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  Pierre d’Avesn / Verlys / French Art Deco “Egyptian Fan”, satin crystal vase c. 1934

  PIERRE D’AVESN (1901-1984)

  VERLYS   Rouen, France

  “Egyptian Fan” vase c. 1934

  Satin crystal, hand finished in the form of a “winged” vase with “Egyptian Fan” motif

  Model illustrated: Verlys catalogue of c. 1934, Pierre d’Avesn Catalogue raisonné, 1920 to 1930 (by Philippe Decelle)

  H: 8 ½” x W: 11”

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  Jean Despres, French Art Deco Modernist Covered Centerpiece c. 1940

  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”

   

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  Pierre-Emile Legrain (attr.) Pair of French Art Deco drop and roll front cabinets c. 1927

  PIERRE-EMILE LEGRAIN attr.  (1889-1929)  France

  Matching Cabinets (pair)   c. 1927

  Golden cerused oak, roll-front and drop front doors,
  original brass keys, reeded base

  Provenance: Felix Marcilhac, Paris

  For more information on Legrain see: Pierre-Emile Legrain 1889-1929 (Paris: exh. cat. Galerie Jacques de Vos,1996); Union des Artistes Modernes, Arlette Barré-Despond (Paris: Editions du Regard, 1986) 119-120.

  H: 50 1/2 ” x W: 23 1/2” x D: 11 1/2”

  The Art Deco movement centered in early 20th-century Paris sought to bridge the transition from academic art and craftsmanship to modern art and industrial production. Regarded by some as one of its founders, Pierre-Emile Legrain (1889-1929) worked at a time of great ferment in art, as well as in society. Legrain’s curiosity and receptiveness to these changes led him to adapt forms, materials and techniques from other cultures.

  Legrain created two distinct bodies of work: an assemblage of approximately 1,200 bookbinding designs and a much smaller production of furniture made for couturiers in the French fashion trade. Both artistic endeavors shared fine craftsmanship, masterful use of rare and expensive materials, unusual combinations of textures and surfaces, and spare, geometrical forms. Nearly all of his creations were one-of-a-kind.

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  Pierre d’Avesn / Verlys / French Art Deco “Leaf” satin crystal vase c. 1934

  PIERRE D’AVESN (1901-1984)

  VERLYS   Rouen, France

  “Leaf” vase c. 1934

  Satin crystal, hand finished with a leaf motif

  For more information see: Verlys catalogue of c. 1934, Pierre d’Avesn Catalogue raisonné, 1920 to 1930 (by Philippe Decelle)