borek Sípek’s designs are formally distinctive, both ingeniously conceived and sumptuous, and are often executed in unconventional materials and combinations of materials. Borek Sípek views design as an interpretation of culture. For this reason, he rejects the functional and rational approach to design and does not want striving for technical perfection to lead to disregard of individuality. In 1983 Borek Sípek designed “Bambi”, a fragile-looking tubular steel chair with brass fittings and a back covered in silk. In 1991 Borek Sípek designed the “PCSS” table with blue glass legs and metal fittings. Borek Sípek’s superlative glass objects are executed by glassblowers in Murano and Novy Bor. Borek Sipek is also known worldwide as an architect and has received prestigious commissions. Between 1993-2002 Borek Sípek worked on the Het Kruithuis Museum in ‘s Hertogenbosch (the Netherlands). In 1994 Borek Sípek designed the Kyoto Opera Houseentsteht das Opernhaus in Kyoto. In 1995 Borek Sípek designed a Paris boutique for Karl Lagerfeld. In 1990 Borek Sípek became a professor of architecture at the Academy for the Applied Arts in Prague, where he taught until 1998. Since 1999 he has taught at the Universität for angewandte Kunst in Vienna.
His works are included in major international museum and private collections throughout the US and Europe including Museum of Modern Art, Stedelijjk Museum, Denver Art Museum, The Corning Museum of Art, The Hauge Municipal Museum, Kunstmuseum in Düsseldorf and Design Museum in London.
Lötz Witwe / Hans Ofner Austrian Art glass vase c. 1920
HANS OFNER attr. (1880-1939) Austria
JOH. LÖTZ WITWE Klostermühle, Bohemia
Vase c. 1920
Handblown cobalt glass with undulating metallic chartreuse bands, four applied glass teardrops at the rim
For related examples by Ofner see: Innen Dekoration, “Lötz glass by Hans Ofner,” 1906.
For the identical glass technique see: Lötz: Böhmisches Glas 1880-1940, Vol. 1, Helmut Ricke and Ernst Ploil (Munich: Prestel-Verlag, 1989), p. 294, ill. no. 357.
Michael Powolny / Lötz Witwe Glaswerks Jugendstil Set of Three “Tango” Glass Vases c. 1920
PROF. MICHAEL POWOLNY (1871-1954) Austria
LÖTZ WITWE GLASWERKS Klostermuhle
Set of three “Tango” glass vases c. 1920
Blown tall yellow glass with applied black handles, blown orange glass with applied cobalt blue handles, blown red glass with applied black handle-form feet
Marks: Cecho. Slovakia (acid etched in an oval) (red vase)
Yellow and black vase H: 6 1/2” x Dia: 6″
Orange and cobalt blue vase H: 5 1/2” x Dia: 6″
Red and black vase H: 3 1/2” x Dia: 6″
For more information see: Lötz: Böhmisches Glas 1880-1940, Band 1, Helmut Ricke and Ernst Ploil, (Munich: Prestel-Verlag, 1989) ; Glass of the Avant-Garde, From Vienna Secession to Bauhaus, The Torsten Bröhan Collection from the Museo Nacional de Artes Decorativas, Madrid, Torsten Bröhan, Martin Eidelberg (Munich, London, New York: Prestel Verlag, 2001).
Other Powolny works: Jugendstil Art Nouveau: floral und functional forms, Siegfried Wichmann (New York / Boston: Graphic Society, Little, Brown and Co., 1984), p. 226; Vienna 1900-1930: Art in the Home, Historical Design exhibition catalogue (New York: Historical Design, Inc., 1996), p. 45; Modernism:Modernist Design 1880-1940, The Norwest Collection, Norwest Corporation, Minneapolis, Alastair Duncan (Woodbridge, Suffolk, England: The Antique Collector’s Club, 1998).
Mazzega Murano / Italian Art Glass White opalescent tube top vase c. 1975
AV MAZZEGA MURANO (Italy)
Vase c. 1975
White opalescent blue blown glass with a bottom tube support and a flared
test tube style top
For related information see: Italian Glass Murano Milan 1930-1970, Helmut Ricke and Eva Schmitt (Munich: Prestel, 1997) illus. 66, 67; I Vetri di Fulvio Bianconi, Rossana Bossaglia (Torino: Umberto Allemandi & C., 1993) illus. 17, 21; Murano Glas 1945-1970, Marc Heiremans (Antwerpen: Galerij Novecento, 1989) illus. 181; I Vetri Venini, Franco Deboni (Torino: Umberto Allemandi & C., 1989) illus. 105.
Borek Sipek Bagatti Valsecchi Art Glass Goblet c. 1994
BOŘEK ŠĺPEK (1949-2016) Prague, Czech Republic
Goblet “BAGATTI VALSECCHI” c. 1994
Blown clear glass with blue bow details
Exhibited: The Twenty One (Millenium) Exhibition, Arzenal Gallery, Prague, 2000
For more information see: Sípek, Philippe Louguet, Dagmar Sedlická (Paris: Éditions Dis Voir, 1999); Borek Sipek and Christian Tortu: Collection Twentyone 2001 (Prague: Arzenal Edition, 2001)
H: 12″ x Dia: 4 1/2″
Price: $1,150
The Czech architect, furniture designer, and glass artist Borek Sípek was born in Prague in 1949. From 1964 to 1968 Borek Sípek studied furniture design at the Prague School for the Applied Arts. In 1969 he began to study architecture at the Hochschule für bildende Künste in Hamburg. In 1973 he studied philosophy at Stuttgart University. From 1977 until 1979 he was an academic assistant at the Hannover University Institute of Industrial Design. Borek Sípek took his degree in architecture at Delft Technical University. Then he taught design theory at Essen University until 1983. In 1983 Borek Sípek also opened an architecture and design practice in Amsterdam. He founded Alterego, a design business, with David Palterer. In the 1980s, Borek Sípek designed Postmodern furniture and glass objects, which brought him international renown. Borek Sípek’s designs are formally distinctive, both ingeniously conceived and sumptuous, and are often executed in unconventional materials and combinations of materials. Borek Sípek views design as an interpretation of culture. For this reason, he rejects the functional and rational approach to design and does not want striving for technical perfection to lead to disregard of individuality. In 1983 Borek Sípek designed “Bambi”, a fragile-looking tubular steel chair with brass fittings and a back covered in silk. In 1991 Borek Sípek designed the “PCSS” table with blue glass legs and metal fittings. Borek Sípek’s superlative glass objects are executed by glassblowers in Murano and Novy Bor. Borek Sipek is also known worldwide as an architect and has received prestigious commissions. Between 1993-2002 Borek Sípek worked on the Het Kruithuis Museum in ‘s Hertogenbosch (the Netherlands). In 1994 Borek Sípek designed the Kyoto Opera Houseentsteht das Opernhaus in Kyoto. In 1995 Borek Sípek designed a Paris boutique for Karl Lagerfeld. In 1990 Borek Sípek became a professor of architecture at the Academy for the Applied Arts in Prague, where he taught until 1998. Since 1999 he has taught at the Universität for angewandte Kunst in Vienna.
His works are included in major international museum and private collections throughout the US and Europe including Museum of Modern Art, Stedelijjk Museum, Denver Art Museum, The Corning Museum of Art, The Hauge Municipal Museum, Kunstmuseum in Düsseldorf and Design Museum in London.
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