Edmond Lachenal French Art Nouveau Green glazed pitcher / vase form c. 1900
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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.
Flavio Poli / Seguso Vetri d’Arte Murano Mid-Century Modern art glass vase c. 1950’s
FLAVIO POLI (1900-1984) Italy
SEGUSO VETRI D’ARTE Italy
Vase c. 1950’s
Blue and clear Murano glass
H: 10″ x D: 3″ x W: 4 1/2″
Price: $1,850
Designer, businessman, ceramic artist. Born in Chioggia, he attended the Istituto d’Arte di Venezia and began work as a designer in ceramics. in 1929 he switched to glass and for Libero Vitali’s I.V.A.M. he designed animals, splendid Novecento-style nude figures in massiccio glass, as well as bowls and urns with figures resting on the inside, on lids or as handles. He subsequently collaborated with the Compagnia di Venezia e Murano, with the furnace of Mario and Lino Nason and with the engraver Gino Francesconi. in 1934 he accepted the artistic direction of Barovier, Seguso & Ferro, later to become Seguso Vetri d’Arte, and became partner three years later. Together with the master of the principal team Archimede Seguso, Poli was the author of grandiose lighting installations, of corroded vessels, of sculptures in bulicante glass, of animals in massiccio glass shaped while hot, productions which represented a milestone in the development of Murano glass. At the height of his artistic maturity, in the years between 1950 and 1960 he designed a series of sommerso glass pieces in a Nordic style, essential forms and sharp cold colors, which were awarded prestigious prizes (Compasso d’Oro). After leaving Seguso in 1963, between 1964 and 1966 he organized the artistic glass division at the Societˆ Veneziana di Conterie e Cristallerie.
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.
Francois-Emile Decorchement French Art Deco “Bleu” pâte-de-crystal vase 1926
FRANÇOIS-EMILE DECORCHEMENT (1880-1971) France
“Bleu” pâte-de-crystal vase c. 1926
Cobalt blue pâte-de-crystal (lost wax cast crystal) with mauve inclusions, two low-relief friezes of varying abstract vine motifs
Impressed: DECORCHEMENT in a lunette seal, numbered A 865
For more information on Decorchement see: Art Deco, Victor Arwas (New York: Harry N. Abrams,1980) pp. 268-69, 298.
H: 4 1/2″ x Dia: 4 3/4″
Decorchement, Francois Emile. (1880-1970) He set up a glass house in Conches in 1902 producing exquisite pate-de-verre, statuettes, bowls and vases. He extended this range to encompass a rougher hewn surface with motifs of flowers and sometimes insects. His designs became increasingly abstract during the 1930s toward the outbreak of the Second World War; these were often executed in pate-de-cristal. Later the production continued although in a more restrained manner with softer semi-opaque and translucent colors.
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