2009 December Signature 20th Century Design Auction
| Sale Number: | 5032 |
| Location: | |
| Auction Date: | December 10th at 9 AM CT |
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Session 1
Furniture
ALVAR AALTO FOR FINMAR
Four Black-Painted Laminated Birch Chairs, model no. 11, circa 1930s
Marks: three bearing Finmar label, all bearing various stamps
31-1/2 x 19 x 17-1/2 inches (80.0 x 48.3 x 44.5 cm) each
Four Black-Painted Laminated Birch Chairs, model no. 11, circa 1930s
Marks: three bearing Finmar label, all bearing various stamps
31-1/2 x 19 x 17-1/2 inches (80.0 x 48.3 x 44.5 cm) each
ALVAR AALTO FOR FINMAR
A Rectangular Laminated Birch Dining Table, circa 1933-1935
Marks: bearing Finmar label
30 x 49 inches (76.2 x 98.0 cm)
A Rectangular Laminated Birch Dining Table, circa 1933-1935
Marks: bearing Finmar label
30 x 49 inches (76.2 x 98.0 cm)
ALVAR AALTO
Four Laminated Birch Chairs, model no. 11, circa 1930s
31-1/2 x 19 x 17-1/2 inches (80.0 x 48.3 x 44.5 cm) each
Four Laminated Birch Chairs, model no. 11, circa 1930s
31-1/2 x 19 x 17-1/2 inches (80.0 x 48.3 x 44.5 cm) each
Fine Art - Work on Paper
RALPH STEADMAN
Untitled, 1977
Print
Signed and dated 8/5/77
27-1/2 x 19-1/2 inches (69.9 x 49.5 cm)
Untitled, 1977
Signed and dated 8/5/77
27-1/2 x 19-1/2 inches (69.9 x 49.5 cm)
Furniture
ALVAR AALTO FOR FINMAR
A Square Laminated Birch Table
Marks: bearing Finmar label
27 x 30 x 30 inches (68.6 x 76.2 x 76.2 cm)
A Square Laminated Birch Table
Marks: bearing Finmar label
27 x 30 x 30 inches (68.6 x 76.2 x 76.2 cm)
Decorative Arts, French
HENRI MATHIEU
A Metal "Bonieux" Torchière, circa 1970
52 inches (132.1 cm) high
A Metal "Bonieux" Torchière, circa 1970
52 inches (132.1 cm) high
Furniture
ALVAR AALTO
A Pair of Upholstered Laminated Birch Low Stools
17-1/2 x 13-1/2 inches (44.5 x 34.3 cm) each
A Pair of Upholstered Laminated Birch Low Stools
17-1/2 x 13-1/2 inches (44.5 x 34.3 cm) each
Other
A CHINESE SILVER NECKLACE
Guiznou, circa 1920
16 inches (40.6 cm) diameter
Guiznou, circa 1920
16 inches (40.6 cm) diameter
Paintings
A CHINESE SILVER NECKLACE
Guiznou, circa 1920
11 inches (27.9 cm) diameter
Guiznou, circa 1920
11 inches (27.9 cm) diameter
Other
A CHINESE SILVER NECKLACE
Guizhou, circa 1920
16 inches (40.6 cm) diameter
Guizhou, circa 1920
16 inches (40.6 cm) diameter
Paintings
A CHINESE SILVER NECKLACE
Guizhou, circa 1920
16 inches (40.6 cm) diameter
Hand-worked jewelry by the Miao tribes of China was worn on festive days, with each tribe having their own design. These wonderful pieces have become increasingly scarce due to the tendency to melt the silver in order to make lighter works.
Guizhou, circa 1920
16 inches (40.6 cm) diameter
Hand-worked jewelry by the Miao tribes of China was worn on festive days, with each tribe having their own design. These wonderful pieces have become increasingly scarce due to the tendency to melt the silver in order to make lighter works.
Ceramics & Porcelain, Continental
JEAN LUCE
A Stoneware Vase with black and gold enamel decoration, circa 1930
10-1/2 inches (26.7 cm) high
A Stoneware Vase with black and gold enamel decoration, circa 1930
10-1/2 inches (26.7 cm) high
JEAN LUCE
A Stoneware Vase with black, gold, and silver enamel decoration, circa 1930
10 inches (25.4 cm) high
A Stoneware Vase with black, gold, and silver enamel decoration, circa 1930
10 inches (25.4 cm) high
Lighting
ISAMU NOGUCHI
A Table Light (one of a pair)
20 x 15 inches (50.8 x 38.1 cm) each
A Table Light (one of a pair)
20 x 15 inches (50.8 x 38.1 cm) each
ALVAR AALTO FOR VALAISTUSTYO KY, HELSINKI
A White-Lacquered Sheet Metal Ceiling Light, circa 1959
12 x 45 x 10 inches (30.5 x 114.3 x 25.4 cm)
PROVENANCE:
Designed for the company headquarters of Enso-Gutzeit, Helsinki, 1959 (label).
LITERATURE:
Cf. T. Kellein, Alvar and Aino Aalto Design, Collection Bischofberger, Zurich, 2005, p. 189, for another example.
A White-Lacquered Sheet Metal Ceiling Light, circa 1959
12 x 45 x 10 inches (30.5 x 114.3 x 25.4 cm)
PROVENANCE:
Designed for the company headquarters of Enso-Gutzeit, Helsinki, 1959 (label).
LITERATURE:
Cf. T. Kellein, Alvar and Aino Aalto Design, Collection Bischofberger, Zurich, 2005, p. 189, for another example.
Furniture
ALVAR AALTO FOR FINMAR
A Modernist Black-Lacquered and Laminated Birch Sideboard, circa 1930
Marks: bearing decal
30 x 54 x 18 inches (76.2 x 137.2 x 45.7 cm)
A Modernist Black-Lacquered and Laminated Birch Sideboard, circa 1930
Marks: bearing decal
30 x 54 x 18 inches (76.2 x 137.2 x 45.7 cm)
ALVAR AALTO FOR FINMAR
A Pair of Small Rectangular Laminated Birch Tables, model no. 86
Marks: one bearing Finmar label
22-1/2 x 23 x 13-1/2 inches (57.2 x 58.4 x 34.3 cm) each
A Pair of Small Rectangular Laminated Birch Tables, model no. 86
Marks: one bearing Finmar label
22-1/2 x 23 x 13-1/2 inches (57.2 x 58.4 x 34.3 cm) each
ALVAR AALTO
A Birds-Eye Birch Paimio Table, model no. 75, circa 1931
24 x 24 x 20 inches (61.0 x 61.0 x 50.8 cm)
A Birds-Eye Birch Paimio Table, model no. 75, circa 1931
24 x 24 x 20 inches (61.0 x 61.0 x 50.8 cm)
Fine Art - Work on Paper
PETER MARSH
Untitled (two works), circa 1965-1966
Ink on paper
20 x 16 inches (50.8 x 40.6 cm) and 15-3/4 x 13-3/4 inches (40.0 x 34.9 cm)
Untitled (two works), circa 1965-1966
Ink on paper
20 x 16 inches (50.8 x 40.6 cm) and 15-3/4 x 13-3/4 inches (40.0 x 34.9 cm)
Decorative Arts, Continental
FONTANA ARTE
A Chrome Plated Metal and Sandblasted Glass Hanging Lamp
69 x 27-1/2 inches (175.3 x 69.9 cm)
A Chrome Plated Metal and Sandblasted Glass Hanging Lamp
69 x 27-1/2 inches (175.3 x 69.9 cm)
Furniture
ALVAR AALTO FOR FINMAR
Three Laminated Birch Cantilevered Chairs, model no. 21, circa 1930-1932
Marks: one bearing Finmar label
32-1/2 x 22 x 19 inches (82.6 x 55.9 x 48.3 cm) each
Three Laminated Birch Cantilevered Chairs, model no. 21, circa 1930-1932
Marks: one bearing Finmar label
32-1/2 x 22 x 19 inches (82.6 x 55.9 x 48.3 cm) each
ALVAR AALTO FOR FINMAR
A Rectangular Laminated Birch Table, model no. 81
Marks: bearing Finmar label
48 x 30 x 27-1/2 inches (121.9 x 76.2 x 69.9 cm)
A Rectangular Laminated Birch Table, model no. 81
Marks: bearing Finmar label
48 x 30 x 27-1/2 inches (121.9 x 76.2 x 69.9 cm)
ALVAR AALTO FOR FINMAR
Four Laminated Birch Stools, model no. 63, two circa 1930s and two circa 1950s
Marks: two bearing Finmar label
30-3/4 inches (78.1 cm) high, tallest
Four Laminated Birch Stools, model no. 63, two circa 1930s and two circa 1950s
Marks: two bearing Finmar label
30-3/4 inches (78.1 cm) high, tallest
Lighting
INGO MAURER, DESIGN M
"Lampe 'Bulb-Bulb'", "Culot Jaune" A Pair of Lamps, circa 1980
23-1/4 inches (59.1 cm) high, each
"Lampe 'Bulb-Bulb'", "Culot Jaune" A Pair of Lamps, circa 1980
23-1/4 inches (59.1 cm) high, each
Furniture
ALVAR AALTO
A Pair of Small Rectangular Laminated Birch Tables
22-1/2 x 23 x 13-1/2 inches (57.2 x 58.4 x 34.3 cm) each
A Pair of Small Rectangular Laminated Birch Tables
22-1/2 x 23 x 13-1/2 inches (57.2 x 58.4 x 34.3 cm) each
ALVAR AALTO
A Laminated Birch/Masseur Birch Trolley with solid wood wheels, circa 1935-1936
21-1/2 x 35 x 18 inches (54.6 x 88.9 x 45.7 cm)
A Laminated Birch/Masseur Birch Trolley with solid wood wheels, circa 1935-1936
21-1/2 x 35 x 18 inches (54.6 x 88.9 x 45.7 cm)
Textiles
A MOROCCAN RUG
Circa 1930
94 x 67 inches (238.8 x 170.2 cm)
Rectangular in form, woven with geometric designs in shades of brown and beige
Circa 1930
94 x 67 inches (238.8 x 170.2 cm)
Rectangular in form, woven with geometric designs in shades of brown and beige
Furniture
ALVAR AALTO FOR FINMAR
A Rectangular Laminated Birch Table, model no. 81
Marks: bearing Finmar label
48 x 30 x 27-1/2 inches (121.9 x 76.2 x 69.9 cm)
A Rectangular Laminated Birch Table, model no. 81
Marks: bearing Finmar label
48 x 30 x 27-1/2 inches (121.9 x 76.2 x 69.9 cm)
Textiles
A TIBETAN RUGS
Circa 1940
68 x 34 inches (172.7 x 86.4 cm)
Rectangular in form, woven with a geometric pattern in black and beige
Circa 1940
68 x 34 inches (172.7 x 86.4 cm)
Rectangular in form, woven with a geometric pattern in black and beige
Works on Paper
GRAHAM SUTHERLAND
Untitled
Print on silk
30-3/4 x 30-1/2 inches (78.1 x 77.5 cm)
Untitled
Print on silk
30-3/4 x 30-1/2 inches (78.1 x 77.5 cm)
Rugs & Textiles
TWO TIBETAN RUGS
Circa 1940
58 x 31 inches (147.3 x 78.7 cm) and 58 x 34 inches (147.3 x 86.4 cm)
Each rectangular in form, woven with a checker pattern in black and beige
Circa 1940
58 x 31 inches (147.3 x 78.7 cm) and 58 x 34 inches (147.3 x 86.4 cm)
Each rectangular in form, woven with a checker pattern in black and beige
Textiles
In the style of JEAN ROYÈRE
A French Rug, circa 1940
82 x 57 inches (208.3 x 144.8 cm)
Rectangular in form, woven with a zebra pattern in black and beige
A French Rug, circa 1940
82 x 57 inches (208.3 x 144.8 cm)
Rectangular in form, woven with a zebra pattern in black and beige
Decorative Arts, French
NAM-JACQUES LEHMANN
"Standing Cobra" A Lacquered Wood Panel, circa 1930
Marks: monogrammed
21 x 19 inches (53.3 x 48.3 cm)
"Standing Cobra" A Lacquered Wood Panel, circa 1930
Marks: monogrammed
21 x 19 inches (53.3 x 48.3 cm)
Furniture
ALVAR AALTO FOR FINMAR
A Pair of Black-Painted Laminated Birch Armchairs, model no. 15, circa 1929-1930
Marks: bearing Finmar labels and various stamps
27 x 18-1/2 x 21 inches (68.6 x 47.0 x 53.3 cm) each
A Pair of Black-Painted Laminated Birch Armchairs, model no. 15, circa 1929-1930
Marks: bearing Finmar labels and various stamps
27 x 18-1/2 x 21 inches (68.6 x 47.0 x 53.3 cm) each
ALVAR AALTO
A Rectangular Black-Painted Laminated Birch Table, model no. 81
27 x 39-1/2 x 21 inches (68.6 x 100.3 x 53.3 cm)
A Rectangular Black-Painted Laminated Birch Table, model no. 81
27 x 39-1/2 x 21 inches (68.6 x 100.3 x 53.3 cm)
Fine Art - Work on Paper
ROBERT BANKS
Mediterranean Village
Watercolor
Signed
24 x 14 inches (61.0 x 35.6 cm)
Mediterranean Village
Watercolor
Signed
24 x 14 inches (61.0 x 35.6 cm)
Furniture
ALVAR AALTO
Four Laminated Birch Paimio Chairs, model no. 51, circa 1930s, and A Square Laminated Birch Occasional Table with black top
30-3/4 x 21 x 24 inches (78.1 x 53.3 x 61.0 cm) each chair
27 x 30 x 30 inches (68.6 x 76.2 x 76.2 cm) table
Four Laminated Birch Paimio Chairs, model no. 51, circa 1930s, and A Square Laminated Birch Occasional Table with black top
30-3/4 x 21 x 24 inches (78.1 x 53.3 x 61.0 cm) each chair
27 x 30 x 30 inches (68.6 x 76.2 x 76.2 cm) table
ALVAR AALTO
A Round Laminated Birch Occasional Table
27 x 39 inches (68.6 x 99.1 cm)
A Round Laminated Birch Occasional Table
27 x 39 inches (68.6 x 99.1 cm)
Asian
AN ORIBE BOX AND COVER
19th Century
6 inches (15.2 cm) square
The decoration of stylized fruit and floral sprays in dark green glaze on a cream crackleware ground
PROVENANCE:
Christie's, December 16, 1993.
19th Century
6 inches (15.2 cm) square
The decoration of stylized fruit and floral sprays in dark green glaze on a cream crackleware ground
PROVENANCE:
Christie's, December 16, 1993.
Furniture
ALVAR AALTO
A Laminated Birch Chair, model no. 69, circa 1930s
Marks: bearing stamp
29 x 16 x 18 inches (73.7 x 40.6 x 45.7 cm)
A Laminated Birch Chair, model no. 69, circa 1930s
Marks: bearing stamp
29 x 16 x 18 inches (73.7 x 40.6 x 45.7 cm)
Works on Paper
ROBERT BANKS
Mediterranean Village Rooftops
Watercolor
Signed
24 x 14-1/2 inches (61.0 x 36.8 cm)
Mediterranean Village Rooftops
Watercolor
Signed
24 x 14-1/2 inches (61.0 x 36.8 cm)
Furniture
ALVAR AALTO FOR FINMAR
A Pair of Laminated Birch Chairs, model no. 21, low version, designed 1931-1932
Marks: one bearing Finmar label
28 x 19 x 26 inches (71.1 x 48.3 x 66.0 cm) each
A Pair of Laminated Birch Chairs, model no. 21, low version, designed 1931-1932
Marks: one bearing Finmar label
28 x 19 x 26 inches (71.1 x 48.3 x 66.0 cm) each
Prints
HENRI MATISSE
Elle Vita Paraitre le Matin, June 1950
Colored lithograph
Signed and dated lower right
15-3/4 x 34 inches (40.0 x 86.4 cm)
Elle Vita Paraitre le Matin, June 1950
Colored lithograph
Signed and dated lower right
15-3/4 x 34 inches (40.0 x 86.4 cm)
Furniture
ALVAR AALTO
A Laminated Birch Trolley
30 x 32 x 18 inches (76.2 x 81.3 x 45.7 cm)
A Laminated Birch Trolley
30 x 32 x 18 inches (76.2 x 81.3 x 45.7 cm)
AN ITALIAN BICOLORED MIRROR
Circa 1960
31 x 27-1/2 inches (78.7 x 69.9 cm)
Circa 1960
31 x 27-1/2 inches (78.7 x 69.9 cm)
ALVAR AALTO
A Laminated Birch Chair, model no. 65, circa 1933-1935
31 x 14-3/4 inches (78.7 x 37.5 cm)
A Laminated Birch Chair, model no. 65, circa 1933-1935
31 x 14-3/4 inches (78.7 x 37.5 cm)
ALVAR AALTO
A Small Rectangular Laminated Birch Table
19 x 23-1/2 x 18 inches (48.3 x 59.7 x 45.7 cm)
A Small Rectangular Laminated Birch Table
19 x 23-1/2 x 18 inches (48.3 x 59.7 x 45.7 cm)
ALVAR AALTO
A Round Laminated Birch Occasional Table with black top
27 x 36 x 36 inches (68.6 x 91.4 x 91.4 cm)
A Round Laminated Birch Occasional Table with black top
27 x 36 x 36 inches (68.6 x 91.4 x 91.4 cm)
ALVAR AALTO FOR FINMAR
A Bent Wood Chaise Longue with cross-woven webbing, model no. 39, circa 1930s
Marks: bearing Finmar label
20 x 72 x 24 inches (50.8 x 182.9 x 61.0 cm)
A Bent Wood Chaise Longue with cross-woven webbing, model no. 39, circa 1930s
Marks: bearing Finmar label
20 x 72 x 24 inches (50.8 x 182.9 x 61.0 cm)
ALVAR AALTO
A Rectangular Laminated Birch Table with black top, model no. 81
27 x 39 x 20-1/2 inches (68.6 x 99.1 x 52.1 cm)
A Rectangular Laminated Birch Table with black top, model no. 81
27 x 39 x 20-1/2 inches (68.6 x 99.1 x 52.1 cm)
ALVAR AALTO FOR ARTEK
A Pair of Leather Upholstered Laminated Birch Stools, model no. Y601, circa 1950s
Marks: bearing Artek label
18 x 18 x 18 inches (45.7 x 45.7 x 45.7 cm) each
A Pair of Leather Upholstered Laminated Birch Stools, model no. Y601, circa 1950s
Marks: bearing Artek label
18 x 18 x 18 inches (45.7 x 45.7 x 45.7 cm) each
ALVAR AALTO
A Round Laminated Birch Dining Table, model no. 83, circa 1930s
29 x 48-1/2 inches (73.7 x 123.2 cm)
A Round Laminated Birch Dining Table, model no. 83, circa 1930s
29 x 48-1/2 inches (73.7 x 123.2 cm)
Asian
MIMURA TAKEHIKO
A Japanese Ceramic Vase with original box
Marks: signed Take
17-1/2 inches (44.5 cm) high
A Japanese Ceramic Vase with original box
Marks: signed Take
17-1/2 inches (44.5 cm) high
Paintings
SHOJI HAMADA
A Japanese Stoneware Bottle Vase, circa 1965
8-1/2 inches (21.6 cm) high
Of flattened rectangular form, decorated in a rich kaki glaze
PROVENANCE:
Christie's, May 5, 1996.
LITERATURE:
Cf. B. Leach, Hamada: Potter, Tokyo, 1975, pl. 45.
A Japanese Stoneware Bottle Vase, circa 1965
8-1/2 inches (21.6 cm) high
Of flattened rectangular form, decorated in a rich kaki glaze
PROVENANCE:
Christie's, May 5, 1996.
LITERATURE:
Cf. B. Leach, Hamada: Potter, Tokyo, 1975, pl. 45.
Asian
MIYANOHARA KEN
A Japanese Ceramic Vase, circa 1960
Marks: signed Ken
10-5/8 inches (27.0 cm) high
This lot is accompanied by a leaflet detailing the artist's career up to 1956, suggesting that the vase dates from that year or slightly later. A similarly styled example was exhibited by Ken at the Nitten in 1960.
A Japanese Ceramic Vase, circa 1960
Marks: signed Ken
10-5/8 inches (27.0 cm) high
This lot is accompanied by a leaflet detailing the artist's career up to 1956, suggesting that the vase dates from that year or slightly later. A similarly styled example was exhibited by Ken at the Nitten in 1960.
Furniture
ALVAR AALTO FOR FINMAR
A Pair of Small Rectangular Laminated Birch Tables, model no. 86
Marks: one bearing Finmar label
18 x 23-1/2 x 13-1/2 inches (45.7 x 59.7 x 34.3 cm) largest
A Pair of Small Rectangular Laminated Birch Tables, model no. 86
Marks: one bearing Finmar label
18 x 23-1/2 x 13-1/2 inches (45.7 x 59.7 x 34.3 cm) largest
Textiles
A MOROCCAN CARPET
Circa 1920-1930
94 x 58 inches (238.8 x 147.3 cm)
Rectangular in form, woven with a brown diamond pattern on a beige field
Circa 1920-1930
94 x 58 inches (238.8 x 147.3 cm)
Rectangular in form, woven with a brown diamond pattern on a beige field
Furniture
ALVAR AALTO
A Laminated Birch High Stool with Foot Rest, model no. 64, circa 1931-1932
31 x 13-1/2 inches (78.7 x 34.3 cm)
A Laminated Birch High Stool with Foot Rest, model no. 64, circa 1931-1932
31 x 13-1/2 inches (78.7 x 34.3 cm)
Asian
A JAPANESE BON
19th Century
7-1/4 inches (18.4 cm) long
The gold lacquer tray of rounded lozenge form with indented corners, supported by four bracket feet, decorated overall with cherry blossoms on log rafts amidst swirling water in takamaki-e and nashiji with details in gold foil, the reverse nashiji
PROVENANCE:
Sotheby's, March 29, 1995.
19th Century
7-1/4 inches (18.4 cm) long
The gold lacquer tray of rounded lozenge form with indented corners, supported by four bracket feet, decorated overall with cherry blossoms on log rafts amidst swirling water in takamaki-e and nashiji with details in gold foil, the reverse nashiji
PROVENANCE:
Sotheby's, March 29, 1995.
Paintings
A JAPANESE FUMIBAKO (PEN BOX)
19th Century
10-1/2 inches (26.7 cm) long
Rectangular in form, decorated with bouquets of ribbons
PROVENANCE:
Christie's, November 30, 1995.
19th Century
10-1/2 inches (26.7 cm) long
Rectangular in form, decorated with bouquets of ribbons
PROVENANCE:
Christie's, November 30, 1995.
Other
A JAPANESE NATSUME (TEA CONTAINER)
19th Century
3-1/4 inches (8.3 cm) high
The decoration of gold hiramaki-e, takamaki-e, kirikane, and togidashi, the cover with salt gatherer huts and pine trees, plovers flying above the sea, the body with pine trees, the interior nashiji
PROVENANCE:
Christie's, July 20, 1994.
19th Century
3-1/4 inches (8.3 cm) high
The decoration of gold hiramaki-e, takamaki-e, kirikane, and togidashi, the cover with salt gatherer huts and pine trees, plovers flying above the sea, the body with pine trees, the interior nashiji
PROVENANCE:
Christie's, July 20, 1994.
Paintings
A JAPANESE KOGO (INCENSE BOX)
19th Century
2-1/2 inches (6.4 cm) diameter
Of gold and gray hiramaki-e on a gold ground, the surface decorated with flowerheads, the base and interior nashiji
PROVENANCE:
Christie's, July 20, 1994.
19th Century
2-1/2 inches (6.4 cm) diameter
Of gold and gray hiramaki-e on a gold ground, the surface decorated with flowerheads, the base and interior nashiji
PROVENANCE:
Christie's, July 20, 1994.
Furniture
Attributed to MARCEL BREUER
A Chrome Plated Metal and Black Lacquered Armchair, circa 1930
34 x 24 x 28 inches (86.4 x 61.0 x 71.1 cm)
A Chrome Plated Metal and Black Lacquered Armchair, circa 1930
34 x 24 x 28 inches (86.4 x 61.0 x 71.1 cm)
GERALD SUMMERS FOR HEALS
A Sycamore Wardrobe, circa 1930
Marks: bearing decal
70 x 39 x 20 inches (177.8 x 99.1 x 50.8 cm)
A Sycamore Wardrobe, circa 1930
Marks: bearing decal
70 x 39 x 20 inches (177.8 x 99.1 x 50.8 cm)
GERALD SUMMERS
A Wood Coffee Table
20 x 25 inches (50.8 x 63.5 cm)
A Wood Coffee Table
20 x 25 inches (50.8 x 63.5 cm)
MARCEL BREUER FOR ISOKON
Four Bent Plywood Tables, circa 1936
Marks: one bearing brand, Made in Estonia
14-3/4 x 24 x 17-3/4 inches (37.5 x 61.0 x 45.1 cm) largest
Four Bent Plywood Tables, circa 1936
Marks: one bearing brand, Made in Estonia
14-3/4 x 24 x 17-3/4 inches (37.5 x 61.0 x 45.1 cm) largest
CARLO BUGATTI
A Pair of Ebonized, Copper and Pewter Inlaid Walnut Side Chairs, circa 1905
47 x 16 x 16 inches (119.4 x 40.6 x 40.6 cm)
LITERATURE:
Cf. B. Lamarche-Vadel, Bugatti: Les Meubles, Les Sculptures, Les Autos, Paris, 1995, p. 138.
A Pair of Ebonized, Copper and Pewter Inlaid Walnut Side Chairs, circa 1905
47 x 16 x 16 inches (119.4 x 40.6 x 40.6 cm)
LITERATURE:
Cf. B. Lamarche-Vadel, Bugatti: Les Meubles, Les Sculptures, Les Autos, Paris, 1995, p. 138.
CARLO BUGATTI
A Rare Pewter, Copper, and Painted Parchment Inlaid Walnut Firescreen, circa 1900
37 x 39 x 12 inches (94.0 x 99.1 x 30.5 cm)
PROVENANCE:
Designed for the bedroom of Cyril Flower, Lord Battersea, London.
EXHIBITED:
Turin, 1902.
LITERATURE:
Cf. P. Dejean, Bugatti: Carlo, Rembrandt, Ettore, Jean, New York, 1982, p. 32;
B. Lamarche-Vadel, Bugatti: Les Meubles, Les Sculptures, Les Autos, Paris, 1995, p. 30 (for a period image of this firescreen shown in-situ in the bedroom of British aristocrat Lord Battersea ca. 1900);
R. Bossaglia, I Bugatti, Milan, 1997, p. 34;
H.H. Hawley, et al., exh. cat., Bugatti, Cleveland, 1999, p. 17;
M. Massé, Carlo Bugatti au Musée d'Orsay, Paris, 2001, p. 90;
H. Sturm, Ausgefallene Schonheit: Carlo Bugatti, Exotismus, Entwurfe des Diversen, Frankfurt, 2005, p. 58;
A. Dunsmore, Bugatti: Carlo, Ettore, Rembrandt, Jean, Mulgrave, Victoria, 2009, p. 13.
This important and rare firescreen was included in one of Carlo Bugatti's most elaborate and ambitious private design commissions. The present lot was part of the orientalist bedroom furnishings for British aristocrat and patron, Lord Battersea. This commission marked the crescendo of his "exotic" phase, and the firescreen itself looks forward to his avant-garde sculptural style that was the toast of the Turin exposition in 1902.
A Rare Pewter, Copper, and Painted Parchment Inlaid Walnut Firescreen, circa 1900
37 x 39 x 12 inches (94.0 x 99.1 x 30.5 cm)
PROVENANCE:
Designed for the bedroom of Cyril Flower, Lord Battersea, London.
EXHIBITED:
Turin, 1902.
LITERATURE:
Cf. P. Dejean, Bugatti: Carlo, Rembrandt, Ettore, Jean, New York, 1982, p. 32;
B. Lamarche-Vadel, Bugatti: Les Meubles, Les Sculptures, Les Autos, Paris, 1995, p. 30 (for a period image of this firescreen shown in-situ in the bedroom of British aristocrat Lord Battersea ca. 1900);
R. Bossaglia, I Bugatti, Milan, 1997, p. 34;
H.H. Hawley, et al., exh. cat., Bugatti, Cleveland, 1999, p. 17;
M. Massé, Carlo Bugatti au Musée d'Orsay, Paris, 2001, p. 90;
H. Sturm, Ausgefallene Schonheit: Carlo Bugatti, Exotismus, Entwurfe des Diversen, Frankfurt, 2005, p. 58;
A. Dunsmore, Bugatti: Carlo, Ettore, Rembrandt, Jean, Mulgrave, Victoria, 2009, p. 13.
This important and rare firescreen was included in one of Carlo Bugatti's most elaborate and ambitious private design commissions. The present lot was part of the orientalist bedroom furnishings for British aristocrat and patron, Lord Battersea. This commission marked the crescendo of his "exotic" phase, and the firescreen itself looks forward to his avant-garde sculptural style that was the toast of the Turin exposition in 1902.
CARLO BUGATTI
A Camelskin, Walnut, Ebonized Wood, Bone, Pewter, and Punched Copper Boudoir Mirror on Stand, circa 1900
75 x 28-1/2 x 21 inches (190.5 x 72.4 x 53.3 cm)
A Camelskin, Walnut, Ebonized Wood, Bone, Pewter, and Punched Copper Boudoir Mirror on Stand, circa 1900
75 x 28-1/2 x 21 inches (190.5 x 72.4 x 53.3 cm)
CARLO BUGATTI
A Mahogany, Exotic Wood, Pewter, and Copper Inlaid Pedestal, circa 1900
54 x 15 x 17-1/2 inches (137.2 x 38.1 x 44.5 cm)
LITERATURE:
Cf. The Bugatti's Museum fur Kunst und Gewerbe, Hamburg, 1983, p. 73, no. 23;
H. Hawley, Bugatti, Cleveland, 1999, p. 5.
A Mahogany, Exotic Wood, Pewter, and Copper Inlaid Pedestal, circa 1900
54 x 15 x 17-1/2 inches (137.2 x 38.1 x 44.5 cm)
LITERATURE:
Cf. The Bugatti's Museum fur Kunst und Gewerbe, Hamburg, 1983, p. 73, no. 23;
H. Hawley, Bugatti, Cleveland, 1999, p. 5.
Decorative Arts, Continental
MARIANNE BRANDT FOR KANDEN
A Pair of Opaque Glass Ceiling Lights, model no. 656, circa 1930
Marks: stamped with Kanden trademark
11 inches (27.9 cm) high, each
LITERATURE:
Cf. Kandem-Innenraum-Leuchten catalogue, 1930;
C. and P. Fiell, eds., 1000 Lights: 1878-1959, Los Angeles, 2005, p. 253.
A Pair of Opaque Glass Ceiling Lights, model no. 656, circa 1930
Marks: stamped with Kanden trademark
11 inches (27.9 cm) high, each
LITERATURE:
Cf. Kandem-Innenraum-Leuchten catalogue, 1930;
C. and P. Fiell, eds., 1000 Lights: 1878-1959, Los Angeles, 2005, p. 253.
Furniture
In the style of EDWIN LUTYENS
An English Armchair
41 x 27 x 23 inches (104.1 x 68.6 x 58.4 cm)
An English Armchair
41 x 27 x 23 inches (104.1 x 68.6 x 58.4 cm)
BRUNO PAUL, BERLIN
A Cream-Lacquered Wood and Glass Vitrine, circa 1905-1915
Marks: bearing stamp
62 x 31-1/2 x 15 inches (157.5 x 80.0 x 38.1 cm)
A Cream-Lacquered Wood and Glass Vitrine, circa 1905-1915
Marks: bearing stamp
62 x 31-1/2 x 15 inches (157.5 x 80.0 x 38.1 cm)
WILHELM SCHMIDT FOR PRAG RUDNIKER
A Black-Lacquered, Brass, and Glass Table with Four Black-Lacquered Armchairs, circa 1903
27-1/2 x 20 inches (69.9 x 50.8 cm) table
32 x 24 x 21 inches (81.3 x 61.0 x 53.3 cm) each chair
A Black-Lacquered, Brass, and Glass Table with Four Black-Lacquered Armchairs, circa 1903
27-1/2 x 20 inches (69.9 x 50.8 cm) table
32 x 24 x 21 inches (81.3 x 61.0 x 53.3 cm) each chair
Paintings
EDUARD WIMMER-WISGRILL FOR THE WIENER WERKSTÄTTE
A Silver Jardinière with glass liner, circa 1905-1910
Marks: stamped WW, Vienna 1866-1922
6-1/4 inches (15.9 cm) long
PROVENANCE:
Sotheby's, Amsterdam, December 6, 2002.
A Silver Jardinière with glass liner, circa 1905-1910
Marks: stamped WW, Vienna 1866-1922
6-1/4 inches (15.9 cm) long
PROVENANCE:
Sotheby's, Amsterdam, December 6, 2002.
Furniture
KOLOMAN MOSER
A Pair of Bentwood Armchairs, circa 1900-1905
35 x 23 x 25 inches (88.9 x 58.4 x 63.5 cm) each
A Pair of Bentwood Armchairs, circa 1900-1905
35 x 23 x 25 inches (88.9 x 58.4 x 63.5 cm) each
Ceramics & Porcelain
ZSOLNAY
An Iridescent Ceramic Vase, circa 1900
12 inches (30.5 cm) high
An Iridescent Ceramic Vase, circa 1900
12 inches (30.5 cm) high
Decorative Arts, Continental
A MAPLE, TULIP, EBONIZED, AND EXOTIC WOODS BOX
Circa 1920-1925
4-1/2 x 10 x 5-1/2 inches (11.4 x 25.4 x 14.0 cm)
Circa 1920-1925
4-1/2 x 10 x 5-1/2 inches (11.4 x 25.4 x 14.0 cm)
Furniture
JOSEF HOFFMANN FOR KOHN & KOHN, VIENNA
A Hide-Upholstered Beechwood Winged Armchair, model no. 666, circa 1905
47 x 29 x 29 inches (119.4 x 73.7 x 73.7 cm)
LITERATURE:
Cf. Jacob & Josef Kohn: Bent-Wood Furniture, cat., 1916, reprinted Munich, 1980, p. 68;
D. Baroni and A. D'Auria, Josef Hoffmann e la Wiener Werkstätte, Milan, 1981, p. 110 (for designs of a related model).
A Hide-Upholstered Beechwood Winged Armchair, model no. 666, circa 1905
47 x 29 x 29 inches (119.4 x 73.7 x 73.7 cm)
LITERATURE:
Cf. Jacob & Josef Kohn: Bent-Wood Furniture, cat., 1916, reprinted Munich, 1980, p. 68;
D. Baroni and A. D'Auria, Josef Hoffmann e la Wiener Werkstätte, Milan, 1981, p. 110 (for designs of a related model).
Glass
MARIE KIRCHNER FOR LOETZ
A Glass Bowl, circa 1905
5-1/2 inches (14.0 cm) long
A Glass Bowl, circa 1905
5-1/2 inches (14.0 cm) long
Ceramics & Porcelain
DAGOBERT PECHE FOR THE WEINER WERKSTÄTTE
A Ceramic Bowl, circa 1930
7 inches (17.8 cm) diameter
A Ceramic Bowl, circa 1930
7 inches (17.8 cm) diameter
Glass
KOLOMAN MOSER FOR LOETZ
A Glass Jug, circa 1900
8 inches (20.3 cm) high
A Glass Jug, circa 1900
8 inches (20.3 cm) high
Works on Paper
MAX SNISCHEK FOR THE WIENER WERKSTÄTTE
Abstract Flowers, circa 1920s
Colored inks on metallic foil
28-1/2 x 17-1/2 inches (72.4 x 44.5 cm)
Abstract Flowers, circa 1920s
Colored inks on metallic foil
28-1/2 x 17-1/2 inches (72.4 x 44.5 cm)
Glass
A SECESSIONIST CERAMIC VASE
Circa 1915-1920
12 inches (30.5 cm) high
Circa 1915-1920
12 inches (30.5 cm) high
Furniture
ANDRE GROULT
A Silk-Upholstered Beechwood Armchair, circa 1911
Marks: bearing heat stamped signature and the three roses marks
41 x 29-1/2 x 28 inches (104.1 x 74.9 x 71.1 cm)
EXHIBITED:
Paris, Petit Salon d'Andre Groult, Salon d'Automne, 1911 (the design).
LITERATURE:
Cf. L. Vauxcelles, Au Salon d'Automne, l'Art Decoratif, November 1911, p. 276;
A. Duncan, The Paris Salons 1895-1914, Volume III: Furniture, Suffolk, 1996, p. 271;
F. Marcilhac, Andre Groult Decorateur-Ensemblier du XX Siècle, Paris, 1997, p. 40, for similar models with varying ornamentation.
A Silk-Upholstered Beechwood Armchair, circa 1911
Marks: bearing heat stamped signature and the three roses marks
41 x 29-1/2 x 28 inches (104.1 x 74.9 x 71.1 cm)
EXHIBITED:
Paris, Petit Salon d'Andre Groult, Salon d'Automne, 1911 (the design).
LITERATURE:
Cf. L. Vauxcelles, Au Salon d'Automne, l'Art Decoratif, November 1911, p. 276;
A. Duncan, The Paris Salons 1895-1914, Volume III: Furniture, Suffolk, 1996, p. 271;
F. Marcilhac, Andre Groult Decorateur-Ensemblier du XX Siècle, Paris, 1997, p. 40, for similar models with varying ornamentation.
Paintings
ARGYRIADES PLATON
"The Kiss of Pan" An Enameled Vase, circa 1920-1925
Marks: signed and titled in gold on the base
5 x 9 inches (12.7 x 22.9 cm)
"The Kiss of Pan" An Enameled Vase, circa 1920-1925
Marks: signed and titled in gold on the base
5 x 9 inches (12.7 x 22.9 cm)
Furniture
Attributed to ANDRE GROULT
A Blue and Burnt Orange Lacquered and Gilt Wood Side Chair, circa 1920
39 x 17 x 20 inches (99.1 x 43.2 x 50.8 cm)
A Blue and Burnt Orange Lacquered and Gilt Wood Side Chair, circa 1920
39 x 17 x 20 inches (99.1 x 43.2 x 50.8 cm)
Textiles
MAURICE DUFRÊNE
A French Hand-Knotted Carpet, circa 1925
84 x 56 inches (213.4 x 142.2 cm)
Oval in form, woven with concentric quatrefoil designs in shades of blue, black, and beige
A French Hand-Knotted Carpet, circa 1925
84 x 56 inches (213.4 x 142.2 cm)
Oval in form, woven with concentric quatrefoil designs in shades of blue, black, and beige
Furniture
MAURICE DUFRÊNE
A Lacquered and Gilt Wood Salon Suite, circa 1920
37 x 61 x 29 inches (94.0 x 154.9 x 73.7 cm) sofa
35 x 26 x 29 inches (88.9 x 66.0 x 73.7 cm) each armchair (two)
37 x 17 x 20 inches (94.0 x 43.2 x 50.8 cm) each side chair (four)
A Lacquered and Gilt Wood Salon Suite, circa 1920
37 x 61 x 29 inches (94.0 x 154.9 x 73.7 cm) sofa
35 x 26 x 29 inches (88.9 x 66.0 x 73.7 cm) each armchair (two)
37 x 17 x 20 inches (94.0 x 43.2 x 50.8 cm) each side chair (four)
Decorative Arts, French
F. BARBEDIENNE
A Pair of Gilt Bronze and Marble Vases, circa 1900
8 inches (20.3 cm) high, each
A Pair of Gilt Bronze and Marble Vases, circa 1900
8 inches (20.3 cm) high, each
Furniture
Manner of PAUL FOLLOT
A Carved, Lacquered, and Gilt Wood Tabouret, circa 1925
18 x 16-1/2 inches (45.7 x 41.9 cm)
A Carved, Lacquered, and Gilt Wood Tabouret, circa 1925
18 x 16-1/2 inches (45.7 x 41.9 cm)
Textiles
Attributed to MAURICE DUFRÊNE AT LA MAÎTRISE
A French Carpet, circa 1922
140 x 100 inches (355.6 x 254 cm)
Oval in form, woven with a floral design in brilliant colors
A French Carpet, circa 1922
140 x 100 inches (355.6 x 254 cm)
Oval in form, woven with a floral design in brilliant colors
Ceramics & Porcelain
LEDUC FOR SÈVRES
A Porcelain Vase and Cover, circa 1928
Marks: Sèvres-C.F.J' Sp. Leduc, LG 28
19 inches (48.3 cm) high
A Porcelain Vase and Cover, circa 1928
Marks: Sèvres-C.F.J' Sp. Leduc, LG 28
19 inches (48.3 cm) high
Furniture
PAUL FOLLOT
A Gilt Wood and Marble Gueridon, circa 1925
30 x 33 x 24 inches (76.2 x 83.8 x 61.0 cm)
A Gilt Wood and Marble Gueridon, circa 1925
30 x 33 x 24 inches (76.2 x 83.8 x 61.0 cm)
MAURICE DUFRÊNE
A Carved, Lacquered, and Gilt Wood Center Table with Marble Top, circa 1925
30 x 26 inches (76.2 x 66.0 cm)
A Carved, Lacquered, and Gilt Wood Center Table with Marble Top, circa 1925
30 x 26 inches (76.2 x 66.0 cm)
Attributed to MICHEL DUFET FOR M.A.M.
A Gessoed and Lacquered Three-Panel Screen, circa 1925
59 x 60 inches (149.9 x 152.4 cm)
A Gessoed and Lacquered Three-Panel Screen, circa 1925
59 x 60 inches (149.9 x 152.4 cm)
MAURICE DUFRÊNE
An Early Pink/Red Lacquered Gueridon, circa 1925
27 x 36 x 24 inches (68.6 x 91.4 x 61.0 cm)
An Early Pink/Red Lacquered Gueridon, circa 1925
27 x 36 x 24 inches (68.6 x 91.4 x 61.0 cm)
Lighting
MULLER FRÈRES
A Crystal Pearl Fountain Chandelier, circa 1925
Marks: signed Muller Frères a Luneville
37 x 18 inches (94.0 x 45.7 cm)
A Crystal Pearl Fountain Chandelier, circa 1925
Marks: signed Muller Frères a Luneville
37 x 18 inches (94.0 x 45.7 cm)
Furniture
A FRENCH GILT WOOD AND SILK UPHOLSTERED OTTOMAN
Circa 1925
16 x 24 inches (40.6 x 61.0 cm)
Circa 1925
16 x 24 inches (40.6 x 61.0 cm)
Textiles
MARION DORN
An English Hand-Woven Wool Rug, circa 1936
Marks: signed in the weave
87 x 48 inches (221.0 x 121.9 cm)
Rectangular in form, woven with a series of conjoined figure-8s in white and pink/red on a light beige field
PROVENANCE:
Alec Hunter and thence by descent.
LITERATURE:
Cf. C. Boydell, Architect of Floors, London, 1996, p. 68, the design illustrated.
Marion Dorn and Alec Hunter worked together at Warner and Sons, producing designs for the RMS Queen Mary and Eltham Place, amongst others. Produced by Dorn for Hunter, this carpet was based on an original design for an American client in 1935.
An English Hand-Woven Wool Rug, circa 1936
Marks: signed in the weave
87 x 48 inches (221.0 x 121.9 cm)
Rectangular in form, woven with a series of conjoined figure-8s in white and pink/red on a light beige field
PROVENANCE:
Alec Hunter and thence by descent.
LITERATURE:
Cf. C. Boydell, Architect of Floors, London, 1996, p. 68, the design illustrated.
Marion Dorn and Alec Hunter worked together at Warner and Sons, producing designs for the RMS Queen Mary and Eltham Place, amongst others. Produced by Dorn for Hunter, this carpet was based on an original design for an American client in 1935.
Furniture
NIC FRERES
A Wrought Iron Mirror, circa 1925
26 x 47 inches (66.0 x 119.4 cm)
A Wrought Iron Mirror, circa 1925
26 x 47 inches (66.0 x 119.4 cm)
MAURICE DUFRÊNE
A Wood Table, circa 1930
28-1/2 x 32 x 31 inches (72.4 x 81.3 x 78.7 cm)
A Wood Table, circa 1930
28-1/2 x 32 x 31 inches (72.4 x 81.3 x 78.7 cm)
In the style of GIO PONTI
An Italian Carved, Lacquered, and Gilt Wood Mirror, circa 1950
43 x 43 inches (109.2 x 109.2 cm)
An Italian Carved, Lacquered, and Gilt Wood Mirror, circa 1950
43 x 43 inches (109.2 x 109.2 cm)
A FRENCH PARCEL GILT WROUGHT IRON INTERIOR/VESTIBULE GATE
Circa 1925
68 x 80 inches (172.7 x 203.2 cm) overall
Circa 1925
68 x 80 inches (172.7 x 203.2 cm) overall
Ceramics & Porcelain
HENRI PATOU FOR SÈVRES
A Porcelain Vase, circa 1925-1930
14 inches (35.6 cm) high
A Porcelain Vase, circa 1925-1930
14 inches (35.6 cm) high
Furniture
ADALBERT-GEORGES SZABO
A Wrought Iron, Gold Leaf, and Steel Fire Screen, circa 1925-1930
48 x 27 inches (121.9 x 68.6 cm)
A Wrought Iron, Gold Leaf, and Steel Fire Screen, circa 1925-1930
48 x 27 inches (121.9 x 68.6 cm)
Decorative Arts, French
MAX LE VERRIER AND DAUM
A Pair of Green-Patinated Spelter Sconces in the form of stylized condors, circa 1930
Marks: shades engraved Daum Nancy France
21 inches (53.3 cm) high, each
A Pair of Green-Patinated Spelter Sconces in the form of stylized condors, circa 1930
Marks: shades engraved Daum Nancy France
21 inches (53.3 cm) high, each
Furniture
Manner of SUE ET MARE
A Gilt and Black Lacquered Wood Mirror, circa 1925
65 x 34-1/4 inches (165.1 x 87.0 cm)
A Gilt and Black Lacquered Wood Mirror, circa 1925
65 x 34-1/4 inches (165.1 x 87.0 cm)
In the style of PAUL IRIBE
A Pair of Silk-Upholstered Gilt Wood Armchairs, circa 1920
39 x 30 x 30 inches (99.1 x 76.2 x 76.2 cm) each
A Pair of Silk-Upholstered Gilt Wood Armchairs, circa 1920
39 x 30 x 30 inches (99.1 x 76.2 x 76.2 cm) each
Clocks & Mechanical
PAUL VERA FOR SUE ET MARE
A Patinated and Gilt Wood Clock
10 x 9 inches (25.4 x 22.9 cm)
LITERATURE:
Cf. F. Camard, Sue et Mare et la Compagnie des Arts Français, Paris, 1996, p. 266.
A Patinated and Gilt Wood Clock
10 x 9 inches (25.4 x 22.9 cm)
LITERATURE:
Cf. F. Camard, Sue et Mare et la Compagnie des Arts Français, Paris, 1996, p. 266.
Furniture
SUE ET MARE
An Inlaid Rosewood and Walnut Bed, circa 1920-1925
52 x 84 x 82 inches (132.1 x 213.4 x 208.3 cm)
An Inlaid Rosewood and Walnut Bed, circa 1920-1925
52 x 84 x 82 inches (132.1 x 213.4 x 208.3 cm)
Attributed to HENRI RAPIN
An Exotic Wood Inlaid Ash Mirror, circa 1925
46 x 22 inches (116.8 x 55.9 cm)
An Exotic Wood Inlaid Ash Mirror, circa 1925
46 x 22 inches (116.8 x 55.9 cm)
Timepieces
GAETAN JEANNIN
A Black Chinese Lacquered and Glass Clock, circa 1925
Marks: monogram signature to glass plaque
23-3/4 x 9-3/4 x 6-1/4 inches (60.3 x 24.8 x 15.9 cm)
A Black Chinese Lacquered and Glass Clock, circa 1925
Marks: monogram signature to glass plaque
23-3/4 x 9-3/4 x 6-1/4 inches (60.3 x 24.8 x 15.9 cm)
Lighting
A FRENCH GILT AND LACQUERED WOOD FLOOR LAMP WITH SILK SHADE
Circa 1925
72 inches (182.9 cm) high
Circa 1925
72 inches (182.9 cm) high
Furniture
Attributed to ATELIER MARTINE
An Amaranth and Marble Console, circa 1925
43 x 35 x 14 inches (109.2 x 88.9 x 35.6 cm)
An Amaranth and Marble Console, circa 1925
43 x 35 x 14 inches (109.2 x 88.9 x 35.6 cm)
MICHEL DUFET
An Upholstered Beechwood Armchair, from an original design by E.J. Ruhlmann, circa 1925-1930
35 x 30 x 24-1/2 inches (88.9 x 76.2 x 62.2 cm)
An Upholstered Beechwood Armchair, from an original design by E.J. Ruhlmann, circa 1925-1930
35 x 30 x 24-1/2 inches (88.9 x 76.2 x 62.2 cm)
LEON JALLOT
A Black-Lacquered and Oak Gueridon, circa 1930-1935
19 x 33-1/2 inches (48.3 x 85.1 cm)
A Black-Lacquered and Oak Gueridon, circa 1930-1935
19 x 33-1/2 inches (48.3 x 85.1 cm)
Decorative Arts, French
ALBERT CHEURET
A Silvered Bronze Hanging Lamp with Alabaster Shades, circa 1925
Marks: signed
32 x 20 inches (81.3 x 50.8 cm)
A Silvered Bronze Hanging Lamp with Alabaster Shades, circa 1925
Marks: signed
32 x 20 inches (81.3 x 50.8 cm)
A FRENCH "UNIVERSE" TABLE LAMP
Circa 1960
20 x 18 inches (50.8 x 45.7 cm)
Circa 1960
20 x 18 inches (50.8 x 45.7 cm)
Asian
A JAPANESE LACQUER PICTURE
Circa 1925-1930
Marks: signed
2-1/8 x 2 inches (5.4 x 5.1 cm)
Together with a signed box
Circa 1925-1930
Marks: signed
2-1/8 x 2 inches (5.4 x 5.1 cm)
Together with a signed box
Ceramics & Porcelain
ROBERT LALLEMANT
A Pair of Ceramic Vases, circa 1930
Marks: one bearing full label, one bearing partial label
24 inches (61.0 cm) high, each
PROVENANCE:
Estate of the artist.
LITERATURE:
These vases are illustrated in situ at Lallemant's exhibition in Auteuil.
A Pair of Ceramic Vases, circa 1930
Marks: one bearing full label, one bearing partial label
24 inches (61.0 cm) high, each
PROVENANCE:
Estate of the artist.
LITERATURE:
These vases are illustrated in situ at Lallemant's exhibition in Auteuil.
Furniture
Attributed to MAXIME OLD
An Ebene de Macassar and Brass Enfilade, circa 1935-1940
39 x 56 x 18 inches (99.1 x 142.2 x 45.7 cm)
An Ebene de Macassar and Brass Enfilade, circa 1935-1940
39 x 56 x 18 inches (99.1 x 142.2 x 45.7 cm)
Textiles
IVAN DA SILVA BRUHNS
A French Wool Pile Carpet, circa 1925-1930
Marks: monogrammed and signed in the weave
66 x 36 inches (167.6 x 91.4 cm)
Rectangular in form, of Aztec inspiration, woven in the artist's workshop la Manufacture de Savigny in Paris
A French Wool Pile Carpet, circa 1925-1930
Marks: monogrammed and signed in the weave
66 x 36 inches (167.6 x 91.4 cm)
Rectangular in form, of Aztec inspiration, woven in the artist's workshop la Manufacture de Savigny in Paris
Furniture
Attributed to MICHEL DUFET
A Burled Ash and Nickel Wardrobe/Secretaire, circa 1930
72 x 44 x 21 inches (182.9 x 111.8 x 53.3 cm) wardrobe
52-1/2 x 29 x 18 inches (133.4 x 73.7 x 45.7 cm) secretaire
A Burled Ash and Nickel Wardrobe/Secretaire, circa 1930
72 x 44 x 21 inches (182.9 x 111.8 x 53.3 cm) wardrobe
52-1/2 x 29 x 18 inches (133.4 x 73.7 x 45.7 cm) secretaire
JOHANN TAPP, CHICAGO
A Tamo and Japanese Ash and Silvered Bronze Library Table/Desk, circa 1930
28-1/2 x 49 inches (72.4 x 124.5 cm)
A Tamo and Japanese Ash and Silvered Bronze Library Table/Desk, circa 1930
28-1/2 x 49 inches (72.4 x 124.5 cm)
LEON JALLOT
A Carpathian Elm Burr, Amaranthe, and Acajou Coiffeuse, circa 1925-1930
48 x 47 x 20 inches (121.9 x 119.4 x 50.8 cm)
A Carpathian Elm Burr, Amaranthe, and Acajou Coiffeuse, circa 1925-1930
48 x 47 x 20 inches (121.9 x 119.4 x 50.8 cm)
JULES LELEU
A Palissandre, Amboyne, and Padouk Coiffeuse, circa 1930
30 x 41 x 20 inches (76.2 x 104.1 x 50.8 cm)
A Palissandre, Amboyne, and Padouk Coiffeuse, circa 1930
30 x 41 x 20 inches (76.2 x 104.1 x 50.8 cm)
HENRI RAPIN
A Loupe d'Amboyne and Nickel Plated Bronze Dressing Cabinet, circa 1930
75 x 24 x 28-3/4 inches (190.5 x 61.0 x 73.0 cm)
A Loupe d'Amboyne and Nickel Plated Bronze Dressing Cabinet, circa 1930
75 x 24 x 28-3/4 inches (190.5 x 61.0 x 73.0 cm)
Decorative Arts, French
In the style of JEAN DUNAND
A Lacquered and Bronze Table Lamp with Black-Painted Metal Shade, circa 1930
25-1/2 x 5-3/4 inches (64.8 x 14.6 cm)
A Lacquered and Bronze Table Lamp with Black-Painted Metal Shade, circa 1930
25-1/2 x 5-3/4 inches (64.8 x 14.6 cm)
Furniture
Attributed to ALFRED PORTENEUVE
A Set of Three Black-Lacquered and Nickel Tabourets, circa 1930
33 x 14 inches (83.8 x 35.6 cm)
A Set of Three Black-Lacquered and Nickel Tabourets, circa 1930
33 x 14 inches (83.8 x 35.6 cm)
Decorative Arts, French
Attributed to ALFRED PORTENEUVE
A Loupe d'Amboyne, Ivory Inlaid Ebony, and Bronze Floor Lamp with Parchment Shade, circa 1925
70-1/2 inches (179.1 cm) high
A Loupe d'Amboyne, Ivory Inlaid Ebony, and Bronze Floor Lamp with Parchment Shade, circa 1925
70-1/2 inches (179.1 cm) high
Furniture
LOUIS SOGNOT
A Nickel Dressing Mirror, circa 1930
21-1/2 x 14-1/2 x 10 inches (54.6 x 36.8 x 25.4 cm)
A Nickel Dressing Mirror, circa 1930
21-1/2 x 14-1/2 x 10 inches (54.6 x 36.8 x 25.4 cm)
ADRIENNE GORSKA FOR JEAN ROBERT BOIVINET FOR PRIMAVERA PARIS
A Pair of Chrome Plated Metal and Glass Tables, circa 1930
21 x 37-1/2 x 17-1/2 inches (53.3 x 95.3 x 44.5 cm) larger
17 x 29 x 14-1/2 inches (43.2 x 73.7 x 36.8 cm) smaller
A Pair of Chrome Plated Metal and Glass Tables, circa 1930
21 x 37-1/2 x 17-1/2 inches (53.3 x 95.3 x 44.5 cm) larger
17 x 29 x 14-1/2 inches (43.2 x 73.7 x 36.8 cm) smaller
JACQUES ADNET FOR LA COMPAGNE DES ARTS FRANCAIS
A Nickel and Glass Table, circa 1930
30 x 18 x 12 inches (76.2 x 45.7 x 30.5 cm)
A Nickel and Glass Table, circa 1930
30 x 18 x 12 inches (76.2 x 45.7 x 30.5 cm)
Ceramics & Porcelain
POMONE
A Ceramic Vase, circa 1925
11 inches (27.9 cm) high
A Ceramic Vase, circa 1925
11 inches (27.9 cm) high
Furniture
CHARLES PIQUET
A Pair of Wrought Iron Gates, circa 1920s
85-3/4 x 79 inches (217.8 x 200.7 cm) overall
A Pair of Wrought Iron Gates, circa 1920s
85-3/4 x 79 inches (217.8 x 200.7 cm) overall
Fine Art - Sculpture, European
HARRY BERTOIA
Untitled (Spray), circa 1960
Steel wire and chrome plated metal
28 inches (71.1 cm) high
Untitled (Spray), circa 1960
Steel wire and chrome plated metal
28 inches (71.1 cm) high
Furniture
AN ITALIAN MARBLE MOSAIC SOFA TABLE
Circa 1960s
18 x 5 x 2 inches (45.7 x 12.7 x 5.1 cm)
Circa 1960s
18 x 5 x 2 inches (45.7 x 12.7 x 5.1 cm)
Paintings
Attributed to ROBERT MALLET STEVENS
A Pair of Chrome Plated Metal and Cast Iron Andirons, circa 1930
9 x 9 x 28 inches (22.9 x 22.9 x 71.1 cm) each
A Pair of Chrome Plated Metal and Cast Iron Andirons, circa 1930
9 x 9 x 28 inches (22.9 x 22.9 x 71.1 cm) each
Art Glass
JEAN LUCE
A Glass Vase, circa 1920
9-1/2 inches (24.1 cm) high
A Glass Vase, circa 1920
9-1/2 inches (24.1 cm) high
Sculpture
JAN AND JOEL MARTEL
"Jazz Musician" A Patinated Bronze Figure, circa 1928
Marks: bearing stamp
12-1/2 inches (31.8 cm) high
"Jazz Musician" A Patinated Bronze Figure, circa 1928
Marks: bearing stamp
12-1/2 inches (31.8 cm) high
Furniture
A FRENCH NICKEL PLATED METAL MIRROR
Circa 1933
Marks: bearing label P. du Bost, 6 Imp. du Sablon, Lyon, Argenture "Etoile d'Argent P.D."
27-3/4 inches (70.5 cm) diameter
Circa 1933
Marks: bearing label P. du Bost, 6 Imp. du Sablon, Lyon, Argenture "Etoile d'Argent P.D."
27-3/4 inches (70.5 cm) diameter
DOMINIQUE
A Pair of Marble and Silvered Bronze Consoles, circa 1930
10 x 51 x 12 inches (25.4 x 129.5 x 30.5 cm) each
LITERATURE:
Cf. Mobilier and Decoration, for the type.
A Pair of Marble and Silvered Bronze Consoles, circa 1930
10 x 51 x 12 inches (25.4 x 129.5 x 30.5 cm) each
LITERATURE:
Cf. Mobilier and Decoration, for the type.
Decorative Arts, Continental
A PAIR OF ITALIAN CHROME PLATED METAL AND GLASS SCONCES
Circa 1960
19 x 8 x 5 inches (48.3 x 20.3 x 12.7 cm) each
Circa 1960
19 x 8 x 5 inches (48.3 x 20.3 x 12.7 cm) each
Lighting
MARIA STEINKELLNER FOR WOKA
A Nickel Plated Metal on Brass Lichtrad Table Lamp, circa 1987
Marks: Woka logotype
13 inches (33.0 cm) high
For the Art Collection Classic series by Woka Vienna
A Nickel Plated Metal on Brass Lichtrad Table Lamp, circa 1987
Marks: Woka logotype
13 inches (33.0 cm) high
For the Art Collection Classic series by Woka Vienna
Decorative Arts, Continental
NOVALUX
A Pair of Nickel Plated Metal and Glass Tubing Ceiling Lights, circa 1940
5-1/2 x 44-1/2 x 6-3/4 inches (14.0 x 113.0 x 17.1 cm) each
A Pair of Nickel Plated Metal and Glass Tubing Ceiling Lights, circa 1940
5-1/2 x 44-1/2 x 6-3/4 inches (14.0 x 113.0 x 17.1 cm) each
Fine Art - Work on Paper
BIANCHINI FERRIER
A Set of Five Fabric Designs, circa 1930-1940
25 x 19-1/4 inches (63.5 x 48.9 cm)
A Set of Five Fabric Designs, circa 1930-1940
25 x 19-1/4 inches (63.5 x 48.9 cm)
BIANCHINI FERRIER
A Set of Five Fabric Designs, circa 1930-1940
22 x 15-1/2 inches (55.9 x 39.4 cm)
A Set of Five Fabric Designs, circa 1930-1940
22 x 15-1/2 inches (55.9 x 39.4 cm)
Asian
A JAPANESE NAGASAKI LACQUER SECRETAIRE
Edo Period, 19th Century
56 x 26 x 11 inches (142.2 x 66.0 x 27.9 cm)
The upper part rectangular in form, the fall front enclosing a fitted interior, the black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers and foliage
Edo Period, 19th Century
56 x 26 x 11 inches (142.2 x 66.0 x 27.9 cm)
The upper part rectangular in form, the fall front enclosing a fitted interior, the black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers and foliage
A JAPANESE NAGASAKI LACQUER TABLE
Edo Period, 19th Century
28 x 50 x 38 inches (71.1 x 127 x 96.5 cm)
The black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers, foliage, and trees
Edo Period, 19th Century
28 x 50 x 38 inches (71.1 x 127 x 96.5 cm)
The black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers, foliage, and trees
Ceramics & Porcelain
CLEMENT MASSIER
A Set of Four Glazed Earthenware Candlesticks in the Japanese taste, circa 1900
Marks: C.M. Golfe Juan AM
16-1/2 inches (41.9 cm) high, each
A Set of Four Glazed Earthenware Candlesticks in the Japanese taste, circa 1900
Marks: C.M. Golfe Juan AM
16-1/2 inches (41.9 cm) high, each
Asian
A JAPANESE NAGASAKI LACQUER CABINET
Edo Period, 19th Century
20 x 17-3/4 x 9 inches (50.8 x 45.1 x 22.9 cm)
Edo Period, 19th Century
20 x 17-3/4 x 9 inches (50.8 x 45.1 x 22.9 cm)
A JAPANESE NAGASAKI LACQUER CABINET ON STAND
Edo Period, 19th Century
55-1/2 x 28 x 20-1/2 inches (141.0 x 71.1 x 52.1 cm)
The upper part rectangular in form, with two facing doors enclosing interior shelves, on cabriole legs joined by a stretcher, the black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers, foliage, and trees
PROVENANCE:
Christie's, June 27, 2000.
Edo Period, 19th Century
55-1/2 x 28 x 20-1/2 inches (141.0 x 71.1 x 52.1 cm)
The upper part rectangular in form, with two facing doors enclosing interior shelves, on cabriole legs joined by a stretcher, the black-lacquered ground profusely inlaid with mother-of-pearl depicting exotic birds amongst flowers, foliage, and trees
PROVENANCE:
Christie's, June 27, 2000.
Fine Art - Work on Paper
BIANCHINI FERRIER
A Set of Nine Fabric Designs, circa 1930-1940
25 x 19-1/4 inches (63.5 x 48.9 cm) each
A Set of Nine Fabric Designs, circa 1930-1940
25 x 19-1/4 inches (63.5 x 48.9 cm) each
BIANCHINI FERRIER
A Set of Seven Fabric Designs, circa 1930-1940
22 x 15-1/2 inches (55.9 x 39.4 cm) each
A Set of Seven Fabric Designs, circa 1930-1940
22 x 15-1/2 inches (55.9 x 39.4 cm) each
Other
URUSHI-TAKUMI HYOSAKU-ZO
A Japanese Lacquer Box with original box, circa 1950
Marks: lacquer sea: Hyosaku, wrapping cloth signed Suzukihyosaku
20 x 12 inches (50.8 x 30.5 cm)
In the form of five peaches decorated in brown and gold lacquer, the interior of black lacquer
A Japanese Lacquer Box with original box, circa 1950
Marks: lacquer sea: Hyosaku, wrapping cloth signed Suzukihyosaku
20 x 12 inches (50.8 x 30.5 cm)
In the form of five peaches decorated in brown and gold lacquer, the interior of black lacquer
Paintings
A JAPANESE SUZURIBAKO (WRITING BOX) BY YOSEI
19th Century
9-3/4 x 6-1/2 inches (24.8 x 16.5 cm)
Of rectangular form, the dark wood base with asa-no-ha design, the top with an inset deep red lacquer basketwork panel, decorated with a presentation spray of peonies in tshishu, the interior hirame, inlaid with a poem in metallic gold
PROVENANCE:
Sotheby's, March 29, 1995.
19th Century
9-3/4 x 6-1/2 inches (24.8 x 16.5 cm)
Of rectangular form, the dark wood base with asa-no-ha design, the top with an inset deep red lacquer basketwork panel, decorated with a presentation spray of peonies in tshishu, the interior hirame, inlaid with a poem in metallic gold
PROVENANCE:
Sotheby's, March 29, 1995.
African
A SUPERB SALAMPASU DANCE MASK (KASANGU)
Mungongo (Warrior) Society, Democratic Republic of Congo
12 x 9 inches (30.5 x 22.9 cm)
Of hollowed tapering form, the open mouth with filed teeth beneath angular eyes, with a finely-plaited fiber beard, wearing a headdress of cane balls, preserving black, red, and white pigment throughout
LITERATURE:
Cf. M.C. Felix, 100 People of Zaire and Their Sculpture, Brussels, 1987, pp. 142-143.
Mungongo (Warrior) Society, Democratic Republic of Congo
12 x 9 inches (30.5 x 22.9 cm)
Of hollowed tapering form, the open mouth with filed teeth beneath angular eyes, with a finely-plaited fiber beard, wearing a headdress of cane balls, preserving black, red, and white pigment throughout
LITERATURE:
Cf. M.C. Felix, 100 People of Zaire and Their Sculpture, Brussels, 1987, pp. 142-143.
TWO NUPE TABLES
Nigeria
21 x 17 inches (53.3 x 43.2 cm) taller
Each with a square top carved with geometric designs, supported by four tapering legs
Nigeria
21 x 17 inches (53.3 x 43.2 cm) taller
Each with a square top carved with geometric designs, supported by four tapering legs
Ceramics & Porcelain, Continental
SOPHIE BAYEUX
A Ceramic Sculpture, circa 1970
39-1/2 x 17-3/4 inches (100.3 x 45.1 cm)
A Ceramic Sculpture, circa 1970
39-1/2 x 17-3/4 inches (100.3 x 45.1 cm)
SOPHIE BAYEUX
A Ceramic Sculpture, circa 1970
24-3/4 x 16 inches (62.9 x 40.6 cm)
A Ceramic Sculpture, circa 1970
24-3/4 x 16 inches (62.9 x 40.6 cm)
African
A DIDA PANEL
Ivory Coast, 20th century
54 x 48 inches (137.2 x 121.9 cm)
The tie-dyed raffia panel in browns and yellows, with three tiers of circular and linear motifs, framed
Ivory Coast, 20th century
54 x 48 inches (137.2 x 121.9 cm)
The tie-dyed raffia panel in browns and yellows, with three tiers of circular and linear motifs, framed
Miscellaneous
PIERRET VUILBER
A Carved, Gilt, and Lacquered Wood Tray Table, made in Paris, circa 1900
29 x 21 x 24 inches (73.7 x 53.3 x 61.0 cm)
A Carved, Gilt, and Lacquered Wood Tray Table, made in Paris, circa 1900
29 x 21 x 24 inches (73.7 x 53.3 x 61.0 cm)
Asian
A JAPANESE EMBROIDERED TAPESTRY
Circa 1900
54 x 45 x 1-1/2 inches (137.2 x 114.3 x 3.8 cm)
Embroidered in silk and silver threads, depicting dragons
Circa 1900
54 x 45 x 1-1/2 inches (137.2 x 114.3 x 3.8 cm)
Embroidered in silk and silver threads, depicting dragons
Paintings
PAUL COLIN
Danseuse aux Bas Resille, circa 1930
Oil on canvas
Signed lower right
22 x 18-1/4 inches (56.0 x 46.5 cm)
Danseuse aux Bas Resille, circa 1930
Oil on canvas
Signed lower right
22 x 18-1/4 inches (56.0 x 46.5 cm)
Furniture
A PAIR OF FRENCH GILT METAL FAUX BAMBOO AND PAINTED GLASS END TABLES
Circa 1940
21 x 29-1/2 x 15 inches (53.3 x 74.9 x 38.1 cm) each
Circa 1940
21 x 29-1/2 x 15 inches (53.3 x 74.9 x 38.1 cm) each
BRUNO MATHESON FOR KARL MATHESON
A Hide Upholstered Beechwood Daybed, circa 1960
Marks: branded marks and date
82 inches (208.3 cm) long x 42 inches (106.7 cm) wide
A Hide Upholstered Beechwood Daybed, circa 1960
Marks: branded marks and date
82 inches (208.3 cm) long x 42 inches (106.7 cm) wide
BRUNO MATHESON FOR DUX
A Canvas-Upholstered Beechwood Armchair
Marks: bearing brand
39 x 33 x 36 inches (99.1 x 83.8 x 91.4 cm)
A Canvas-Upholstered Beechwood Armchair
Marks: bearing brand
39 x 33 x 36 inches (99.1 x 83.8 x 91.4 cm)
Other
A KUBA RAFFIA CLOTH
Democratic Republic of Congo
60 x 22 inches (152.4 x 55.9 cm)
Of rectangular form, woven with geometric motifs, framed
Democratic Republic of Congo
60 x 22 inches (152.4 x 55.9 cm)
Of rectangular form, woven with geometric motifs, framed
Textiles
A FRENCH RUG
Circa 1960s
134 x 79 inches (340.4 x 200.7 cm)
Rectangular in form, woven with geometric designs in various shades of brown
Circa 1960s
134 x 79 inches (340.4 x 200.7 cm)
Rectangular in form, woven with geometric designs in various shades of brown
Paintings
AN AFRICAN TABLE
Ethiopia
15 x 19 inches (38.1 x 48.3 cm)
The circular top with deep red staining, supported on geometric sculpted legs
Ethiopia
15 x 19 inches (38.1 x 48.3 cm)
The circular top with deep red staining, supported on geometric sculpted legs
Textiles
D.I.M. (DECORATION INTERIEUR MODERNE)
A French Wool Carpet, circa 1930
Marks: signed in the weave
49 x 33-1/2 inches (124.5 x 85.1 cm)
Rectangular in form, woven with geometric designs in various colors against a beige field
A French Wool Carpet, circa 1930
Marks: signed in the weave
49 x 33-1/2 inches (124.5 x 85.1 cm)
Rectangular in form, woven with geometric designs in various colors against a beige field
Decorative Arts, French
A FRENCH MARBLE LAMP WITH PARCHMENT SHADE
Circa 1930
39-1/2 inches (100.3 cm) high
Circa 1930
39-1/2 inches (100.3 cm) high
African
TWO AFRICAN SHIELDS
Azande and Ngandu, Mongo Region, Democratic Republic of Congo, post 1950
52 x 15 inches (132.1 x 38.1 cm) each
The Azande shield oval in form, the wood frame with an intricate basketry of geometric motifs woven in cane and fiber, decorated in red, blue, black, and white pigments; the Ngandu shield oval in form, the wood frame with an intricate basketry of geometric motifs woven in cane, fiber, and wool
LITERATURE:
Cf. P. Benitez-Johannot, Shields: Africa, Southeast Asian, and Oceania, from the collections of the Barbier-Mueller Museum, New York, 2000, no. 20, for a related example of the Ngandu shield.
Azande and Ngandu, Mongo Region, Democratic Republic of Congo, post 1950
52 x 15 inches (132.1 x 38.1 cm) each
The Azande shield oval in form, the wood frame with an intricate basketry of geometric motifs woven in cane and fiber, decorated in red, blue, black, and white pigments; the Ngandu shield oval in form, the wood frame with an intricate basketry of geometric motifs woven in cane, fiber, and wool
LITERATURE:
Cf. P. Benitez-Johannot, Shields: Africa, Southeast Asian, and Oceania, from the collections of the Barbier-Mueller Museum, New York, 2000, no. 20, for a related example of the Ngandu shield.
Furniture
LIGNE ROSET
A Patchwork Leather-Upholstered Tinted Perspex Chair and Footstool, circa 1970
Marks: bearing various labels
30 x 41 x 35 inches (76.2 x 104.1 x 88.9 cm) chair
14 x 23 x 33 inches (35.6 x 58.4 x 83.8 cm) footstool
A Patchwork Leather-Upholstered Tinted Perspex Chair and Footstool, circa 1970
Marks: bearing various labels
30 x 41 x 35 inches (76.2 x 104.1 x 88.9 cm) chair
14 x 23 x 33 inches (35.6 x 58.4 x 83.8 cm) footstool
Other
A COLLECTION OF NINE TUTSI BASKETS
Rwanda, circa 1900
26 x 26 inches (66.0 x 66.0 cm) frame
Each woven of cane and grass fibers in geometric designs, mounted and framed; together with another Tutsi basket, circa 1950, of similar shape and design
PROVENANCE:
From a colonial collection.
LITERATURE:
Cf. A. Marc, ed., African Art: The World Bank Collection, Washington, D.C., 1998, p. 81.
Rwanda, circa 1900
26 x 26 inches (66.0 x 66.0 cm) frame
Each woven of cane and grass fibers in geometric designs, mounted and framed; together with another Tutsi basket, circa 1950, of similar shape and design
PROVENANCE:
From a colonial collection.
LITERATURE:
Cf. A. Marc, ed., African Art: The World Bank Collection, Washington, D.C., 1998, p. 81.
Furniture
J.C. MOREUX
A Wrought Iron and Woven Cane Chaise Longue, circa 1930-1935
28 x 28 x 86 inches (71.1 x 71.1 x 218.4 cm)
A Wrought Iron and Woven Cane Chaise Longue, circa 1930-1935
28 x 28 x 86 inches (71.1 x 71.1 x 218.4 cm)
Lighting
TOBIA SCARPA FOR FLOS
"Fantasma" A Metal and Spun Fabric Floor Lamp, circa 1961
72 inches (182.9 cm) high
"Fantasma" A Metal and Spun Fabric Floor Lamp, circa 1961
72 inches (182.9 cm) high
African
TWO LUBA KIFWEBE MASKS
27 x 15 x 6-1/2 inches (68.6 x 38.1 x 16.5 cm) each
Each of hollowed form, pierced around the rim for attachment, the oval downturned mouth beneath a broad nose framed by pierced slit eyes, the upper portion incised with concentric circles emanating from the eyes and preserving traces of kaolin
27 x 15 x 6-1/2 inches (68.6 x 38.1 x 16.5 cm) each
Each of hollowed form, pierced around the rim for attachment, the oval downturned mouth beneath a broad nose framed by pierced slit eyes, the upper portion incised with concentric circles emanating from the eyes and preserving traces of kaolin
Other
THREE TUTSI HOUSE SCREENS (URUSIKA)
Rwanda, circa 1950
81 x 20 inches (205.7 x 50.8 cm) largest and 28 x 18 inches (71.1 x 45.7 cm) other two
Each of convex rectangular form, woven with cane, grass fibers, and pigments in broad geometric designs
LITERATURE:
Cf. R. Sieber, African Furniture and Household Objects, Bloomington, Indiana, 1980, p. 98, for related examples in the Katherine C. White Collection. Tutsi woven screens, such as this example, were placed upright forming a partition wall, which protected the family milk pots.
Rwanda, circa 1950
81 x 20 inches (205.7 x 50.8 cm) largest and 28 x 18 inches (71.1 x 45.7 cm) other two
Each of convex rectangular form, woven with cane, grass fibers, and pigments in broad geometric designs
LITERATURE:
Cf. R. Sieber, African Furniture and Household Objects, Bloomington, Indiana, 1980, p. 98, for related examples in the Katherine C. White Collection. Tutsi woven screens, such as this example, were placed upright forming a partition wall, which protected the family milk pots.
African
AN AFRICAN BAMBOO TABLE
Cameroon
18 x 15 x 20 inches (45.7 x 38.1 x 50.8 cm)
Cameroon
18 x 15 x 20 inches (45.7 x 38.1 x 50.8 cm)
AN ABOMEY ROYAL THRONE
Dahomey, Benin
32-3/4 inches (83.2 cm) high
The stepped base surmounted by a rectangular openwork pedestal support, the front and back panels with a checkerboard pattern, the side panels with rectangular motifs, topped with an incurved seat, with a beautiful deep old patina overall
LITERATURE:
Cf. The Collection of Colonel Dodds, The First Dahomey Campaign, 1892;
See also Sotheby's, Paris, Art Africain, Océanien et d'Asie du Sud-Est, December 7, 2005, lot 61.
Dahomey, Benin
32-3/4 inches (83.2 cm) high
The stepped base surmounted by a rectangular openwork pedestal support, the front and back panels with a checkerboard pattern, the side panels with rectangular motifs, topped with an incurved seat, with a beautiful deep old patina overall
LITERATURE:
Cf. The Collection of Colonel Dodds, The First Dahomey Campaign, 1892;
See also Sotheby's, Paris, Art Africain, Océanien et d'Asie du Sud-Est, December 7, 2005, lot 61.
Paintings
AN ASANTE STOOL
Ghana
18 x 21 x 12 inches (45.7 x 53.3 x 30.5 cm)
The curviform seat raised on two openwork supports, on a flat rectangular base
Ghana
18 x 21 x 12 inches (45.7 x 53.3 x 30.5 cm)
The curviform seat raised on two openwork supports, on a flat rectangular base
Other
A SET OF TEN BRONZE CHARMS
Gongola, Nigeria
32-1/2 x 36-1/2 inches (82.6 x 92.7 cm) frame
Each bearing an inscription, framed
Gongola, Nigeria
32-1/2 x 36-1/2 inches (82.6 x 92.7 cm) frame
Each bearing an inscription, framed
African
AN AFRICAN TRIBAL SEAT
Democratic Republic of Congo
25-1/2 x 9-1/2 x 9-1/2 inches (64.8 x 24.1 x 24.1 cm)
Elegantly carved with geometric motifs, embellished with brass studs
LITERATURE:
Cf. Sieges, African Réunion des Musées Nationaux, Paris, 1994, p. 130.
Democratic Republic of Congo
25-1/2 x 9-1/2 x 9-1/2 inches (64.8 x 24.1 x 24.1 cm)
Elegantly carved with geometric motifs, embellished with brass studs
LITERATURE:
Cf. Sieges, African Réunion des Musées Nationaux, Paris, 1994, p. 130.
Asian
YAMAGISHI HISAHARU
A Japanese Lacquer Screen, circa 1950
Marks: signed Made by Hisaharu
36-1/2 x 41-1/2 x 11 inches (92.7 x 105.4 x 27.9 cm)
One side painted with a wintry scene
According to the current owner, Yamagishi Hisaharu said that his father made this screen, which was then decorated by him around 1950. He also said that it was his father who proudly put his son's signature on this piece.
A Japanese Lacquer Screen, circa 1950
Marks: signed Made by Hisaharu
36-1/2 x 41-1/2 x 11 inches (92.7 x 105.4 x 27.9 cm)
One side painted with a wintry scene
According to the current owner, Yamagishi Hisaharu said that his father made this screen, which was then decorated by him around 1950. He also said that it was his father who proudly put his son's signature on this piece.
African
A PAIR OF AFRICAN TEXTILES
Probably Mende, Sierra Leone
115 x 23 inches (292.1 x 58.4 cm)
and 84 x 29 inches (213.4 x 73.7 cm)
Each cotton cloth in blue and white, woven with an almost psychedelic geometric design
Probably Mende, Sierra Leone
115 x 23 inches (292.1 x 58.4 cm)
and 84 x 29 inches (213.4 x 73.7 cm)
Each cotton cloth in blue and white, woven with an almost psychedelic geometric design
TWO AFRICAN TEXTILES
Probably Yoruba, Nigeria and Probably Mende, Sierra Leone
64 x 45 inches (162.6 x 114.3 cm) and 141 x 46 inches (358.1 x 116.8 cm)
The Nigerian cotton cloth in various shades of blue, woven in a linear design; the Sierra Leone cotton cloth in brown and white, woven with a stepped design interspaced with linear close block
Probably Yoruba, Nigeria and Probably Mende, Sierra Leone
64 x 45 inches (162.6 x 114.3 cm) and 141 x 46 inches (358.1 x 116.8 cm)
The Nigerian cotton cloth in various shades of blue, woven in a linear design; the Sierra Leone cotton cloth in brown and white, woven with a stepped design interspaced with linear close block
A PAIR OF AFRICAN TEXTILES
Probably Mende, Sierra Leone
67 x 46 inches (170.2 x 116.8 cm)
and 60 x 40 inches (152.4 x 101.6 cm)
Each cotton cloth in blue and white, woven in an almost psychedelic geometric design
Probably Mende, Sierra Leone
67 x 46 inches (170.2 x 116.8 cm)
and 60 x 40 inches (152.4 x 101.6 cm)
Each cotton cloth in blue and white, woven in an almost psychedelic geometric design
AN AFRICAN SHAWL
Probably Gwari, Nigeria
60 x 51 inches (152.4 x 129.5 cm)
The cotton/wool shawl in deep indigo, woven in a linear design
Probably Gwari, Nigeria
60 x 51 inches (152.4 x 129.5 cm)
The cotton/wool shawl in deep indigo, woven in a linear design
TWO NUPE STOOLS
Nigeria
18 x 20 inches (45.7 x 50.8 cm) larger
Each with a circular top carved with geometric designs, one supported by eight and one supported by ten tapering legs
Nigeria
18 x 20 inches (45.7 x 50.8 cm) larger
Each with a circular top carved with geometric designs, one supported by eight and one supported by ten tapering legs
TWO NUPE STOOLS
Nigeria
16-1/2 x 18 inches (41.9 x 45.7 cm) larger
Each with a circular top carved with geometric designs, supported by tapering legs
Nigeria
16-1/2 x 18 inches (41.9 x 45.7 cm) larger
Each with a circular top carved with geometric designs, supported by tapering legs
Other
KOBAYASHI SHOMIN
"Statue of Goddess" A Japanese Aluminum Figure with original box
Marks: signed Shomin
16-1/4 inches (41.3 cm) high
"Statue of Goddess" A Japanese Aluminum Figure with original box
Marks: signed Shomin
16-1/4 inches (41.3 cm) high
African
AN ASANTE STOOL
Ghana
15-1/2 x 19-3/4 x 9-3/4 inches (39.4 x 50.2 x 24.8 cm)
The curviform seat raised on two openwork supports, on a flat rectangular base
Ghana
15-1/2 x 19-3/4 x 9-3/4 inches (39.4 x 50.2 x 24.8 cm)
The curviform seat raised on two openwork supports, on a flat rectangular base
Asian
NOBUTA YO
A Japanese Nunome Zogan Inlaid Bronze Vase
Marks: signed Yo
11-1/2 inches (29.2 cm) high
A Japanese Nunome Zogan Inlaid Bronze Vase
Marks: signed Yo
11-1/2 inches (29.2 cm) high
UEDA TETSUZO
A Japanese Nunome Zogan Inlaid Iron Vase with original box, circa 1950
Marks: signed Tetsu
12 inches (30.5 cm) high
The technique of nunome zogan includes cutting crosshatched channels to create a toothed surface, which then receives a softer metal (typically gold or silver) inlay that is hammered onto the surface.
A Japanese Nunome Zogan Inlaid Iron Vase with original box, circa 1950
Marks: signed Tetsu
12 inches (30.5 cm) high
The technique of nunome zogan includes cutting crosshatched channels to create a toothed surface, which then receives a softer metal (typically gold or silver) inlay that is hammered onto the surface.
HOZAN
A Japanese Nunome Zogan Inlaid Bronze Vase with original box, circa 1950
Marks: signed Hozan
11-1/4 inches (28.6 cm) high
A Japanese Nunome Zogan Inlaid Bronze Vase with original box, circa 1950
Marks: signed Hozan
11-1/4 inches (28.6 cm) high
A JAPANESE BLACK-LACQUERED THREE-PANEL SCREEN
Circa 1940
48 x 74 inches (121.9 x 188.0 cm) overall
Circa 1940
48 x 74 inches (121.9 x 188.0 cm) overall
Decorative Arts, Continental
AVM
A Black Metal on Lacquer Table Lamp, circa 1960
12 x 12 inches (30.5 x 30.5 cm)
A Black Metal on Lacquer Table Lamp, circa 1960
12 x 12 inches (30.5 x 30.5 cm)
Paintings
A PAIR OF IBO STOOLS
Nigeria, circa 1920
12 x 12 inches (30.5 x 30.5 cm) each
Each with a hemispherical seat supported on tripod legs, carved with geometric designs
These stools were originally used by the elders at village gatherings to identify title or rank.
Nigeria, circa 1920
12 x 12 inches (30.5 x 30.5 cm) each
Each with a hemispherical seat supported on tripod legs, carved with geometric designs
These stools were originally used by the elders at village gatherings to identify title or rank.
African
A KUBA CHIEF'S STOOL
Democratic Republic of Congo, late 19th century
14 x 10-1/2 inches (35.6 x 26.7 cm)
Of circular open form, the dished seat raised on a two-tiered convex support, incised with geometric designs, with red-brown patina
Democratic Republic of Congo, late 19th century
14 x 10-1/2 inches (35.6 x 26.7 cm)
Of circular open form, the dished seat raised on a two-tiered convex support, incised with geometric designs, with red-brown patina
FOUR KUBA RAFFIA CLOTHS
Democratic Republic of Congo
24-1/2 x 20 inches (62.2 x 50.8 cm) largest
Each of rectangular form, woven with geometric motifs, framed
Democratic Republic of Congo
24-1/2 x 20 inches (62.2 x 50.8 cm) largest
Each of rectangular form, woven with geometric motifs, framed
Other
A PUNU STATUE
Gabon
13 inches (33.0 cm) high
The standing female figure depicted nude, her knees slightly bent, with her arms at her sides
Gabon
13 inches (33.0 cm) high
The standing female figure depicted nude, her knees slightly bent, with her arms at her sides
African
A BAULE MASK
Ivory Coast
9 inches (22.9 cm) high
The vaulted board carved with a human face with tribe-typical facial features
Ivory Coast
9 inches (22.9 cm) high
The vaulted board carved with a human face with tribe-typical facial features
FOUR AFRICAN STOOLS
Cameroon
16 x 14-1/2 inches (40.6 x 36.8 cm) largest
Each with a circular top on a carved openwork support
Cameroon
16 x 14-1/2 inches (40.6 x 36.8 cm) largest
Each with a circular top on a carved openwork support
Prints
KEITH HARING
Keith Haring Robert Fraser Gallery October 19-November 12, 1983, 1983
Lithographed poster
Signed
27 x 40 inches (68.6 x 101.6 cm)
Keith Haring Robert Fraser Gallery October 19-November 12, 1983, 1983
Lithographed poster
Signed
27 x 40 inches (68.6 x 101.6 cm)
Glass
MICHAEL POWOLNY FOR LOETZ
A Glass Vase, circa 1920
10 inches (25.4 cm) high
A Glass Vase, circa 1920
10 inches (25.4 cm) high
Paintings
TWO AFRICAN HEADRESTS
Zulu and Tsonga, South Africa
6 x 16 inches (15.2 x 40.6 cm) and 5-1/4 x 8-1/4 x 3 inches (13.3 x 21.0 x 7.6 cm)
The Zulu headrest with a curviform top raised on three supports, on a flat rectangular base, carved with geometric designs; the Tsonga headrest with a curviform top raised on two supports, on a flat shaped base
Zulu and Tsonga, South Africa
6 x 16 inches (15.2 x 40.6 cm) and 5-1/4 x 8-1/4 x 3 inches (13.3 x 21.0 x 7.6 cm)
The Zulu headrest with a curviform top raised on three supports, on a flat rectangular base, carved with geometric designs; the Tsonga headrest with a curviform top raised on two supports, on a flat shaped base
Decorative Arts, French
A TORTOISESHELL, LACQUER, AND COQ D'OEUF CIGARETTE CASE
Circa 1925
Marks: bearing poincon of the artist, inscribed Made in France
4 inches (10.2 cm) long
Circa 1925
Marks: bearing poincon of the artist, inscribed Made in France
4 inches (10.2 cm) long
Paintings
A BLACK LACQUERED AND COQ D'OEUF "COCKTAIL" CIGARETTE CASE
Circa 1925-1930
Marks: bearing poincon of the artist
3-1/4 inches (8.3 cm) long
Circa 1925-1930
Marks: bearing poincon of the artist
3-1/4 inches (8.3 cm) long
Silver Smalls
TIRBOUR
A Silver, Lapis Lazuli, and Blue-Lacquered Cigarette Case, circa 1925-1930
Marks: bearing poincons of the artist
4-1/2 inches (11.4 cm) long
A Silver, Lapis Lazuli, and Blue-Lacquered Cigarette Case, circa 1925-1930
Marks: bearing poincons of the artist
4-1/2 inches (11.4 cm) long
Paintings
JEAN DUNAND
"Roses et Fleurs" A Lacquered Panel, circa 1925
Marks: signed
16 x 12-1/2 inches (40.6 x 31.8 cm)
"Roses et Fleurs" A Lacquered Panel, circa 1925
Marks: signed
16 x 12-1/2 inches (40.6 x 31.8 cm)
Decorative Arts, French
JEAN DUNAND
"Fougeres et Fleurs" An Engraved Lacquered Panel, circa 1925
Marks: signed
17-1/2 x 12 inches (44.5 x 30.5 cm)
"Fougeres et Fleurs" An Engraved Lacquered Panel, circa 1925
Marks: signed
17-1/2 x 12 inches (44.5 x 30.5 cm)
Paintings
CLAUDE LINNOSSIER
A Dinanderie Plateau, circa 1930
Marks: stamped
15-3/4 inches (40.0 cm) diameter
A Dinanderie Plateau, circa 1930
Marks: stamped
15-3/4 inches (40.0 cm) diameter
CLAUDE LINNOSSIER
A Dinanderie Plateau, circa 1930
Marks: stamped
15-3/4 inches (40.0 cm) diameter
A Dinanderie Plateau, circa 1930
Marks: stamped
15-3/4 inches (40.0 cm) diameter
Decorative Arts, French
EDOUARD DEGAINE
"Épi de Maïs" (Corn Blade) A Sculpted Lacquered Panel, circa 1920
Marks: bearing the cachet de l'atelier
18 x 8-1/2 inches (45.7 x 21.6 cm)
PROVENANCE:
Estate of the artist;
Bernard Galateau, commissaire-priseur, Felix Marchilhac, expert, Limoges, Edouard Degaine: Peintre et Laqueur, January 29, 1989, lot 5, p. 10;
Millon & Robert, Paris, Collection Jean-Claude Brugnot, June 18, 1993, lot 92.
"Épi de Maïs" (Corn Blade) A Sculpted Lacquered Panel, circa 1920
Marks: bearing the cachet de l'atelier
18 x 8-1/2 inches (45.7 x 21.6 cm)
PROVENANCE:
Estate of the artist;
Bernard Galateau, commissaire-priseur, Felix Marchilhac, expert, Limoges, Edouard Degaine: Peintre et Laqueur, January 29, 1989, lot 5, p. 10;
Millon & Robert, Paris, Collection Jean-Claude Brugnot, June 18, 1993, lot 92.
Furniture
A FRENCH WALNUT MIRROR
With Silk and Silver Gilt Tassles, circa 1930
Marks: bearing branded stamp CJP
35 x 37 inches (88.9 x 94.0 cm)
With Silk and Silver Gilt Tassles, circa 1930
Marks: bearing branded stamp CJP
35 x 37 inches (88.9 x 94.0 cm)
Attributed to ALFRED PORTENEUVE
An Ebene de Macassar, Mirrored Glass, and Nickel Gueridon, circa 1930
22-1/2 x 31-1/2 inches (57.2 x 80.0 cm)
An Ebene de Macassar, Mirrored Glass, and Nickel Gueridon, circa 1930
22-1/2 x 31-1/2 inches (57.2 x 80.0 cm)
LA MAISON DESNY
A Pallisandre and Nickel Plated Bronze Dining Table, circa 1930
Marks: stamped La Maison Desny - Paris
29-1/2 x 86-1/2 x 47 inches (74.9 x 219.7 x 119.4 cm)
PROVENANCE:
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
A Pallisandre and Nickel Plated Bronze Dining Table, circa 1930
Marks: stamped La Maison Desny - Paris
29-1/2 x 86-1/2 x 47 inches (74.9 x 219.7 x 119.4 cm)
PROVENANCE:
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
Decorative Arts, French
LA MAISON DESNY
A Pair of Silver Plated Candlesticks, circa 1930
7 inches (17.8 cm) high, each
A Pair of Silver Plated Candlesticks, circa 1930
7 inches (17.8 cm) high, each
LA MAISON DESNY
A Nickel Plated Metal Vase, circa 1930
Marks: stamped
7 x 10 inches (17.8 x 25.4 cm)
A Nickel Plated Metal Vase, circa 1930
Marks: stamped
7 x 10 inches (17.8 x 25.4 cm)
Furniture
LOUIS SOGNOT
A Hide-Upholstered Walnut and Nickel Swiveling Desk Chair, circa 1930
33 x 25 x 30 inches (83.8 x 63.5 x 76.2 cm)
LITERATURE:
Cf. C. and P. Fiell, 30's and 40's Decorative Art, Cologne, 2000, p. 215.
A Hide-Upholstered Walnut and Nickel Swiveling Desk Chair, circa 1930
33 x 25 x 30 inches (83.8 x 63.5 x 76.2 cm)
LITERATURE:
Cf. C. and P. Fiell, 30's and 40's Decorative Art, Cologne, 2000, p. 215.
Lighting
LA MAISON DESNY
A Nickel and Glass Night Light, circa 1930
Marks: bearing stamps for Desny and Nauny
4-3/4 x 4-3/4 inches (12.1 x 12.1 cm)
A Nickel and Glass Night Light, circa 1930
Marks: bearing stamps for Desny and Nauny
4-3/4 x 4-3/4 inches (12.1 x 12.1 cm)
LA MAISON DESNY
A Nickel Plated Metal and Glass Table Lamp, circa 1930
Marks: stamped
7 inches (17.8 cm) high
A Nickel Plated Metal and Glass Table Lamp, circa 1930
Marks: stamped
7 inches (17.8 cm) high
LA MAISON DESNY
A Nickel Plated Metal and Glass Table Lamp with Parchment Shade, circa 1930
Marks: stamped
22 inches (55.9 cm) high
A Nickel Plated Metal and Glass Table Lamp with Parchment Shade, circa 1930
Marks: stamped
22 inches (55.9 cm) high
Decorative Arts, French
LA MAISON DESNY
A Nickel Plated Metal and Glass Table Lamp, circa 1930
Marks: stamped
5-1/4 inches (13.3 cm) high
A Nickel Plated Metal and Glass Table Lamp, circa 1930
Marks: stamped
5-1/4 inches (13.3 cm) high
Lighting
LA MAISON DESNY
A Nickel Plated Metal and Glass Table Lamp
11 x 6-3/4 x 6-3/4 inches (27.9 x 17.1 x 17.1 cm)
A Nickel Plated Metal and Glass Table Lamp
11 x 6-3/4 x 6-3/4 inches (27.9 x 17.1 x 17.1 cm)
FÉLIX AUBLET
A Nickel Plated Metal "Boule" or "Mobile" Lamp, circa 1930
11-7/8 inches (30.0 cm) high
This version has a larger than usual shade suggesting that it may have been a special commission.
LITERATURE:
Cf. Catalogue du mobilier créé par Félix Aublet, Neuilly-sur-Seine, 1931;
A. Bony, Les Années 20, Paris, 2000, p. 999, for an illustration;
Félix Aublet - art, technique, lumière, mouvement, Musée des Tapisseries, Aix en Provence, 16 June - 26 August 2001, exhibition catalogue, p. 55.
A Nickel Plated Metal "Boule" or "Mobile" Lamp, circa 1930
11-7/8 inches (30.0 cm) high
This version has a larger than usual shade suggesting that it may have been a special commission.
LITERATURE:
Cf. Catalogue du mobilier créé par Félix Aublet, Neuilly-sur-Seine, 1931;
A. Bony, Les Années 20, Paris, 2000, p. 999, for an illustration;
Félix Aublet - art, technique, lumière, mouvement, Musée des Tapisseries, Aix en Provence, 16 June - 26 August 2001, exhibition catalogue, p. 55.
SABINO
A Nickel Plated Metal and Molded Glass Desk Lamp, circa 1930
Marks: glass stamped Sabino
12 x 18 x 4 inches (30.5 x 45.7 x 10.2 cm)
A Nickel Plated Metal and Molded Glass Desk Lamp, circa 1930
Marks: glass stamped Sabino
12 x 18 x 4 inches (30.5 x 45.7 x 10.2 cm)
Decorative Arts, French
FELIX AUBLET
A Nickel Plated Metal "Lampe de Parquet", circa 1930
70 inches (177.8 cm) high
PROVENANCE:
Felix Aublet's private collection;
Felix Marchilhac, expert pres la cour d'appel de Paris.
A Nickel Plated Metal "Lampe de Parquet", circa 1930
70 inches (177.8 cm) high
PROVENANCE:
Felix Aublet's private collection;
Felix Marchilhac, expert pres la cour d'appel de Paris.
Lighting
JACQUES ADNET
A Chrome Plated Metal Sconce, circa 1930
6 x 9 x 12 inches (15.2 x 22.9 x 30.5 cm)
A Chrome Plated Metal Sconce, circa 1930
6 x 9 x 12 inches (15.2 x 22.9 x 30.5 cm)
A FRENCH NICKEL AND BLACK-LACQUERED TORCHÈRE
Circa 1930
72 inches (182.9 cm) high
Circa 1930
72 inches (182.9 cm) high
Attributed to BORIS LACROIX
A Pair of Nickel Plated Metal and Frosted Glass Sconces, circa 1930
10 x 3 x 4 inches (25.4 x 7.6 x 10.2 cm) each
A Pair of Nickel Plated Metal and Frosted Glass Sconces, circa 1930
10 x 3 x 4 inches (25.4 x 7.6 x 10.2 cm) each
Decorative Arts, Continental
FERDINAND HALBIG FOR BUNTE AND REMMLER
A Nickel Plated Brass and Iron Desk Lamp, circa 1928
35 inches (88.9 cm) long
LITERATURE:
Cf. Manufacturer's catalogue, no. 293;
Das Neue Frankfurt, 1931-1932, p. 24, cat. no. 3153;
Burg Giebichenstein: Die Hallesche Kunstschule von den Anfängen bis zur Gegenwart, exh. cat., Halle und Karlsruhe, 1993, p. 184, no. 167.
A Nickel Plated Brass and Iron Desk Lamp, circa 1928
35 inches (88.9 cm) long
LITERATURE:
Cf. Manufacturer's catalogue, no. 293;
Das Neue Frankfurt, 1931-1932, p. 24, cat. no. 3153;
Burg Giebichenstein: Die Hallesche Kunstschule von den Anfängen bis zur Gegenwart, exh. cat., Halle und Karlsruhe, 1993, p. 184, no. 167.
Decorative Arts, French
DAMON
A Nickel Plated Metal Torchière, circa 1930
70 inches (177.8 cm) high
A Nickel Plated Metal Torchière, circa 1930
70 inches (177.8 cm) high
Lighting
Attributed to MARCEL-LOUIS BAUGNIET
A Nickel Plated Metal Desk Lamp, circa 1930
10 x 12-1/2 x 5-1/2 inches (25.4 x 31.8 x 14.0 cm)
A Nickel Plated Metal Desk Lamp, circa 1930
10 x 12-1/2 x 5-1/2 inches (25.4 x 31.8 x 14.0 cm)
JEAN PERZEL
Two Nickel, Aluminum, and Glass Sconces, circa 1930
19 x 16 x 8 inches (48.3 x 40.6 x 20.3 cm) larger
15 x 14 x 7 inches (38.1 x 35.6 x 17.8 cm) smaller
Two Nickel, Aluminum, and Glass Sconces, circa 1930
19 x 16 x 8 inches (48.3 x 40.6 x 20.3 cm) larger
15 x 14 x 7 inches (38.1 x 35.6 x 17.8 cm) smaller
BORIS LACROIX
A Nickel Plated Metal Desk Lamp, circa 1930
13-1/2 inches (34.3 cm) high
PROVENANCE:
Tajan-de Quay, Drouot Montaigne, Paris, December 6, 1995;
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
A Nickel Plated Metal Desk Lamp, circa 1930
13-1/2 inches (34.3 cm) high
PROVENANCE:
Tajan-de Quay, Drouot Montaigne, Paris, December 6, 1995;
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
EDOUARD-WILFRID BUGUET
A Nickel Plated Metal Adjustable Desk Lamp, circa 1927
45 x 31-1/2 inches (114.3 x 80.0 cm) fully extended
A Nickel Plated Metal Adjustable Desk Lamp, circa 1927
45 x 31-1/2 inches (114.3 x 80.0 cm) fully extended
Furniture
Attributed to LOUIS SOGNOT
A Nickel Plated Metal and Marble Gueridon, circa 1930
24 x 16 x 17 inches (61.0 x 40.6 x 43.2 cm)
A Nickel Plated Metal and Marble Gueridon, circa 1930
24 x 16 x 17 inches (61.0 x 40.6 x 43.2 cm)
Lighting
GABRIEL GUEVREKIAN
A Glass and Marble Lamp, circa 1930
8-1/2 x 10-1/4 x 5-1/2 inches (21.6 x 26.0 x 14.0 cm)
LITERATURE:
Cf. Art et Industrie, April 1930, model reproduced p. 14.
A Glass and Marble Lamp, circa 1930
8-1/2 x 10-1/4 x 5-1/2 inches (21.6 x 26.0 x 14.0 cm)
LITERATURE:
Cf. Art et Industrie, April 1930, model reproduced p. 14.
Decorative Arts, French
JEAN PERZEL
A Nickel Plated Metal and Opaline Glass Ceiling Light, circa 1930
Marks: signed
9 x 33 x 21 inches (22.9 x 83.8 x 53.3 cm)
A Nickel Plated Metal and Opaline Glass Ceiling Light, circa 1930
Marks: signed
9 x 33 x 21 inches (22.9 x 83.8 x 53.3 cm)
Lighting
JEAN PERZEL
A Nickel and Glass Table Lamp, circa 1940
17 x 8 x 5-1/2 inches (43.2 x 20.3 x 14.0 cm)
LITERATURE:
Cf. Jean Perzel Archives 1926.
A Nickel and Glass Table Lamp, circa 1940
17 x 8 x 5-1/2 inches (43.2 x 20.3 x 14.0 cm)
LITERATURE:
Cf. Jean Perzel Archives 1926.
Furniture
MICHEL ROUX-SPITZ
A Pair of Veined Marble Columns, circa 1930
59-1/2 x 9 x 10 inches (151.1 x 22.9 x 25.4 cm) each
A Pair of Veined Marble Columns, circa 1930
59-1/2 x 9 x 10 inches (151.1 x 22.9 x 25.4 cm) each
PIERRE DARIEL FOR LA MAISON DOLT
A Beechwood and Brass Armchair with Footstool, circa 1935-1940
30 x 33 x 33 inches (76.2 x 83.8 x 83.8 cm) armchair
15 x 21 x 21 inches (38.1 x 53.3 x 53.3 cm) stool
A Beechwood and Brass Armchair with Footstool, circa 1935-1940
30 x 33 x 33 inches (76.2 x 83.8 x 83.8 cm) armchair
15 x 21 x 21 inches (38.1 x 53.3 x 53.3 cm) stool
Attributed to DOMINIQUE
A Set of Four Black-Lacquered and Aubergine-Tinted Coquille d'Oeuf Nesting Tables, circa 1930
18-1/4 x 21-3/4 x 12 inches (46.4 x 55.2 x 30.5 cm) largest
A Set of Four Black-Lacquered and Aubergine-Tinted Coquille d'Oeuf Nesting Tables, circa 1930
18-1/4 x 21-3/4 x 12 inches (46.4 x 55.2 x 30.5 cm) largest
Sculpture
BERNARD CALLIE
A White Stone Figure of a Young Woman, 1928
Marks: signed and dated on base
21 inches (53.3 cm) high
A White Stone Figure of a Young Woman, 1928
Marks: signed and dated on base
21 inches (53.3 cm) high
Lighting
EDGAR BRANDT
A Wrought and Polished Metal Table Lamp with Alabaster Shade, circa 1930
12-1/2 inches (31.8 cm) high
A Wrought and Polished Metal Table Lamp with Alabaster Shade, circa 1930
12-1/2 inches (31.8 cm) high
Attributed to PAUL MERGIER
A Black-Lacquered, Coquille d'Oeuf, and Brass Torchière with Alabaster Shade, circa 1925
65 inches (165.1 cm) high
A Black-Lacquered, Coquille d'Oeuf, and Brass Torchière with Alabaster Shade, circa 1925
65 inches (165.1 cm) high
Furniture
A FRENCH BLACK-LACQUERED AND LIGHT AUBERGINE-TINTED COQUILLE D'OEUF CONSOLE
Circa 1930
34 x 54 x 18 inches (86.4 x 137.2 x 45.7 cm)
Circa 1930
34 x 54 x 18 inches (86.4 x 137.2 x 45.7 cm)
BATASTIN SPADE
A Sycamore, Acajou, and Polished Bronze Center/Dining Table, circa 1950
29 x 74 x 39 inches (73.7 x 188.0 x 99.1 cm)
A Sycamore, Acajou, and Polished Bronze Center/Dining Table, circa 1950
29 x 74 x 39 inches (73.7 x 188.0 x 99.1 cm)
Ceramics & Porcelain
RENE HERBST FOR CUSENIER
A Ceramic Wine Amphora with Wrought Iron Stand for the 1927 Exposition, circa 1927
Marks: stand signed Cvsenier
12-3/4 inches (32.4 cm) high, excluding stand
A Ceramic Wine Amphora with Wrought Iron Stand for the 1927 Exposition, circa 1927
Marks: stand signed Cvsenier
12-3/4 inches (32.4 cm) high, excluding stand
Furniture
SUZANNE GUIGUICHON
A Pair of Silk-Upholstered and Lacquered Wood Armchairs, circa 1935-1940
25 x 30 inches (63.5 x 76.2 cm) each
PROVENANCE:
Jean-Marc Maury.
A certificate of authenticity from Jean-Marc Maury accompanies this lot.
A Pair of Silk-Upholstered and Lacquered Wood Armchairs, circa 1935-1940
25 x 30 inches (63.5 x 76.2 cm) each
PROVENANCE:
Jean-Marc Maury.
A certificate of authenticity from Jean-Marc Maury accompanies this lot.
JEAN PASCAUD
A Masur Birch and Bronze Low Table, circa 1930
18 x 39-1/2 inches (45.7 x 100.3 cm)
PROVENANCE:
Jean-Jacques Wattel.
A Masur Birch and Bronze Low Table, circa 1930
18 x 39-1/2 inches (45.7 x 100.3 cm)
PROVENANCE:
Jean-Jacques Wattel.
In the style of ALFRED PORTENEUVE
A French Brown-Lacquered and Nickel Gueridon, circa 1930
18-1/2 x 35-1/2 inches (47.0 x 90.2 cm)
A French Brown-Lacquered and Nickel Gueridon, circa 1930
18-1/2 x 35-1/2 inches (47.0 x 90.2 cm)
LOUIS SOGNOT
An Ebene de Macassar, Nickel, and Glass Gueridon, circa 1930
24 x 30 inches (61.0 x 76.2 cm)
An Ebene de Macassar, Nickel, and Glass Gueridon, circa 1930
24 x 30 inches (61.0 x 76.2 cm)
MARCEL COARD
A Pair of Upholstered Armchairs, circa 1930
31-1/2 x 35-1/2 x 30-1/2 inches (80.0 x 90.2 x 77.5 cm)
PROVENANCE:
Family of the artist.
A certificate of authenticity from Jean-Marcel Camard dated January 26, 2007 accompanies this lot.
A Pair of Upholstered Armchairs, circa 1930
31-1/2 x 35-1/2 x 30-1/2 inches (80.0 x 90.2 x 77.5 cm)
PROVENANCE:
Family of the artist.
A certificate of authenticity from Jean-Marcel Camard dated January 26, 2007 accompanies this lot.
EMILE GUILOT
A Suede-Upholstered Nickel Armchair, circa 1928
33 x 27 x 33 inches (83.8 x 68.6 x 83.8 cm)
A Suede-Upholstered Nickel Armchair, circa 1928
33 x 27 x 33 inches (83.8 x 68.6 x 83.8 cm)
Attributed to GIO PONTI FOR FONTANA ARTE
A Mahogany Mirror, circa 1950
43-1/2 x 51-1/2 inches (110.5 x 130.8 cm)
A Mahogany Mirror, circa 1950
43-1/2 x 51-1/2 inches (110.5 x 130.8 cm)
Paintings
STAFFORD BOURNE
New World Symphony no. 1, circa 1956
Oil on canvas
Signed and dated
21-1/2 x 26 inches (54.6 x 66.0 cm)
Included with this lot is a study for this painting.
New World Symphony no. 1, circa 1956
Oil on canvas
Signed and dated
21-1/2 x 26 inches (54.6 x 66.0 cm)
Included with this lot is a study for this painting.
Furniture
Attributed to MAXIME OLD
A Set of Four Horsehair-Upholstered Cherry Armchairs, circa 1935-1940
33-1/2 x 21-1/2 x 22-1/2 inches (85.1 x 54.6 x 57.2 cm) each
A Set of Four Horsehair-Upholstered Cherry Armchairs, circa 1935-1940
33-1/2 x 21-1/2 x 22-1/2 inches (85.1 x 54.6 x 57.2 cm) each
Ceramics & Porcelain, Continental
MADELINE SOUGEZ FOR ATELIER PRIMAVERA LONGWY, FRANCE
A Cold-Painted Terracotta Vase, circa 1930
Marks: signed Sougiez Primavera
18 inches (45.7 cm) high
A Cold-Painted Terracotta Vase, circa 1930
Marks: signed Sougiez Primavera
18 inches (45.7 cm) high
Furniture
LOUIS SOGNOT
An Oak, Pink/Beige Stone, and Nickel Low Table, circa 1930
19-1/2 x 41 inches (49.5 x 104.1 cm)
PROVENANCE:
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
An Oak, Pink/Beige Stone, and Nickel Low Table, circa 1930
19-1/2 x 41 inches (49.5 x 104.1 cm)
PROVENANCE:
Jean-Marcel Camard, expert pres la cour d'appel de Paris.
ANDRE SORNAY
A Pair of Oak and Brass Bibliothèques, circa 1930
Marks: bearing brand
44 x 70 x 14 inches (111.8 x 177.8 x 35.6 cm) each
A Pair of Oak and Brass Bibliothèques, circa 1930
Marks: bearing brand
44 x 70 x 14 inches (111.8 x 177.8 x 35.6 cm) each
LOUIS SOGNOT FOR ATELIER PRIMAVERA
A Pair of Hide-Upholstered Mahogany Easy Chairs, circa 1930
35 x 23 x 27 inches (88.9 x 58.4 x 68.6 cm) each
LITERATURE:
Cf. P. Follot, Interieurs, Paris, 1937, pl. 10;
The Studio Year Book of the Decorative Art Journal, London, 1928, p. 98;
J.J. Adnet, Sieges Modernes, Paris, 1929.
A Pair of Hide-Upholstered Mahogany Easy Chairs, circa 1930
35 x 23 x 27 inches (88.9 x 58.4 x 68.6 cm) each
LITERATURE:
Cf. P. Follot, Interieurs, Paris, 1937, pl. 10;
The Studio Year Book of the Decorative Art Journal, London, 1928, p. 98;
J.J. Adnet, Sieges Modernes, Paris, 1929.
Attributed to LOUIS SOGNOT
A Hide-Upholstered Walnut Three Piece Living Room Suite, circa 1930
29 x 60 x 33-1/2 inches (73.7 x 152.4 x 85.1 cm) sofa
26 x 18-1/2 x 27 inches (66.0 x 47.0 x 68.6 cm) each chair
A Hide-Upholstered Walnut Three Piece Living Room Suite, circa 1930
29 x 60 x 33-1/2 inches (73.7 x 152.4 x 85.1 cm) sofa
26 x 18-1/2 x 27 inches (66.0 x 47.0 x 68.6 cm) each chair
RENE PROU
A Sycamore and Mirrored Glass Occasional Table, circa 1930
22 x 39 x 19 inches (55.9 x 99.1 x 48.3 cm)
A Sycamore and Mirrored Glass Occasional Table, circa 1930
22 x 39 x 19 inches (55.9 x 99.1 x 48.3 cm)
A FRENCH SYCAMORE AND GLASS SIDE TABLE
Circa 1930
16 x 24 x 16 inches (40.6 x 61.0 x 40.6 cm)
Circa 1930
16 x 24 x 16 inches (40.6 x 61.0 x 40.6 cm)
RENE PROU
A Pair of White-Lacquered Metal Stools, circa 1925
22 x 13 inches (55.9 x 33.0 cm) each
A Pair of White-Lacquered Metal Stools, circa 1925
22 x 13 inches (55.9 x 33.0 cm) each
RENE PROU
A Sycamore Occasional Table, circa 1930
20 x 40 x 22 inches (50.8 x 101.6 x 55.9 cm)
A Sycamore Occasional Table, circa 1930
20 x 40 x 22 inches (50.8 x 101.6 x 55.9 cm)
A FRENCH SYCAMORE AND NICKEL COMMODE AND MIRROR
Circa 1930
36 x 53 x 23 inches (91.4 x 134.6 x 58.4 cm) commode
28 inches (71.1 cm) diameter, mirror
Circa 1930
36 x 53 x 23 inches (91.4 x 134.6 x 58.4 cm) commode
28 inches (71.1 cm) diameter, mirror
SUZANNE GUIGUICHON
A Sycamore Banquette Table with Ebony Stringing, circa 1935-1939
16 x 38 x 9 inches (40.6 x 96.5 x 22.9 cm)
LITERATURE:
Cf. Ensembles Modernes, vol. 4, 1939, for an illustration of the design.
A Sycamore Banquette Table with Ebony Stringing, circa 1935-1939
16 x 38 x 9 inches (40.6 x 96.5 x 22.9 cm)
LITERATURE:
Cf. Ensembles Modernes, vol. 4, 1939, for an illustration of the design.
A FRENCH MACASSAR, MIRRORED GLASS, AND COPPER COMMODE
Circa 1940
28 x 35 x 16 inches (71.1 x 88.9 x 40.6 cm)
Circa 1940
28 x 35 x 16 inches (71.1 x 88.9 x 40.6 cm)
Attributed to FONTANA ARTE
A Glass and Nickel Table, circa 1930
17 x 29-1/2 x 24 inches (43.2 x 74.9 x 61.0 cm)
A Glass and Nickel Table, circa 1930
17 x 29-1/2 x 24 inches (43.2 x 74.9 x 61.0 cm)
Decorative Arts, Continental
FONTANA ARTE
An Illuminated Glass Mirror, circa 1950
23-1/2 x 32 x 4-3/4 inches (59.7 x 81.3 x 12.1 cm)
An Illuminated Glass Mirror, circa 1950
23-1/2 x 32 x 4-3/4 inches (59.7 x 81.3 x 12.1 cm)
Furniture
ANDRE LURCAT FOR THONET
A Nickel Plated Metal and Glass Table, model no. B330, circa 1930
Marks: bearing decal
24 x 31 inches (61.0 x 78.7 cm)
A Nickel Plated Metal and Glass Table, model no. B330, circa 1930
Marks: bearing decal
24 x 31 inches (61.0 x 78.7 cm)
Lighting
FONTANA ARTE
Three Frosted and "Pickled" Glass and Nickel Plated Metal Sconces, circa 1940
16 x 30 x 4 inches (40.6 x 76.2 x 10.2 cm) each
Three Frosted and "Pickled" Glass and Nickel Plated Metal Sconces, circa 1940
16 x 30 x 4 inches (40.6 x 76.2 x 10.2 cm) each
Furniture
A FRENCH GLASS AND METAL CONSOLE
Circa 1930
29 x 48 x 16-3/4 inches (73.7 x 121.9 x 42.5 cm)
Circa 1930
29 x 48 x 16-3/4 inches (73.7 x 121.9 x 42.5 cm)
AN ART DECO COLUMN
Circa 1930
43-1/2 x 7-1/2 inches (110.5 x 19.1 cm)
Circa 1930
43-1/2 x 7-1/2 inches (110.5 x 19.1 cm)
Textiles
A FRENCH RUG
Circa 1950
81 x 55 inches (205.7 x 139.7 cm)
Rectangular in form, woven with geometric designs in green and brown
Circa 1950
81 x 55 inches (205.7 x 139.7 cm)
Rectangular in form, woven with geometric designs in green and brown
Fine Art - Work on Paper
RAYMOUND LOEWY
Japanese Figure Clutching Sword, circa 1958
Mixed media
25 x 19 inches (63.5 x 48.3 cm)
Japanese Figure Clutching Sword, circa 1958
Mixed media
25 x 19 inches (63.5 x 48.3 cm)
Paintings
PAOLO DE POLI FOR GIO PONTI
A Pair of Enamel on Copper Door Pulls with Comedie dell'Arte scene, design attributed to Gio Ponti, circa 1955
9 x 5 inches (22.9 x 12.7 cm) each
A Pair of Enamel on Copper Door Pulls with Comedie dell'Arte scene, design attributed to Gio Ponti, circa 1955
9 x 5 inches (22.9 x 12.7 cm) each
Asian
A JAPANESE CLOISONNÉ ENAMEL VASE
6-1/4 inches (15.9 cm) high
6-1/4 inches (15.9 cm) high
Lighting
STILE NOVO
A Marble, Polished Brass, and Green-Lacquered Floor Lamp, circa 1950
84 inches (213.4 cm) high
A Marble, Polished Brass, and Green-Lacquered Floor Lamp, circa 1950
84 inches (213.4 cm) high
Fine Art - Painting, European
ALICE DINNEEN AND ALLAN GOULD
A Triptych depicting the further encroachment of "civilization" on the American wilderness, circa 1930
Marks: bearing signatures and notes verso
24 x 48 inches (61.0 x 121.9 cm)
A Triptych depicting the further encroachment of "civilization" on the American wilderness, circa 1930
Marks: bearing signatures and notes verso
24 x 48 inches (61.0 x 121.9 cm)
Furniture
A PAIR OF FRENCH BAKELITE AND CHROME PLATED STEEL SIDE TABLES
Circa 1950
Marks: bearing Etal Pratique stamp
24 x 40 x 18 inches (61.0 x 101.6 x 45.7 cm) larger
18 x 39 x 17 inches (45.7 x 99.1 x 43.2 cm) smaller
PROVENANCE:
Ingrid Zerunian, private residence Vienna.
Circa 1950
Marks: bearing Etal Pratique stamp
24 x 40 x 18 inches (61.0 x 101.6 x 45.7 cm) larger
18 x 39 x 17 inches (45.7 x 99.1 x 43.2 cm) smaller
PROVENANCE:
Ingrid Zerunian, private residence Vienna.
A PAIR OF ITALIAN SYCAMORE, VELLUM, PEACH MIRRORED GLASS, AND BRASS BEDSIDE TABLES
Circa 1950s
Marks: Esse VI on glass
23-3/4 x 22-1/2 x 14 inches (60.3 x 57.2 x 35.6 cm) each
Circa 1950s
Marks: Esse VI on glass
23-3/4 x 22-1/2 x 14 inches (60.3 x 57.2 x 35.6 cm) each
EZIO RAVI
A Red-Lacquered and Parchment Armoire with gilt details, circa 1935
72 x 92 x 24 inches (182.9 x 233.7 x 61.0 cm)
A Red-Lacquered and Parchment Armoire with gilt details, circa 1935
72 x 92 x 24 inches (182.9 x 233.7 x 61.0 cm)
Lighting
ERCOLE BAROVIER FOR BAROVIER & TOSO, MURANO
A Pair of Polished Brass and Internally-Decorated Glass Sconces, circa 1940
14 x 8 x 8 inches (35.6 x 20.3 x 20.3 cm) each
A Pair of Polished Brass and Internally-Decorated Glass Sconces, circa 1940
14 x 8 x 8 inches (35.6 x 20.3 x 20.3 cm) each
Fine Art - Sculpture, European
MARCELLO FANTONI
An Earthenware Sculpture, 1960
Marks: painted mark and date
29 inches (73.7 cm) high
EXHIBITED:
Galleria degli Uffizi, Florence, 2000.
An Earthenware Sculpture, 1960
Marks: painted mark and date
29 inches (73.7 cm) high
EXHIBITED:
Galleria degli Uffizi, Florence, 2000.
Furniture
DINING TABLE WITH SIX DINING CHAIRS EN SUITE
A Maple, Marble, Mirrored Glass, and Brass Dining Table with Six Limited Edition Horsehair-Upholstered (designed by Marianne Kemp) Maple Dining Chairs
Marks: paper label on table base Mobil Ificio Fratelli Turri - Carugo
45 x 20 x 19 inches (114.3 x 50.8 x 48.3 cm) each chair
29-1/2 x 80-1/2 x 35-1/2 inches (74.9 x 204.5 x 90.2 cm) table
A Maple, Marble, Mirrored Glass, and Brass Dining Table with Six Limited Edition Horsehair-Upholstered (designed by Marianne Kemp) Maple Dining Chairs
Marks: paper label on table base Mobil Ificio Fratelli Turri - Carugo
45 x 20 x 19 inches (114.3 x 50.8 x 48.3 cm) each chair
29-1/2 x 80-1/2 x 35-1/2 inches (74.9 x 204.5 x 90.2 cm) table
Textiles
RENE JOUBERT AND PHILIPPE PETIT FOR D.I.M. (DECORATION INTERIEUR MODERNE)
A French Wool Carpet, circa 1930
Marks: signed in the weave
85 x 61 inches (215.9 x 154.9 cm)
Rectangular in form, woven with geometric patterns in shades of blue and beige
A French Wool Carpet, circa 1930
Marks: signed in the weave
85 x 61 inches (215.9 x 154.9 cm)
Rectangular in form, woven with geometric patterns in shades of blue and beige
BETTY JOEL
An English Carpet, circa 1930
48 x 82 inches (121.9 x 208.3 cm)
Rectangular in form, woven with broad geometric motifs incorporating curves and rectangles in shades of mushroom, elephant gray, deep chocolate, and antique gold
An English Carpet, circa 1930
48 x 82 inches (121.9 x 208.3 cm)
Rectangular in form, woven with broad geometric motifs incorporating curves and rectangles in shades of mushroom, elephant gray, deep chocolate, and antique gold
Fine Art - Painting, European
AUGUSTE HARZIC
Torderis, July 1971
Oil on wood
Signed, initialed, dated, and numbered 42
9 x 6 inches (22.9 x 15.2 cm)
The frame constructed by the artist. The written number 42 corresponds to a manuscript from the artist.
Torderis, July 1971
Oil on wood
Signed, initialed, dated, and numbered 42
9 x 6 inches (22.9 x 15.2 cm)
The frame constructed by the artist. The written number 42 corresponds to a manuscript from the artist.
AUGUSTE HARZIC
Abstract Composition, February 1971
Plaque
Signed and dated
31 x 14 inches (78.7 x 35.6 cm)
Abstract Composition, February 1971
Plaque
Signed and dated
31 x 14 inches (78.7 x 35.6 cm)
AUGUSTE HARZIC
Abstract Composition, September 1981
Oil on wood
Signed and dated
14 x 19 inches (35.6 x 48.3 cm)
Abstract Composition, September 1981
Oil on wood
Signed and dated
14 x 19 inches (35.6 x 48.3 cm)
Paintings
AUGUSTE HARZIC
Organique, January 1968
Oil on canvas
Signed, titled, and dated
48 x 84 inches (121.9 x 213.4 cm)
Organique, January 1968
Oil on canvas
Signed, titled, and dated
48 x 84 inches (121.9 x 213.4 cm)
Furniture
A. MARCARD
A Leather Pouf
24 x 24 x 24 inches (61.0 x 61.0 x 61.0 cm)
A Leather Pouf
24 x 24 x 24 inches (61.0 x 61.0 x 61.0 cm)
Fine Art - Painting, European
DUGGIE FIELDS
Untitled, circa 1969
Oil on canvas
52 x 34 inches (132.1 x 86.4 cm)
Untitled, circa 1969
Oil on canvas
52 x 34 inches (132.1 x 86.4 cm)
Decorative Arts, Continental
A BELGIAN VERRE ÉGLOMISÉ MIRROR
Circa 1950
Marks: bearing the monogram R.B., glass etched Vemeppe Securit Belgium
29-1/2 x 29-1/2 inches (74.9 x 74.9 cm)
Depicting a stage set with stylized figures waiting in the wings
Circa 1950
Marks: bearing the monogram R.B., glass etched Vemeppe Securit Belgium
29-1/2 x 29-1/2 inches (74.9 x 74.9 cm)
Depicting a stage set with stylized figures waiting in the wings
Furniture
BRUCE TIPPETT FOR GAVINA
An Orange-Lacquered Wood "Renna" Coat Rack, circa 1969
71 inches (180.3 cm) high
An Orange-Lacquered Wood "Renna" Coat Rack, circa 1969
71 inches (180.3 cm) high
Fine Art - Painting, European
CAYREL
Three Works Commemorating the Apollo 11 Moon Landing, circa 1970
Painting on paper laid on board
Bearing dedication by the astronauts Neil Armstrong, Michael Collins, and Edwin "Buzz" Aldrin, including "Thank you for your paintings"
Cayrel's card verso
28-1/2 x 11 inches (72.4 x 27.9 cm)
Three Works Commemorating the Apollo 11 Moon Landing, circa 1970
Painting on paper laid on board
Bearing dedication by the astronauts Neil Armstrong, Michael Collins, and Edwin "Buzz" Aldrin, including "Thank you for your paintings"
Cayrel's card verso
28-1/2 x 11 inches (72.4 x 27.9 cm)
Session 2
Paintings
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze Smoker's Stand, circa 1900
Marks: engraved 4561
27-1/4 inches (69.2 cm) high
TIFFANY STUDIOS
A Bronze Smoker's Stand, circa 1900
Marks: engraved 4561
27-1/4 inches (69.2 cm) high
Lighting
PROPERTY OF A CALIFORNIA COLLECTOR
TIFFANY STUDIOS
A "Chippendale" Bronze and Favrile Glass Table Lamp, circa 1910
Base, model no. 555, stamped: TIFFANY STUDIOS NEW YORK 555
Shade, model no. 1909
12 inches (30.5 cm) diameter of shade
TIFFANY STUDIOS
A "Chippendale" Bronze and Favrile Glass Table Lamp, circa 1910
Base, model no. 555, stamped: TIFFANY STUDIOS NEW YORK 555
Shade, model no. 1909
12 inches (30.5 cm) diameter of shade
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Four-Light "Jeweled" Candelabra with blown-out glass bobeches, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK S1451 with Tiffany Glass & Decorating logo
11-3/4 inches (29.8 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Four-Light "Jeweled" Candelabra with blown-out glass bobeches, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK S1451 with Tiffany Glass & Decorating logo
11-3/4 inches (29.8 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Two-Light "Jeweled" Candelabra, with blown-out glass bobeches, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK D886 with Tiffany Glass & Decorating logo
12-1/4 inches (31.1 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Two-Light "Jeweled" Candelabra, with blown-out glass bobeches, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK D886 with Tiffany Glass & Decorating logo
12-1/4 inches (31.1 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Candlestick, with blown-out glass bobeche, circa 1900
Marks: stamped 21100
16 inches (40.6 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Candlestick, with blown-out glass bobeche, circa 1900
Marks: stamped 21100
16 inches (40.6 cm) high
Paintings
PROPERTY OF A CALIFORNIA COLLECTOR
TIFFANY STUDIOS
A Bronze Inkwell in the Chinese pattern, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1753
4-3/4 inches (12.1 cm) high
TIFFANY STUDIOS
A Bronze Inkwell in the Chinese pattern, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1753
4-3/4 inches (12.1 cm) high
Decorative Arts, American
TIFFANY STUDIOS
A Metal "Scarab" Inkstand, model no. 857, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 25056 with Tiffany Glass & Decorating logo
4-1/2 inches (11.4 cm)
A Metal "Scarab" Inkstand, model no. 857, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 25056 with Tiffany Glass & Decorating logo
4-1/2 inches (11.4 cm)
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Four-Light Twisted Newel Post Lamp, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 28597 19
19-3/8 inches (49.2 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Four-Light Twisted Newel Post Lamp, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 28597 19
19-3/8 inches (49.2 cm) high
Lighting
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Pair of Gilt Bronze Candlesticks, model 1213, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1213
20-1/2 inches (52.1 cm) high, each
TIFFANY STUDIOS
A Pair of Gilt Bronze Candlesticks, model 1213, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1213
20-1/2 inches (52.1 cm) high, each
Paintings
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Large Gilt Bronze Jewel Casket in the Italian Renaissance pattern, model no. 1666, circa 1900
Marks: stamped Tiffany Studios New York 1666
8-1/8 inches (20.6 cm) long
TIFFANY STUDIOS
A Large Gilt Bronze Jewel Casket in the Italian Renaissance pattern, model no. 1666, circa 1900
Marks: stamped Tiffany Studios New York 1666
8-1/8 inches (20.6 cm) long
Decorative Arts, American
TIFFANY STUDIOS
A Gilt Bronze Two-Light Candleholder with bud design, model no. 1230, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1230
8-3/4 inches (22.2 cm) high
A Gilt Bronze Two-Light Candleholder with bud design, model no. 1230, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1230
8-3/4 inches (22.2 cm) high
Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1915
Marks: engraved L.C.Tiffany-Favrile 9077E and paper label
12 inches (30.5 cm) high
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1915
Marks: engraved L.C.Tiffany-Favrile 9077E and paper label
12 inches (30.5 cm) high
Decorative Arts, American
TIFFANY STUDIOS
A Bronze and Favrile Glass Seven-Light "Lily" Lamp, model no. 385, circa 1900
Base stamped: TIFFANY STUDIOS NEW YORK 385
Shades etched: L.C.T. Favrile (one unsigned)
21 inches (53.3 cm) high
A Bronze and Favrile Glass Seven-Light "Lily" Lamp, model no. 385, circa 1900
Base stamped: TIFFANY STUDIOS NEW YORK 385
Shades etched: L.C.T. Favrile (one unsigned)
21 inches (53.3 cm) high
Art Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
An Early Gilt Bronze and Favrile Glass Oil Converted Table Lamp, circa 1900
Marks: engraved F2643 (shade), molded TIFFANY STUDIOS (switches), stamped TIFFANY STUDIOS NEW YORK 2393 with
Tiffany Glass & Decorating logo (reservoir), engraved XI (base)
27 inches (68.6 cm) high
TIFFANY STUDIOS
An Early Gilt Bronze and Favrile Glass Oil Converted Table Lamp, circa 1900
Marks: engraved F2643 (shade), molded TIFFANY STUDIOS (switches), stamped TIFFANY STUDIOS NEW YORK 2393 with
Tiffany Glass & Decorating logo (reservoir), engraved XI (base)
27 inches (68.6 cm) high
Decorative Arts, American
PROPERTY OF A CALIFORNIA COLLECTOR
LOUIS C. TIFFANY FURNACES INC.
A Gilt Bronze and Cypriote Glass Cigarette Box, circa 1900
Marks: stamped FAVRILE LOUIS C. TIFFANY FURNACES INC. 106 with circular trademark
6-1/4 inches (15.9 cm) long
LOUIS C. TIFFANY FURNACES INC.
A Gilt Bronze and Cypriote Glass Cigarette Box, circa 1900
Marks: stamped FAVRILE LOUIS C. TIFFANY FURNACES INC. 106 with circular trademark
6-1/4 inches (15.9 cm) long
Art Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Candlestick, circa 1910
Marks: engraved 1825 L.C.T. Favrile
11-5/8 inches (29.5 cm) high
TIFFANY STUDIOS
A Favrile Glass Candlestick, circa 1910
Marks: engraved 1825 L.C.T. Favrile
11-5/8 inches (29.5 cm) high
Paintings
PROPERTY OF A CALIFORNIA COLLECTOR
LOUIS C. TIFFANY FURNACES INC.
A Pair of Gilt Bronze "Landscape" Bookends, circa 1900
Marks: stamped FAVRILE LOUIS C. TIFFANY FURNACES INC. 605 with circular trademark
4-1/2 inches (11.4 cm) high, each
LOUIS C. TIFFANY FURNACES INC.
A Pair of Gilt Bronze "Landscape" Bookends, circa 1900
Marks: stamped FAVRILE LOUIS C. TIFFANY FURNACES INC. 605 with circular trademark
4-1/2 inches (11.4 cm) high, each
Art Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
An Engraved Pale Green Favrile Glass Goblet, circa 1900
Marks: engraved L.C.T. Favrile
7-3/4 inches (19.7 cm) high
TIFFANY STUDIOS
An Engraved Pale Green Favrile Glass Goblet, circa 1900
Marks: engraved L.C.T. Favrile
7-3/4 inches (19.7 cm) high
Clocks & Mechanical
PROPERTY OF A CALIFORNIA COLLECTOR
TIFFANY STUDIOS
A Gilt Bronze Desk Clock in the Zodiac pattern, model no. 1076, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1076 (base), TIFFANY & CO. (face)
4-1/4 inches (10.8 cm) wide
TIFFANY STUDIOS
A Gilt Bronze Desk Clock in the Zodiac pattern, model no. 1076, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1076 (base), TIFFANY & CO. (face)
4-1/4 inches (10.8 cm) wide
Paintings
PROPERTY OF A MANHATTAN COLLECTOR
TIFFANY STUDIOS
An Assembled Ten Piece Gilt Bronze Desk Set in the Bookmark pattern, circa 1900
Marks: each stamped TIFFANY STUDIOS NEW YORK and numbered
7-5/8 inches (19.4 cm) long, calendar
Comprising an inkwell, blotter, scale, pen tray, picture frame, pen wipe, stamp box, letter opener, and two calendars
TIFFANY STUDIOS
An Assembled Ten Piece Gilt Bronze Desk Set in the Bookmark pattern, circa 1900
Marks: each stamped TIFFANY STUDIOS NEW YORK and numbered
7-5/8 inches (19.4 cm) long, calendar
Comprising an inkwell, blotter, scale, pen tray, picture frame, pen wipe, stamp box, letter opener, and two calendars
Decorative Arts, American
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Gilt Bronze Two-Light Candlestick with bud design, model no. 1230, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1230 with Tiffany Glass & Decorating logo
9 inches (22.9 cm) high
TIFFANY STUDIOS
A Gilt Bronze Two-Light Candlestick with bud design, model no. 1230, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1230 with Tiffany Glass & Decorating logo
9 inches (22.9 cm) high
Glass
TIFFANY STUDIOS
A Favrile Glass Candle Lamp, circa 1900
Marks: shade and base engraved L.C.T.
12 inches (30.5 cm) high
A Favrile Glass Candle Lamp, circa 1900
Marks: shade and base engraved L.C.T.
12 inches (30.5 cm) high
Lighting
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Pair of Gilt Bronze Candlesticks, model no. 1210, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1210
10 inches (25.4 cm) high, each
TIFFANY STUDIOS
A Pair of Gilt Bronze Candlesticks, model no. 1210, circa 1900
Marks: stamped TIFFANY STUDIOS NEW YORK 1210
10 inches (25.4 cm) high, each
Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Gilt Bronze and Favrile Glass Oil Lamp, circa 1900
Marks: stamped THE TWILIGHT, PAT. MAY 22 1894 (base), molded TIFFANY (switch), engraved 799V L.C.T. Favrile (chimney)
10-1/4 inches (26.0 cm) high
TIFFANY STUDIOS
A Gilt Bronze and Favrile Glass Oil Lamp, circa 1900
Marks: stamped THE TWILIGHT, PAT. MAY 22 1894 (base), molded TIFFANY (switch), engraved 799V L.C.T. Favrile (chimney)
10-1/4 inches (26.0 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
An Assembled Group of Nine Favrile Glass Tiles, circa 1900
Marks: four with molded PAT. APPL'D. FOR
4 inches (10.2 cm) square, largest
TIFFANY STUDIOS
An Assembled Group of Nine Favrile Glass Tiles, circa 1900
Marks: four with molded PAT. APPL'D. FOR
4 inches (10.2 cm) square, largest
Art Glass
TIFFANY STUDIOS
A Salesman Sample Favrile Glass Fireplace Tile-Inset Plaque, circa 1910
10 x 8 inches (25.4 x 20.3 cm)
A Salesman Sample Favrile Glass Fireplace Tile-Inset Plaque, circa 1910
10 x 8 inches (25.4 x 20.3 cm)
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Plate, circa 1910
Marks: engraved L.C.Tiffany-Favrile
8-1/8 inches (20.6 cm) diameter
TIFFANY STUDIOS
A Favrile Glass Plate, circa 1910
Marks: engraved L.C.Tiffany-Favrile
8-1/8 inches (20.6 cm) diameter
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Plate, circa 1910
Marks: engraved X87 L.C.Tiffany-Favrile
8-7/8 inches (22.5 cm) diameter
TIFFANY STUDIOS
A Favrile Glass Plate, circa 1910
Marks: engraved X87 L.C.Tiffany-Favrile
8-7/8 inches (22.5 cm) diameter
Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Centerpiece Bowl and Flower Frog, circa 1910
Marks: engraved 1451L L.C.Tiffany-Favrile (bowl), 471N L.C.Tiffany-Inc. Favrile (frog)
10-1/4 inches (26.0 cm) diameter
TIFFANY STUDIOS
A Favrile Glass Centerpiece Bowl and Flower Frog, circa 1910
Marks: engraved 1451L L.C.Tiffany-Favrile (bowl), 471N L.C.Tiffany-Inc. Favrile (frog)
10-1/4 inches (26.0 cm) diameter
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Three-Handled Loving Cup, circa 1915
Marks: engraved L.C.Tiffany-Favrile 4933D
6 inches (15.2 cm) high
TIFFANY STUDIOS
A Favrile Glass Three-Handled Loving Cup, circa 1915
Marks: engraved L.C.Tiffany-Favrile 4933D
6 inches (15.2 cm) high
Art Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1900
Marks: engraved with bee on body
5-1/4 inches (13.3 cm) high
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1900
Marks: engraved with bee on body
5-1/4 inches (13.3 cm) high
Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
An Early Experimental Favrile Glass Vase Lamp Base, circa 1900
Marks: engraved X103 Louis C. Tiffany-Favrile
14-3/4 inches (37.5 cm) high
TIFFANY STUDIOS
An Early Experimental Favrile Glass Vase Lamp Base, circa 1900
Marks: engraved X103 Louis C. Tiffany-Favrile
14-3/4 inches (37.5 cm) high
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1910
Marks: engraved Louis C. Tiffany - Inc. Favrile 1544 P 1810
7-1/2 inches (19.1 cm) high
A Favrile Glass Vase, circa 1910
Marks: engraved Louis C. Tiffany - Inc. Favrile 1544 P 1810
7-1/2 inches (19.1 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Cabinet Vase, circa 1900
Marks: engraved L.C.T. N5943
3-5/8 inches (9.2 cm) high
TIFFANY STUDIOS
A Favrile Glass Cabinet Vase, circa 1900
Marks: engraved L.C.T. N5943
3-5/8 inches (9.2 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Cabinet Vase, circa 1900
Marks: engraved 8347C L.C.T. - Favrile
3-3/8 inches (8.4 cm) high
TIFFANY STUDIOS
A Favrile Glass Cabinet Vase, circa 1900
Marks: engraved 8347C L.C.T. - Favrile
3-3/8 inches (8.4 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Candlestick, circa 1900
Marks: engraved L.C.T.
10-1/2 inches (26.7 cm) high
PROVENANCE:
Joseph Briggs.
TIFFANY STUDIOS
A Favrile Glass Candlestick, circa 1900
Marks: engraved L.C.T.
10-1/2 inches (26.7 cm) high
PROVENANCE:
Joseph Briggs.
TIFFANY STUDIOS
A Favrile Glass "Peacock" Vase, circa 1900
Marks: engraved Louis C. Tiffany L.C.T. D1473
8-3/8 inches (21.1 cm) high
A Favrile Glass "Peacock" Vase, circa 1900
Marks: engraved Louis C. Tiffany L.C.T. D1473
8-3/8 inches (21.1 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1900
Marks: engraved 41707C. L.C.T.
5 inches (12.7 cm) high
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1900
Marks: engraved 41707C. L.C.T.
5 inches (12.7 cm) high
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass "Agate" Vase, circa 1900
Marks: engraved L.C.T. T5165
6-3/8 inches (16.1 cm) high
TIFFANY STUDIOS
A Favrile Glass "Agate" Vase, circa 1900
Marks: engraved L.C.T. T5165
6-3/8 inches (16.1 cm) high
Art Glass
TIFFANY STUDIOS
A Favrile Glass Gourd-Shaped Vase, circa 1910
Marks: engraved L.C.Tiffany - Favrile
6 inches (15.2 cm) high
A Favrile Glass Gourd-Shaped Vase, circa 1910
Marks: engraved L.C.Tiffany - Favrile
6 inches (15.2 cm) high
Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1915
Marks: engraved 3323H L.C.Tiffany-Favrile
11-1/2 inches (29.2 cm) high
TIFFANY STUDIOS
A Favrile Glass Vase, circa 1915
Marks: engraved 3323H L.C.Tiffany-Favrile
11-1/2 inches (29.2 cm) high
Art Glass
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Favrile Glass Lamp Base Vase, circa 1910
Marks: engraved 3977G L.C.Tiffany-Favrile
21-1/4 inches (54.0 cm) high
TIFFANY STUDIOS
A Favrile Glass Lamp Base Vase, circa 1910
Marks: engraved 3977G L.C.Tiffany-Favrile
21-1/4 inches (54.0 cm) high
Decorative Arts, American
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Bell Floor Lamp, circa 1900
Base, model no. 423H, stamped: TIFFANY STUDIOS NEW YORK 423H
Shade engraved: L.C.T. Favrile
58 x 12-1/4 inches (147.3 x 31.1 cm)
TIFFANY STUDIOS
A Bronze and Favrile Glass Bell Floor Lamp, circa 1900
Base, model no. 423H, stamped: TIFFANY STUDIOS NEW YORK 423H
Shade engraved: L.C.T. Favrile
58 x 12-1/4 inches (147.3 x 31.1 cm)
Lighting
PROPERTY OF A MASSACHUSETTS COLLECTOR
TIFFANY STUDIOS
A Four-Light Favrile Glass and Bronze Newel Post Lamp, circa 1910
Shades engraved: L.C.T. Favrile
Newel twist stem base, model no. 315, stamped: TIFFANY STUDIOS NEW YORK 315
28-3/8 inches (71.9 cm) high
TIFFANY STUDIOS
A Four-Light Favrile Glass and Bronze Newel Post Lamp, circa 1910
Shades engraved: L.C.T. Favrile
Newel twist stem base, model no. 315, stamped: TIFFANY STUDIOS NEW YORK 315
28-3/8 inches (71.9 cm) high
Glass
TIFFANY STUDIOS
A Floriform Favrile Glass Vase, circa 1910
Marks: engraved 5771D L.C.Tiffany - Favrile
11 inches (27.9 cm) high
A Floriform Favrile Glass Vase, circa 1910
Marks: engraved 5771D L.C.Tiffany - Favrile
11 inches (27.9 cm) high
Decorative Arts, American
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A Bronze and Favrile Glass Three-Light "Lily" Twist Stem Lamp, model no. 339, circa 1905
Base stamped: TIFFANY STUDIOS NEW YORK 25873 with Tiffany Glass & Decorating logo
Each shade engraved: L.C.T.
15-1/4 inches (38.7 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Three-Light "Lily" Twist Stem Lamp, model no. 339, circa 1905
Base stamped: TIFFANY STUDIOS NEW YORK 25873 with Tiffany Glass & Decorating logo
Each shade engraved: L.C.T.
15-1/4 inches (38.7 cm) high
TIFFANY STUDIOS
A Bronze and Favrile Glass Double Student Lamp with double swing arm, model no. 304, circa 1900
Stamped on base: TIFFANY STUDIOS NEW YORK 304
Shades engraved: S10355 and S10309
19-3/4 inches (50.2 cm) high
A Bronze and Favrile Glass Double Student Lamp with double swing arm, model no. 304, circa 1900
Stamped on base: TIFFANY STUDIOS NEW YORK 304
Shades engraved: S10355 and S10309
19-3/4 inches (50.2 cm) high
Glass
TIFFANY STUDIOS
A Pair of Leaded Glass "Jeweled" Windows in oak frames, circa 1900
33-1/4 x 15-1/2 inches (84.4 x 39.3 cm) each
LITERATURE:
Cf. C. Waern, "The Industrial Arts in America: I. The Tiffany Glass and Decorating Co.", The Studio, Sept. 1897, p. 161, for a related pebble and jeweled glass window;
P. Doros, The Tiffany Collection of the Chrysler Museum at Norfolk, Norfolk, 1978, p. 131;
R. Joppien, Louis C. Tiffany: Meisterwerke des Amerikanischen Jugendstils, Köln, 1999, pp. 52 and 53;
A. Duncan, Louis C. Tiffany: the Garden Museum Collection, Woodbridge, Suffolk, 2004, p. 141.
A Pair of Leaded Glass "Jeweled" Windows in oak frames, circa 1900
33-1/4 x 15-1/2 inches (84.4 x 39.3 cm) each
LITERATURE:
Cf. C. Waern, "The Industrial Arts in America: I. The Tiffany Glass and Decorating Co.", The Studio, Sept. 1897, p. 161, for a related pebble and jeweled glass window;
P. Doros, The Tiffany Collection of the Chrysler Museum at Norfolk, Norfolk, 1978, p. 131;
R. Joppien, Louis C. Tiffany: Meisterwerke des Amerikanischen Jugendstils, Köln, 1999, pp. 52 and 53;
A. Duncan, Louis C. Tiffany: the Garden Museum Collection, Woodbridge, Suffolk, 2004, p. 141.
Decorative Arts, American
PROPERTY OF A NEW YORK COLLECTOR
TIFFANY STUDIOS
A Bronze and Favrile Glass Chandelier, circa 1905
Shade stamped: TIFFANY STUDIOS NEW YORK
16 inches (40.6 cm) diameter
PROVENANCE:
Christie's, New York, 20th Century Decorative Art and Design, June 13, 2006, lot 35.
LITERATURE:
Cf. A. Duncan, Tiffany at Auction, New York, 1981, p. 202, no. 562, for a similar hanging fixture.
TIFFANY STUDIOS
A Bronze and Favrile Glass Chandelier, circa 1905
Shade stamped: TIFFANY STUDIOS NEW YORK
16 inches (40.6 cm) diameter
PROVENANCE:
Christie's, New York, 20th Century Decorative Art and Design, June 13, 2006, lot 35.
LITERATURE:
Cf. A. Duncan, Tiffany at Auction, New York, 1981, p. 202, no. 562, for a similar hanging fixture.
TIFFANY STUDIOS
A "Lotus Bell" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK S1441 with Tiffany Glass & Decorating logo
Shade stamped: TIFFANY STUDIOS NEW YORK
21-1/4 x 15-1/2 inches (54.0 x 39.4 cm)
A "Lotus Bell" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK S1441 with Tiffany Glass & Decorating logo
Shade stamped: TIFFANY STUDIOS NEW YORK
21-1/4 x 15-1/2 inches (54.0 x 39.4 cm)
Lighting
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A "Dragonfly" Leaded Glass and Bronze Table Lamp, circa 1910
Greek design base, model no. 181, stamped: 16
Shade, model no. 1462, stamped: TIFFANY STUDIOS NEW YORK
24 x 17 inches (61.0 x 43.2 cm)
TIFFANY STUDIOS
A "Dragonfly" Leaded Glass and Bronze Table Lamp, circa 1910
Greek design base, model no. 181, stamped: 16
Shade, model no. 1462, stamped: TIFFANY STUDIOS NEW YORK
24 x 17 inches (61.0 x 43.2 cm)
Decorative Arts, American
TIFFANY STUDIOS
An "Acorn and Oak Leaf" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: 179SX with Tiffany Glass & Decorating logo
Shade stamped: TIFFANY STUDIOS NEW YORK....
An "Acorn and Oak Leaf" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: 179SX with Tiffany Glass & Decorating logo
Shade stamped: TIFFANY STUDIOS NEW YORK....
Lighting
TIFFANY STUDIOS
A "Woodbine" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 9510
Shade, model no. 1468, stamped: TIFFANY STUDIOS NEW YORK
23-1/2 x 16 inches (59.7 x 40.6 cm)
A "Woodbine" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 9510
Shade, model no. 1468, stamped: TIFFANY STUDIOS NEW YORK
23-1/2 x 16 inches (59.7 x 40.6 cm)
Glass
PROPERTY OF A NEW JERSEY COLLECTOR
TIFFANY STUDIOS
A Paperweight Glass "Narcissus" Vase, circa 1916
Marks: engraved L. C. Tiffany Favrile, 8033K
17-1/2 inches (44.4 cm) high
EXHIBITED:
Mount Clemens, Michigan, Detroit Historical Museum, "Elegance in Glass", January 26-July 7, 1996.
TIFFANY STUDIOS
A Paperweight Glass "Narcissus" Vase, circa 1916
Marks: engraved L. C. Tiffany Favrile, 8033K
17-1/2 inches (44.4 cm) high
EXHIBITED:
Mount Clemens, Michigan, Detroit Historical Museum, "Elegance in Glass", January 26-July 7, 1996.
Decorative Arts, American
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
A "Daffodil" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 26878 with Tiffany Glass & Decorating logo
Shade, model no. 1449, stamped: TIFFANY STUDIOS NEW YORK
23 x 16 inches (58.4 x 40.6 cm)
TIFFANY STUDIOS
A "Daffodil" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 26878 with Tiffany Glass & Decorating logo
Shade, model no. 1449, stamped: TIFFANY STUDIOS NEW YORK
23 x 16 inches (58.4 x 40.6 cm)
PROPERTY OF A NEW YORK FAMILY
TIFFANY STUDIOS
A "Bamboo" Leaded Glass and Bronze Floor Lamp, circa 1910
Piano lamp base of bamboo design, model no. 472, stamped: TIFFANY STUDIOS NEW YORK 472
Shade, model no. 1521, stamped: TIFFANY STUDIOS NEW YORK
71-1/2 x 24 inches (181.6 x 61.0 cm)
PROVENANCE:
Christie's, New York, May 24, 1979;
DeLorenzo Gallery, New York.
TIFFANY STUDIOS
A "Bamboo" Leaded Glass and Bronze Floor Lamp, circa 1910
Piano lamp base of bamboo design, model no. 472, stamped: TIFFANY STUDIOS NEW YORK 472
Shade, model no. 1521, stamped: TIFFANY STUDIOS NEW YORK
71-1/2 x 24 inches (181.6 x 61.0 cm)
PROVENANCE:
Christie's, New York, May 24, 1979;
DeLorenzo Gallery, New York.
TIFFANY STUDIOS
A "Pomegranate" Leaded Glass and Bronze Table Lamp, circa 1910
Based stamped: TIFFANY STUDIOS NEW YORK 26875
Shade, model no. 1457, stamped: TIFFANY STUDIOS NEW YORK 1457
21 x 16 inches (53.3 x 40.6 cm)
A "Pomegranate" Leaded Glass and Bronze Table Lamp, circa 1910
Based stamped: TIFFANY STUDIOS NEW YORK 26875
Shade, model no. 1457, stamped: TIFFANY STUDIOS NEW YORK 1457
21 x 16 inches (53.3 x 40.6 cm)
TIFFANY STUDIOS
An "Acorn" Leaded Glass and Bronze Table Lamp, circa 1910
Shade stamped: TIFFANY STUDIOS NEW YORK
23 x 16 inches (58.4 x 40.6 cm)
An "Acorn" Leaded Glass and Bronze Table Lamp, circa 1910
Shade stamped: TIFFANY STUDIOS NEW YORK
23 x 16 inches (58.4 x 40.6 cm)
TIFFANY STUDIOS
An "Acorn" Leaded Glass and Bronze Chandelier, circa 1910
Shade stamped: TIFFANY STUDIOS NEW YORK
32-1/2 x 16 inches (82.6 x 40.6 cm)
An "Acorn" Leaded Glass and Bronze Chandelier, circa 1910
Shade stamped: TIFFANY STUDIOS NEW YORK
32-1/2 x 16 inches (82.6 x 40.6 cm)
TIFFANY STUDIOS
A Damascene Favrile Glass and Bronze Counter Balance Floor Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 468 S228
Shade engraved: L.C.T. Favrile
52-3/4 inches (134.0 cm) high; 10-1/4 inches (26.0 cm) diameter of shade
A Damascene Favrile Glass and Bronze Counter Balance Floor Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 468 S228
Shade engraved: L.C.T. Favrile
52-3/4 inches (134.0 cm) high; 10-1/4 inches (26.0 cm) diameter of shade
TIFFANY STUDIOS
A "Lemon Leaf" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 370
Shade stamped: TIFFANY STUIDIOS NEW YORK
23 x 18 inches (58.4 x 45.7 cm)
A "Lemon Leaf" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 370
Shade stamped: TIFFANY STUIDIOS NEW YORK
23 x 18 inches (58.4 x 45.7 cm)
TIFFANY STUDIOS
A "Geometric" Leaded Glass and Bronze Table Lamp, circa 1910
Shade, model no. 1469, stamped: TIFFANY STUDIOS NEW YORK
Library standard, colonial base, model 532, stamped: TIFFANY STUDIOS NEW YORK 532
31-1/2 x 23 inches (80.0 x 58.4 cm)
PROVENANCE:
Christie's, New York, 1989.
A "Geometric" Leaded Glass and Bronze Table Lamp, circa 1910
Shade, model no. 1469, stamped: TIFFANY STUDIOS NEW YORK
Library standard, colonial base, model 532, stamped: TIFFANY STUDIOS NEW YORK 532
31-1/2 x 23 inches (80.0 x 58.4 cm)
PROVENANCE:
Christie's, New York, 1989.
TIFFANY STUDIOS
A "Dragonfly" Leaded Glass and Gilt Bronze Table Lamp, circa 1910
Dragonfly, Holden shade, model no. 1507, stamped: TIFFANY STUDIOS NEW YORK 1507
Library lamp base with openwork arch design, model no. 549, stamped: TIFFANY STUDIOS NEW YORK 549
30 x 22-1/2 inches (76.2 x 57.2 cm)
A "Dragonfly" Leaded Glass and Gilt Bronze Table Lamp, circa 1910
Dragonfly, Holden shade, model no. 1507, stamped: TIFFANY STUDIOS NEW YORK 1507
Library lamp base with openwork arch design, model no. 549, stamped: TIFFANY STUDIOS NEW YORK 549
30 x 22-1/2 inches (76.2 x 57.2 cm)
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY STUDIOS
An "Apple Blossom" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 667
Shade, model no. 1455, stamped: TIFFANY STUDIOS NEW YORK
22 x 16 inches (55.9 x 40.6 cm)
TIFFANY STUDIOS
An "Apple Blossom" Leaded Glass and Bronze Table Lamp, circa 1910
Base stamped: TIFFANY STUDIOS NEW YORK 667
Shade, model no. 1455, stamped: TIFFANY STUDIOS NEW YORK
22 x 16 inches (55.9 x 40.6 cm)
Art Glass
PROPERTY OF A DISTINGUISHED FLORIDA FAMILY
TIFFANY STUDIOS
A Leaded Glass "Landscape" Window from "Fenway Gate", Boston, Massachusetts, selectively etched and painted, circa 1912-1915
61 x 84 inches (154.9 x 213.4 cm)
depicting a view across the Tiber River of St. Peter's Basilica in Rome from an esplanade planted with palm trees and brightly colored flower beds
PROVENANCE:
Christie's, New York, December 11, 1982, lot 384.
This following two magnificent windows were amongst six Tiffany "landscape" windows offered by the city of Boston at public auction in 1982 following their removal from the mansion at 73 Hemenway Street in its southern suburbs.
Designed at the turn-of-the-century by the distinguished architect Guy Howell (whose resumé includes the Boston Museum of Fine Arts), the mansion was listed in 1905 as "Fenway Gate," the property of Messrs. Fred Holdsworth and Robert D. Farrington. Records relating to the house and its subsequent ownership, accessed from the Boston Public Library Voting Records, fail to identify who commissioned the windows from Tiffany Studios or when, but their quality and size confirm that the original owner was a prosperous avid Tiffany patron.
The window is undated, but from the decorating techniques and construction it appears to have been made circa 1912-1918. The enameling on the reverse layers of glass provides perspective, and the etched detailing on the front layers lends an air of increased realism. The Tiffany Studios window department employed both techniques during this six-year period to eliminate some of the more labor-intensive elements of its production as custom demand continued to soar.
TIFFANY STUDIOS
A Leaded Glass "Landscape" Window from "Fenway Gate", Boston, Massachusetts, selectively etched and painted, circa 1912-1915
61 x 84 inches (154.9 x 213.4 cm)
depicting a view across the Tiber River of St. Peter's Basilica in Rome from an esplanade planted with palm trees and brightly colored flower beds
PROVENANCE:
Christie's, New York, December 11, 1982, lot 384.
This following two magnificent windows were amongst six Tiffany "landscape" windows offered by the city of Boston at public auction in 1982 following their removal from the mansion at 73 Hemenway Street in its southern suburbs.
Designed at the turn-of-the-century by the distinguished architect Guy Howell (whose resumé includes the Boston Museum of Fine Arts), the mansion was listed in 1905 as "Fenway Gate," the property of Messrs. Fred Holdsworth and Robert D. Farrington. Records relating to the house and its subsequent ownership, accessed from the Boston Public Library Voting Records, fail to identify who commissioned the windows from Tiffany Studios or when, but their quality and size confirm that the original owner was a prosperous avid Tiffany patron.
The window is undated, but from the decorating techniques and construction it appears to have been made circa 1912-1918. The enameling on the reverse layers of glass provides perspective, and the etched detailing on the front layers lends an air of increased realism. The Tiffany Studios window department employed both techniques during this six-year period to eliminate some of the more labor-intensive elements of its production as custom demand continued to soar.
TIFFANY STUDIOS
A Leaded Glass "Landscape" Window from "Fenway Gate", Boston, Massachusetts, selectively etched, circa 1912-1918
84 x 48 inches (213.4 x 121.9 cm)
PROVENANCE:
Christie's, New York, December 11, 1982, lot 382.
A Leaded Glass "Landscape" Window from "Fenway Gate", Boston, Massachusetts, selectively etched, circa 1912-1918
84 x 48 inches (213.4 x 121.9 cm)
PROVENANCE:
Christie's, New York, December 11, 1982, lot 382.
Lighting
PROPERTY FROM A FLORIDA COLLECTION
UNIQUE ART GLASS AND METAL COMPANY
A "Geometric" Leaded Glass and Patinated Metal Table Lamp
Shade engraved: HALL
24-1/2 x 16 inches (62.2 x 40.6 cm)
UNIQUE ART GLASS AND METAL COMPANY
A "Geometric" Leaded Glass and Patinated Metal Table Lamp
Shade engraved: HALL
24-1/2 x 16 inches (62.2 x 40.6 cm)
Art Glass
QUEZAL
A Set of Eight Matched Glass Shades
Marks: seven engraved Q
4-3/4 inches (12.1 cm) high, each
A Set of Eight Matched Glass Shades
Marks: seven engraved Q
4-3/4 inches (12.1 cm) high, each
NASH
A Glass Candlestick, circa 1930
Marks: engraved IHI NASH
12-3/4 inches (32.4 cm) high
A Glass Candlestick, circa 1930
Marks: engraved IHI NASH
12-3/4 inches (32.4 cm) high
Decorative Arts, American
PAIRPOINT
A Reverse Painted "Puffy" Glass Boudoir Lamp, circa 1900
Base stamped: Pairpoint, (P within diamond), D2094
Shade signed: The Pairpoint Company
20-1/2 inches (52.1 cm) high
A Reverse Painted "Puffy" Glass Boudoir Lamp, circa 1900
Base stamped: Pairpoint, (P within diamond), D2094
Shade signed: The Pairpoint Company
20-1/2 inches (52.1 cm) high
Furniture
PROPERTY FROM THE COLLECTION OF VLADIMIR KAGAN, NEW YORK
EMILE GALLÉ
A Set of Four Inlaid Fruitwood Nesting Tables, circa 1900
Each inlaid: Gallé
Paper label on smallest: No. 448, No. 110
28 x 23 x 15 inches (71.1 x 58.4 x 38.1 cm) largest
EMILE GALLÉ
A Set of Four Inlaid Fruitwood Nesting Tables, circa 1900
Each inlaid: Gallé
Paper label on smallest: No. 448, No. 110
28 x 23 x 15 inches (71.1 x 58.4 x 38.1 cm) largest
Ceramics & Porcelain
PROPERTY FROM A FLORIDA COLLECTION
PAUL DACHSEL FOR AMPHORA
A Glazed Ceramic Vase, circa 1900
Marks: printed TURIN TEPLITZ PD MADE IN AUSTRIA, impressed 129 6
12-3/4 inches (32.4 cm) high
PAUL DACHSEL FOR AMPHORA
A Glazed Ceramic Vase, circa 1900
Marks: printed TURIN TEPLITZ PD MADE IN AUSTRIA, impressed 129 6
12-3/4 inches (32.4 cm) high
Ceramics & Porcelain, Continental
PROPERTY FROM A FLORIDA COLLECTION
RStK
A Porcelain Dragon Bowl, early 20th century
Marks: printed maker's mark, inscribed 109.790.6, impressed 276.8.
15 inches (38.1 cm) long
RStK
A Porcelain Dragon Bowl, early 20th century
Marks: printed maker's mark, inscribed 109.790.6, impressed 276.8.
15 inches (38.1 cm) long
Sculpture
PROPERTY FROM A FLORIDA COLLECTION
GEORGES VAN DER STRAETEN
A Bronze Bust of a Woman, early 20th century
Marks: inscribed G van der Straeten L9
Foundry mark: SOCIETE DES BRONZES DE PARIS
8-3/4 inches (22.2 cm) high, including marble base
GEORGES VAN DER STRAETEN
A Bronze Bust of a Woman, early 20th century
Marks: inscribed G van der Straeten L9
Foundry mark: SOCIETE DES BRONZES DE PARIS
8-3/4 inches (22.2 cm) high, including marble base
Ceramics & Porcelain
PROPERTY FROM A FLORIDA COLLECTION
PAUL DACHSEL FOR AMPHORA
A Glazed Ceramic Vase, circa 1900
Marks: printed TURIN TEPLITZ PD MADE IN AUSTRIA, impressed 124 10
6-3/4 inches (17.1 cm) high
PAUL DACHSEL FOR AMPHORA
A Glazed Ceramic Vase, circa 1900
Marks: printed TURIN TEPLITZ PD MADE IN AUSTRIA, impressed 124 10
6-3/4 inches (17.1 cm) high
Ceramics & Porcelain, Continental
ROYAL DUX
An Art Nouveau Porcelain Bust, circa 1900
Marks: applied triangle ROYAL DUX BOHEMIA, impressed 708
16 inches (40.6 cm) high
An Art Nouveau Porcelain Bust, circa 1900
Marks: applied triangle ROYAL DUX BOHEMIA, impressed 708
16 inches (40.6 cm) high
Art Glass
STEUBEN
A Pair of Silverina Glass Candlesticks, circa 1900
Marks: stenciled Steuben
12 inches (30.5 cm) high, each
A Pair of Silverina Glass Candlesticks, circa 1900
Marks: stenciled Steuben
12 inches (30.5 cm) high, each
Ceramics & Porcelain
AMPHORA
A Glazed Ceramic Loie Fuller Lamp, circa 1905
Marks: impressed AMPHORA in oval, 792 1, printed mark, inscribed 262 74
18-1/2 inches (47.0 cm) high
A Glazed Ceramic Loie Fuller Lamp, circa 1905
Marks: impressed AMPHORA in oval, 792 1, printed mark, inscribed 262 74
18-1/2 inches (47.0 cm) high
Furniture
FRANK LLOYD WRIGHT
An Oak Reclining Armchair, designed for the William E. Martin House, Oak Park, Illinois, circa 1902
28 x 29 x 33 inches (71.1 x 73.7 x 83.8 cm)
PROVENANCE:
Barbra Streisand Collection.
Frank Lloyd Wright created this chair for the house he designed in 1902 in Oak Park, Illinois, for William E. Martin, co-owner with his brother, Darwin, of the E-Z Polish Company. The intriguing, successful design of Martin's house brought Wright eight other major commissions, including one for the Martin brothers' own E-Z Polish factory. Darwin Martin was employed by the Larkin Company in Buffalo, New York, and he convinced the company to have Wright design their new administration building. Darwin also commissioned Wright to build his home with a gardener's cottage in Buffalo, New York, and his summer residence in Derby, New York. In Buffalo, Wright additionally completed homes for George Barton, Darwin's brother-in-law, and for W.R. Heath and for Alexander Davidson, both Larkin Company employees.
It was in the Chicago suburb of Oak Park, where William Martin lived and used this chair, that Wright developed and perfected his signature "Prairie style," the basis of 20th-century residential design in the United States. Wright's Prairie style featured structures with low-lying exteriors and open, light-filled interiors, where the manmade was meant to resonate with the surrounding natural environment.
Understanding Wright's philosophy concerning the relationship between architecture and interior design is especially essential for appreciating this chair. According to Wright, a home's materials, windows, lighting, furniture, and exterior setting, as much as its architectural framework, equally contributed to the overall design concept and the ultimate success of the commission. In fact, Wright believed that the home, in its entirety, had the power to "shape" its residents.
An Oak Reclining Armchair, designed for the William E. Martin House, Oak Park, Illinois, circa 1902
28 x 29 x 33 inches (71.1 x 73.7 x 83.8 cm)
PROVENANCE:
Barbra Streisand Collection.
Frank Lloyd Wright created this chair for the house he designed in 1902 in Oak Park, Illinois, for William E. Martin, co-owner with his brother, Darwin, of the E-Z Polish Company. The intriguing, successful design of Martin's house brought Wright eight other major commissions, including one for the Martin brothers' own E-Z Polish factory. Darwin Martin was employed by the Larkin Company in Buffalo, New York, and he convinced the company to have Wright design their new administration building. Darwin also commissioned Wright to build his home with a gardener's cottage in Buffalo, New York, and his summer residence in Derby, New York. In Buffalo, Wright additionally completed homes for George Barton, Darwin's brother-in-law, and for W.R. Heath and for Alexander Davidson, both Larkin Company employees.
It was in the Chicago suburb of Oak Park, where William Martin lived and used this chair, that Wright developed and perfected his signature "Prairie style," the basis of 20th-century residential design in the United States. Wright's Prairie style featured structures with low-lying exteriors and open, light-filled interiors, where the manmade was meant to resonate with the surrounding natural environment.
Understanding Wright's philosophy concerning the relationship between architecture and interior design is especially essential for appreciating this chair. According to Wright, a home's materials, windows, lighting, furniture, and exterior setting, as much as its architectural framework, equally contributed to the overall design concept and the ultimate success of the commission. In fact, Wright believed that the home, in its entirety, had the power to "shape" its residents.
Ceramics & Porcelain
NEWCOMB COLLEGE
A "Moss and Moon" Matte-Glazed Pottery Vase, potted by Joseph Meyer, decorated by Anna Frances Simpson, 1918
Marks: impressed NC, JL50, 194, artists' monograms
7-1/4 inches (18.4 cm) high
A "Moss and Moon" Matte-Glazed Pottery Vase, potted by Joseph Meyer, decorated by Anna Frances Simpson, 1918
Marks: impressed NC, JL50, 194, artists' monograms
7-1/4 inches (18.4 cm) high
Decorative Arts, American
PROPERTY OF A NEW JERSEY COLLECTOR
E.F. CALDWELL & CO
A Pair of Gilt Bronze Three Light Sconces, early 20th century
Marks: stamped C within diamond
16 x 14 inches (40.6 x 35.6 cm) each
E.F. CALDWELL & CO
A Pair of Gilt Bronze Three Light Sconces, early 20th century
Marks: stamped C within diamond
16 x 14 inches (40.6 x 35.6 cm) each
PROPERTY OF A NEW JERSEY COLLECTOR
E.F. CALDWELL & CO
A Pair of Gilt Bronze Two Light Sconces, early 20th century
Marks: stamped C within diamond
16 x 14 inches (40.6 x 35.6 cm)
E.F. CALDWELL & CO
A Pair of Gilt Bronze Two Light Sconces, early 20th century
Marks: stamped C within diamond
16 x 14 inches (40.6 x 35.6 cm)
Ceramics & Porcelain, American
NEWCOMB COLLEGE
A Matte-Glazed Pottery Vase, decorated by Anna Frances Simpson, 1918
Marks: impressed NC, RY19, 72, artist's monogram
A Matte-Glazed Pottery Vase, decorated by Anna Frances Simpson, 1918
Marks: impressed NC, RY19, 72, artist's monogram
Silver Holloware, American
PROPERTY FROM A FLORIDA COLLECTION
TIFFANY & CO
Four Silver and Cut Glass Items, early 20th century
Marks: TIFFANY & CO MAKERS STERLING SILVER 925-1000 M 16740 8661 1022 (covered jar)
TIFFANY & CO MAKERS STERLING SILVER C, AWF, U 925, n (three-handled cup)
TIFFANY & CO MAKERS STERLING SILVER 925-1000 M 13780K 661 7-1/2 IN. (bowl)
TIFFANY & CO MAKERS SILVER-SOLDERED 21 D (covered dish on stand)
8-1/8 inches (20.6 cm) high, covered dish
TIFFANY & CO
Four Silver and Cut Glass Items, early 20th century
Marks: TIFFANY & CO MAKERS STERLING SILVER 925-1000 M 16740 8661 1022 (covered jar)
TIFFANY & CO MAKERS STERLING SILVER C, AWF, U 925, n (three-handled cup)
TIFFANY & CO MAKERS STERLING SILVER 925-1000 M 13780K 661 7-1/2 IN. (bowl)
TIFFANY & CO MAKERS SILVER-SOLDERED 21 D (covered dish on stand)
8-1/8 inches (20.6 cm) high, covered dish
Ceramics & Porcelain, Continental
PROPERTY FROM A FLORIDA COLLECTION
A GROUP OF SEVEN VARIOUS EUROPEAN POTTERY VASES
Early 20th century
Marks: various factory marks
12 inches (30.5 cm) high, tallest
A GROUP OF SEVEN VARIOUS EUROPEAN POTTERY VASES
Early 20th century
Marks: various factory marks
12 inches (30.5 cm) high, tallest
Paintings
PROPERTY FROM A FLORIDA COLLECTION
P. TERESZIZUK
A Bronze Vase, circa 1900
Marks: inscribed p tereszizuk, monogram, stamped MADE IN AUSTRIA
5-1/4 inches (13.3 cm) high
P. TERESZIZUK
A Bronze Vase, circa 1900
Marks: inscribed p tereszizuk, monogram, stamped MADE IN AUSTRIA
5-1/4 inches (13.3 cm) high
Silver Holloware, American
TIFFANY & CO
A Four-Piece Silver Plated Tea and Coffee Service
Marks: each stamped TIFFANY & CO MAKERS SILVER-SOLDERED-E.P. DOUBLE M, 180 and order numbers
8-1/2 inches (21.6 cm) high, coffee pot
Together with a American Arts and Crafts three-piece silver teapot, creamer, and sugar, each marked and with STERLING
A Four-Piece Silver Plated Tea and Coffee Service
Marks: each stamped TIFFANY & CO MAKERS SILVER-SOLDERED-E.P. DOUBLE M, 180 and order numbers
8-1/2 inches (21.6 cm) high, coffee pot
Together with a American Arts and Crafts three-piece silver teapot, creamer, and sugar, each marked and with STERLING
Lighting
PROPERTY OF MICHAEL PLAYFORD, LONDON
A PAIR OF GERMAN SILVERED METAL CANDELABRA
Circa 1900
18 x 10 inches (45.7 x 25.4 cm) each
A PAIR OF GERMAN SILVERED METAL CANDELABRA
Circa 1900
18 x 10 inches (45.7 x 25.4 cm) each
Textiles
PROPERTY OF A GERMAN COLLECTOR
AN AUSTRIAN WOOL CARPET
Circa 1920s
136 x 104 inches (345.4 x 264.2 cm)
AN AUSTRIAN WOOL CARPET
Circa 1920s
136 x 104 inches (345.4 x 264.2 cm)
Furniture
PROPERTY FROM A MANHATTAN COLLECTION
ADOLF LOOS FOR FRIEDRICH OTTO SCHMIDT, VIENNA
An Oak and Brass Side Table, circa 1905
27 x 29 x 29 inches (68.6 x 73.7 x 73.7 cm)
Adolf Loos first designed this table for the Vienna apartment of Hugo Haberfeld in 1902.
ADOLF LOOS FOR FRIEDRICH OTTO SCHMIDT, VIENNA
An Oak and Brass Side Table, circa 1905
27 x 29 x 29 inches (68.6 x 73.7 x 73.7 cm)
Adolf Loos first designed this table for the Vienna apartment of Hugo Haberfeld in 1902.
MARCEL KAMMERER
Two Pairs of Armchairs, circa 1905-1906
30-3/4 x 23 x 24 inches (78.1 x 58.4 x 61.0 cm) each
and 30-1/2 x 22-1/4 x 20 inches (77.5 x 56.5 x 50.8 cm) each
Two Pairs of Armchairs, circa 1905-1906
30-3/4 x 23 x 24 inches (78.1 x 58.4 x 61.0 cm) each
and 30-1/2 x 22-1/4 x 20 inches (77.5 x 56.5 x 50.8 cm) each
Art Glass
PROPERTY FROM A LOS ANGELES COLLECTION
KOLOMAN MOSER
A Pair of Glass Wine Goblets, circa 1900
8 inches (20.3 cm) high, each
KOLOMAN MOSER
A Pair of Glass Wine Goblets, circa 1900
8 inches (20.3 cm) high, each
Other
CATALOGUE FROM 1908 SECESSION SHOW, VIENNA
Approximately 80 pages and lists all of the work that was on display at the time
Approximately 80 pages and lists all of the work that was on display at the time
Glass
JOSEF HOFFMANN FOR THE WIENER WERKSTÄTTE
A Glass Vase, MAK WW archive glass inventory no. 3311, model no. va35, executed by Ludwig Moser & Söhne, designed circa 1923
9 inches (22.9 cm) high
Approximately 400 copies of this design in various versions and colors were made.
LITERATURE:
Cf. W. Neuwirth, Wiener Werkstätte. Avantgarde, Art Deco, Industrial Design, 1984, pp. 196-197, no. 154.
A Glass Vase, MAK WW archive glass inventory no. 3311, model no. va35, executed by Ludwig Moser & Söhne, designed circa 1923
9 inches (22.9 cm) high
Approximately 400 copies of this design in various versions and colors were made.
LITERATURE:
Cf. W. Neuwirth, Wiener Werkstätte. Avantgarde, Art Deco, Industrial Design, 1984, pp. 196-197, no. 154.
JOSEF HOFFMANN FOR THE WIENER WERKSTÄTTE
A Bell-Shaped Green Glass Vase, circa 1923
9 inches (22.9 cm) high
A Bell-Shaped Green Glass Vase, circa 1923
9 inches (22.9 cm) high
KOLOMAN MOSER
A Deep Amethyst Cut Glass Bowl, circa 1900
5 inches (12.7 cm) high
A Deep Amethyst Cut Glass Bowl, circa 1900
5 inches (12.7 cm) high
Art Glass
KOLOMAN MOSER
A Glass and Metal Light Fixture and Vase, circa 1900
22 x 11-1/2 inches (55.9 x 29.2 cm) light
5-1/2 inches (14.0 cm) high, vase
A Glass and Metal Light Fixture and Vase, circa 1900
22 x 11-1/2 inches (55.9 x 29.2 cm) light
5-1/2 inches (14.0 cm) high, vase
Paintings
FRANZ HAGENAUER
A Hammered Metal Swan, circa 1930
Marks: stamped WHW monogram, MADE IN AUSTRIA
13 x 17-3/4 x 9-3/8 inches (33.0 x 45.1 x 23.8 cm)
A Hammered Metal Swan, circa 1930
Marks: stamped WHW monogram, MADE IN AUSTRIA
13 x 17-3/4 x 9-3/8 inches (33.0 x 45.1 x 23.8 cm)
FRANZ HAGENAUER
A Group of Seven Brass Animals, three silver plated, circa 1930
Marks: four with stamped WHW monogram, MADE IN AUSTRIA; one with MADE IN AUSTRIA; one with AUSTRIA
7-5/8 inches (19.4 cm) high, tallest
A Group of Seven Brass Animals, three silver plated, circa 1930
Marks: four with stamped WHW monogram, MADE IN AUSTRIA; one with MADE IN AUSTRIA; one with AUSTRIA
7-5/8 inches (19.4 cm) high, tallest
Sculpture
KARL HAGENAUER
A Bronze Tennis Player, circa 1930
Marks: stamped circular mark
7 inches (17.8 cm) high
A Bronze Tennis Player, circa 1930
Marks: stamped circular mark
7 inches (17.8 cm) high
After JOHANN PHILIPP FERDINAND PREISS
Aphrodite Figure
Parcel gilt bronze and ivory
Marks: inscribed F. Preiss
10 x 1-1/2 x 3 inches (25.4 x 3.8 x 7.6 cm)
Aphrodite Figure
Parcel gilt bronze and ivory
Marks: inscribed F. Preiss
10 x 1-1/2 x 3 inches (25.4 x 3.8 x 7.6 cm)
Silver Holloware, Continental
OTTO PRUTSCHER FOR J.C. KLINKOSH, VIENNA
An Eight-Piece Silver and Ivory Tea and Coffee Service, circa 1920
Marks: with firm's marks, hallmarks and 800
18 inches (45.7 cm) high, kettle-on-stand
29-1/2 inches (74.9 cm) wide, tray
Comprising a hot water kettle-on-stand, coffee pot, teapot, milk jug, creamer, sugar bowl, tea strainer, and tray
LITERATURE:
Cf. A. S. Levetus, "Austrian Architecture and Decoration," The Studio Yearbook of Decorative Art, 1913, p. 212, for two related Prutscher tea and coffee services;
M. Boeckl, Otto Prutscher: 1880-1949, Wien, 1997, p. 39;
C. Benton, T. Benton, and G. Wood, eds., Art Deco 1910-1939, London, 2003, p. 97, for a very closely related Prutscher tea and coffee service in the collection of the Victoria and Albert Museum, London.
Otto Prutscher, architect, designer and professor, was born in Vienna on July, 4, 1880. Prutscher initially trained in his father's cabinet making firm. He received formal instruction between 1897-1901 at the Vienna School of Arts and Crafts where he met Josef Hoffmann. In 1907 he began designing for the Weiner Werksatte where he became a shareholder in 1914. He was also a founding member of the Austrian Werkbund in 1912.
Prutcher is primarily remembered today for his avant-garde designs associated with the Weiner Werkstatte and for his close association with Josef Hoffmann. His designs were, however, not confined the Werkstatte and he became a prolific contributor to a number of Austrian firms producing silver goods, lighting and fixtures. The present lot is closely related to a tea and coffee service in the collection of the Victoria and Albert Museum, London. Both services were manufactured by J. C. Klinkosh and share a similar scale and refined modernist slant on classical motifs. While exquisitely crafted of sumptuous materials, both services have a measure of restraint, free from decorative excess, which imbues them with a sense of timeless modernity.
An Eight-Piece Silver and Ivory Tea and Coffee Service, circa 1920
Marks: with firm's marks, hallmarks and 800
18 inches (45.7 cm) high, kettle-on-stand
29-1/2 inches (74.9 cm) wide, tray
Comprising a hot water kettle-on-stand, coffee pot, teapot, milk jug, creamer, sugar bowl, tea strainer, and tray
LITERATURE:
Cf. A. S. Levetus, "Austrian Architecture and Decoration," The Studio Yearbook of Decorative Art, 1913, p. 212, for two related Prutscher tea and coffee services;
M. Boeckl, Otto Prutscher: 1880-1949, Wien, 1997, p. 39;
C. Benton, T. Benton, and G. Wood, eds., Art Deco 1910-1939, London, 2003, p. 97, for a very closely related Prutscher tea and coffee service in the collection of the Victoria and Albert Museum, London.
Otto Prutscher, architect, designer and professor, was born in Vienna on July, 4, 1880. Prutscher initially trained in his father's cabinet making firm. He received formal instruction between 1897-1901 at the Vienna School of Arts and Crafts where he met Josef Hoffmann. In 1907 he began designing for the Weiner Werksatte where he became a shareholder in 1914. He was also a founding member of the Austrian Werkbund in 1912.
Prutcher is primarily remembered today for his avant-garde designs associated with the Weiner Werkstatte and for his close association with Josef Hoffmann. His designs were, however, not confined the Werkstatte and he became a prolific contributor to a number of Austrian firms producing silver goods, lighting and fixtures. The present lot is closely related to a tea and coffee service in the collection of the Victoria and Albert Museum, London. Both services were manufactured by J. C. Klinkosh and share a similar scale and refined modernist slant on classical motifs. While exquisitely crafted of sumptuous materials, both services have a measure of restraint, free from decorative excess, which imbues them with a sense of timeless modernity.
Furniture
PROPERTY OF A GERMAN COLLECTOR
JOSEF HOFFMANN FOR J&J KOHN, VIENNA
A Parcel Ebonized Stained Mahogany and Birch Cabinet, circa 1901
74 x 48 x 27-1/2 inches (188.0 x 121.9 x 69.9 cm)
PROVENANCE:
Sotheby's, London, 20th Century Decorative Arts, November 3, 1999, lot 74;
Sotheby's, New York, 20th Century Works of Art, June 7, 2002, lot 288.
LITERATURE:
D. Baroni and A. D'Auria, Josef Hoffmann e la Wiener Werkstätte, Milan, 1981, fig. 69.
JOSEF HOFFMANN FOR J&J KOHN, VIENNA
A Parcel Ebonized Stained Mahogany and Birch Cabinet, circa 1901
74 x 48 x 27-1/2 inches (188.0 x 121.9 x 69.9 cm)
PROVENANCE:
Sotheby's, London, 20th Century Decorative Arts, November 3, 1999, lot 74;
Sotheby's, New York, 20th Century Works of Art, June 7, 2002, lot 288.
LITERATURE:
D. Baroni and A. D'Auria, Josef Hoffmann e la Wiener Werkstätte, Milan, 1981, fig. 69.
ANDRE GROULT
A Set of Ten Carved Walnut Dining Chairs, including eight side chairs and two armchairs
Marks: stamped Andre Groult
36-1/2 inches (92.7 cm) high, each
Image shows three of a set of ten, two arm, eight side.
A Set of Ten Carved Walnut Dining Chairs, including eight side chairs and two armchairs
Marks: stamped Andre Groult
36-1/2 inches (92.7 cm) high, each
Image shows three of a set of ten, two arm, eight side.
Clocks & Mechanical
PROPERTY FROM A LOS ANGELES COLLECTION
ARCHIBALD KNOX FOR LIBERTY AND COMPANY
A Silvered Hammered Metal and Enamel "Tudric" Clock, circa 1902-1905
Marks: impressed ENGLISH PEWTER 01126/ MADE BY LIBERTY & CO
8 x 12 x 3 inches (20.3 x 30.5 x 7.6 cm)
LITERATURE:
Cf. C. and P. Fiell, 1900s-1910s Decorative Arts, Köln and Los Angeles, 2000, p. 155.
ARCHIBALD KNOX FOR LIBERTY AND COMPANY
A Silvered Hammered Metal and Enamel "Tudric" Clock, circa 1902-1905
Marks: impressed ENGLISH PEWTER 01126/ MADE BY LIBERTY & CO
8 x 12 x 3 inches (20.3 x 30.5 x 7.6 cm)
LITERATURE:
Cf. C. and P. Fiell, 1900s-1910s Decorative Arts, Köln and Los Angeles, 2000, p. 155.
Paintings
CARLO BUGATTI
Portrait of a Lady, circa 1910-1911
Oil on canvas
Signed on edge of stretcher
42-1/2 x 29-3/4 inches (107.9 x 75.5 cm)
LITERATURE:
M. Massé, Carlo Bugatti au Musée d'Orsay , Paris, 2001, p. 23.
Carlo Bugatti was born in Milan on February 16, 1856 to the noted architect and sculptor Giovanni Luigi Bugatti. Carlo received his formal training at the Brera Academy in Milan and at the Académie des Beaux Arts in Paris. In 1880, he opened an architectural practice in Milan and wed Teresa Lorioli. Carlo was a prolific artist and designer in every sense and thus did not restrict his energies solely to architecture. He created inspired and visionary designs for textiles, ceramics and silver, but it is for his furniture that he is most remembered and admired. By the end of the 1880s, he was exhibiting furniture designs that were heavily inspired by the Orientalist tradition and were sumptuous reinterpretations of exotic inlaid and mounted Turkish and North African forms. As his work progressed it became more influenced by the movement and sculptural nature of the high Art Novueau style culminating with his designs for the Turin Exposition in 1902. The incomparable designs are at once exotic and surreally futuristic.
The present lot is a rare and personal work, believed to depict Barbara Bolzoni, the wife of the artist's first son, Ettore Bugatti. Ettore was the famed founder of the Bugatti automobile manufactury and is widely considered to be a pioneer of modern automobile engineering and design. Carlo's other son, Rembrandt Bugatti, was an immensely gifted and sensitive sculptor whose animalier bronzes hauntingly capture the very essence of their subjects.
Portrait of a Lady, circa 1910-1911
Oil on canvas
Signed on edge of stretcher
42-1/2 x 29-3/4 inches (107.9 x 75.5 cm)
LITERATURE:
M. Massé, Carlo Bugatti au Musée d'Orsay , Paris, 2001, p. 23.
Carlo Bugatti was born in Milan on February 16, 1856 to the noted architect and sculptor Giovanni Luigi Bugatti. Carlo received his formal training at the Brera Academy in Milan and at the Académie des Beaux Arts in Paris. In 1880, he opened an architectural practice in Milan and wed Teresa Lorioli. Carlo was a prolific artist and designer in every sense and thus did not restrict his energies solely to architecture. He created inspired and visionary designs for textiles, ceramics and silver, but it is for his furniture that he is most remembered and admired. By the end of the 1880s, he was exhibiting furniture designs that were heavily inspired by the Orientalist tradition and were sumptuous reinterpretations of exotic inlaid and mounted Turkish and North African forms. As his work progressed it became more influenced by the movement and sculptural nature of the high Art Novueau style culminating with his designs for the Turin Exposition in 1902. The incomparable designs are at once exotic and surreally futuristic.
The present lot is a rare and personal work, believed to depict Barbara Bolzoni, the wife of the artist's first son, Ettore Bugatti. Ettore was the famed founder of the Bugatti automobile manufactury and is widely considered to be a pioneer of modern automobile engineering and design. Carlo's other son, Rembrandt Bugatti, was an immensely gifted and sensitive sculptor whose animalier bronzes hauntingly capture the very essence of their subjects.
Decorative Arts, Continental
PROPERTY OF A BERLIN, GERMANY COLLECTOR
PAUL HAUSTEIN FOR WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK)
A Patinated and Silvered Brass Vase, circa 1928
Marks: stamped firm's mark
18-1/2 inches (47.0 cm) high
A rare and possibly unique vase; according to the WMF Museum this is the only known example of this form.
LITERATURE:
Carlo Burschel and Heinz Scheiffele, WMF Ikora Metall. Metalwork, Stuttgart, 2006.
PAUL HAUSTEIN FOR WMF (WÜRTTEMBERGISCHE METALLWARENFABRIK)
A Patinated and Silvered Brass Vase, circa 1928
Marks: stamped firm's mark
18-1/2 inches (47.0 cm) high
A rare and possibly unique vase; according to the WMF Museum this is the only known example of this form.
LITERATURE:
Carlo Burschel and Heinz Scheiffele, WMF Ikora Metall. Metalwork, Stuttgart, 2006.
Art Glass
PROPERTY OF A TEXAS COLLECTOR
REUBEN HALEY FOR CONSOLIDATED GLASS COMPANY
A "Ruba Rombic" Dark Green Glass Vase, circa 1928
6-3/8 inches (16.1 cm) high
REUBEN HALEY FOR CONSOLIDATED GLASS COMPANY
A "Ruba Rombic" Dark Green Glass Vase, circa 1928
6-3/8 inches (16.1 cm) high
Paintings
PROPERTY FROM A LOS ANGELES COLLECTION
JOSEPH MARIA OLBRICH FOR EDUARD HUECK, LÜDENSCHEID
A Pair of Pewter Candlesticks, model no. 1819, circa 1901
Marks: raised artist's monogram and EDELZINN/ 1819/ E. HUECK pewter
14-1/4 inches (36.2 cm) high
LITERATURE:
Cf. L. Nachtlicht, Deutsches Kunstgewerbe St. Louis 1904, Berlin, 1904, p. 43 (for a period photograph of this model exhibited in the dining room of the German section at the 1904 St. Louis World's Fair);
Hessisches Landesmuseum, Joseph M. Olbrich, 1867-1908: Das Werk des Architekten, Darmstadt, 1967, p. 250;
B. Krimmel et al, Joseph M. Olbrich, 1867-1908 : Mathildenhöhe Darmstadt, Darmstadt, 1983, p. 351 (for an example in the collection of the Hessisches Landesmuseum Darmstadt);
R. Ulmer, Museum Künstlerkolonie Darmstadt, Darmstadt, 1989, p. 204 (for an illustration of this model in the collection of the Museum Künstlerkolonie Darmstadt and for a period illustration of this model amongst other iconic works by Olbrich, ca. 1902);
J. Rudoe, Decorative Arts 1850-1950, London, 1991, pp. 87 and 236;
T. Bröhan and T. Berg, Avantgarde Design 1880-1930, Köln, 1994, p. 55.
This model was exhibited at both the Künstlerkolonie Darmstadt and the St. Louis Exhibitions of 1904. This sinuous expression of zoomorphic design was conceived around 1901, but is not documented until 1904, when it appeared at both the Künstlerkolonie Darmstadt Exhibition and the St. Louis World's Fair.
JOSEPH MARIA OLBRICH FOR EDUARD HUECK, LÜDENSCHEID
A Pair of Pewter Candlesticks, model no. 1819, circa 1901
Marks: raised artist's monogram and EDELZINN/ 1819/ E. HUECK pewter
14-1/4 inches (36.2 cm) high
LITERATURE:
Cf. L. Nachtlicht, Deutsches Kunstgewerbe St. Louis 1904, Berlin, 1904, p. 43 (for a period photograph of this model exhibited in the dining room of the German section at the 1904 St. Louis World's Fair);
Hessisches Landesmuseum, Joseph M. Olbrich, 1867-1908: Das Werk des Architekten, Darmstadt, 1967, p. 250;
B. Krimmel et al, Joseph M. Olbrich, 1867-1908 : Mathildenhöhe Darmstadt, Darmstadt, 1983, p. 351 (for an example in the collection of the Hessisches Landesmuseum Darmstadt);
R. Ulmer, Museum Künstlerkolonie Darmstadt, Darmstadt, 1989, p. 204 (for an illustration of this model in the collection of the Museum Künstlerkolonie Darmstadt and for a period illustration of this model amongst other iconic works by Olbrich, ca. 1902);
J. Rudoe, Decorative Arts 1850-1950, London, 1991, pp. 87 and 236;
T. Bröhan and T. Berg, Avantgarde Design 1880-1930, Köln, 1994, p. 55.
This model was exhibited at both the Künstlerkolonie Darmstadt and the St. Louis Exhibitions of 1904. This sinuous expression of zoomorphic design was conceived around 1901, but is not documented until 1904, when it appeared at both the Künstlerkolonie Darmstadt Exhibition and the St. Louis World's Fair.
Fine Art - Sculpture, American
META VAUX WARRICK FULLER
"Silence and Repose" A Pair of Painted Plaster Bookends, circa 1930
Marks: each impressed MVWF, Silence inscribed Model - 72 - 1
7 inches (17.8 cm) high, each
Considered vanguard in her portrayal of the emotionally raw black experience, well before the Harlem Renaissance, the African-American sculptor Meta Warrick Fuller was the product of a privileged upbringing and traditional art training. Born in 1877 into a middle-class Philadelphia family, Fuller took art lessons as part of her grooming in etiquette: after her woodcarving for a high school project was selected for display at the 1893 World's Columbian Exposition, she began to sculpt more seriously -- in clay, plaster, and bronze --, studying for three years at the Pennsylvania School of Industrial Art and, in 1899, enrolling in the Académie Colarossi in Paris. It was through a fellow Académie student that Fuller met the celebrated sculptor Auguste Rodin, who encouraged her to explore further the "push-pull" between the physical and emotional in her work. These lovely pendant busts, Silence and Repose, exemplify Rodin's influence, where classical female faces anthropomorphize states of mind: indeed, Silence, connoting trapped emotion with her downcast eyes and sealed lips, serves as a foil to Repose, expressing openness and sensuality with her fluttering eyelids and upturned face.
For the remainder of her long career in Philadelphia and Framingham, Massachusetts, Fuller, inspired by her friend W.E.B. DuBois, focused on subjects from African-American history and folk tales. Her famous sculptures include Negro's Progress, Spirit of Emancipation, and Ethiopia Awakening, a symbol of the power of Africa, which was readily appropriated by Harlem Renaissance artists. Whether addressing themes of slavery, colonialism, wartime America, racism, or the Civil Rights Movement, Fuller's sculptures convey the interior struggle or development of the individual. Her work has been exhibited at the Paris Salon, Pennsylvania Museum and School for the Industrial Arts, Boston Art Club, Corcoran Museum of Art, San Francisco Museum of Art, and New York Public Library, among other institutions.
"Silence and Repose" A Pair of Painted Plaster Bookends, circa 1930
Marks: each impressed MVWF, Silence inscribed Model - 72 - 1
7 inches (17.8 cm) high, each
Considered vanguard in her portrayal of the emotionally raw black experience, well before the Harlem Renaissance, the African-American sculptor Meta Warrick Fuller was the product of a privileged upbringing and traditional art training. Born in 1877 into a middle-class Philadelphia family, Fuller took art lessons as part of her grooming in etiquette: after her woodcarving for a high school project was selected for display at the 1893 World's Columbian Exposition, she began to sculpt more seriously -- in clay, plaster, and bronze --, studying for three years at the Pennsylvania School of Industrial Art and, in 1899, enrolling in the Académie Colarossi in Paris. It was through a fellow Académie student that Fuller met the celebrated sculptor Auguste Rodin, who encouraged her to explore further the "push-pull" between the physical and emotional in her work. These lovely pendant busts, Silence and Repose, exemplify Rodin's influence, where classical female faces anthropomorphize states of mind: indeed, Silence, connoting trapped emotion with her downcast eyes and sealed lips, serves as a foil to Repose, expressing openness and sensuality with her fluttering eyelids and upturned face.
For the remainder of her long career in Philadelphia and Framingham, Massachusetts, Fuller, inspired by her friend W.E.B. DuBois, focused on subjects from African-American history and folk tales. Her famous sculptures include Negro's Progress, Spirit of Emancipation, and Ethiopia Awakening, a symbol of the power of Africa, which was readily appropriated by Harlem Renaissance artists. Whether addressing themes of slavery, colonialism, wartime America, racism, or the Civil Rights Movement, Fuller's sculptures convey the interior struggle or development of the individual. Her work has been exhibited at the Paris Salon, Pennsylvania Museum and School for the Industrial Arts, Boston Art Club, Corcoran Museum of Art, San Francisco Museum of Art, and New York Public Library, among other institutions.
Silver Holloware, Continental
EMMY ROTH
A Four-Piece Silver Coffee Service, circa 1930
Marks: each stamped Emmy Roth in script and 800
10 inches (25.4 cm) high, coffee pot
15-3/4 x 11-1/2 inches (40.0 x 29.2 cm) tray
Comprising a coffee pot, creamer, sugar bowl, and tray
LITERATURE:
M.R. J. Brinkgreve et al, Europäisches Kunstgewerbe 1927, Leipzig, 1928, pl. 100, for a related sugar bowl;
Silver of a New Era, exh. cat., Museum Boymans van-Beuningen, Rotterdam, 1992, pp. 170 and 171, for a related mocha service and tray.
Emmy Roth has long been an elusive figure of the 20th century design period. She was born in Hattigen, Germany May 12, 1885. Her career as a silversmith took shape in the apprentice and werkbund traditions of Germany and by 1916 she established her own workshop in Berlin-Charlottenburg. She enjoyed a steady patronage until the rise of the National Socialists in 1933. As a Jewish artist she was forced to flee and worked for a period in France and the Netherlands before settling permanently in Tel Aviv in 1939.
The present lot dates to her most active period and is indicative of her modernist point of view. The essential forms are historicist in nature but she has liberated them from the decorative trappings of earlier periods. They are free of gadrooning and unnecessary engraved patterns that distract from the overall function and purity of the form itself. Roth explained her design aesthetic in a 1925 interview "we shall probably approach the spirit of our age more closely if we create well-poised and beautiful utilitarian designs which convey a picture of our time, and its demand for deliberate tautness and simplicity, as an inheritance to later generations."
A Four-Piece Silver Coffee Service, circa 1930
Marks: each stamped Emmy Roth in script and 800
10 inches (25.4 cm) high, coffee pot
15-3/4 x 11-1/2 inches (40.0 x 29.2 cm) tray
Comprising a coffee pot, creamer, sugar bowl, and tray
LITERATURE:
M.R. J. Brinkgreve et al, Europäisches Kunstgewerbe 1927, Leipzig, 1928, pl. 100, for a related sugar bowl;
Silver of a New Era, exh. cat., Museum Boymans van-Beuningen, Rotterdam, 1992, pp. 170 and 171, for a related mocha service and tray.
Emmy Roth has long been an elusive figure of the 20th century design period. She was born in Hattigen, Germany May 12, 1885. Her career as a silversmith took shape in the apprentice and werkbund traditions of Germany and by 1916 she established her own workshop in Berlin-Charlottenburg. She enjoyed a steady patronage until the rise of the National Socialists in 1933. As a Jewish artist she was forced to flee and worked for a period in France and the Netherlands before settling permanently in Tel Aviv in 1939.
The present lot dates to her most active period and is indicative of her modernist point of view. The essential forms are historicist in nature but she has liberated them from the decorative trappings of earlier periods. They are free of gadrooning and unnecessary engraved patterns that distract from the overall function and purity of the form itself. Roth explained her design aesthetic in a 1925 interview "we shall probably approach the spirit of our age more closely if we create well-poised and beautiful utilitarian designs which convey a picture of our time, and its demand for deliberate tautness and simplicity, as an inheritance to later generations."
Decorative Arts, French
LOUIS MAJORELLE AND DAUM
A Gilt Bronze and Mottled Glass Table Lamp, circa 1910
Shade engraved: Daum Nancy with the Cross of Lorraine
27-1/2 x 17 inches (69.9 x 43.2 cm)
A Gilt Bronze and Mottled Glass Table Lamp, circa 1910
Shade engraved: Daum Nancy with the Cross of Lorraine
27-1/2 x 17 inches (69.9 x 43.2 cm)
Art Glass
DAUM
A Wrought Iron and Glass Floor Lamp, in the manner of Edgar Brandt, circa 1930
Marks: Daum Nancy with the Cross of Lorraine
68 x 21 inches (172.7 x 53.3 cm)
A Wrought Iron and Glass Floor Lamp, in the manner of Edgar Brandt, circa 1930
Marks: Daum Nancy with the Cross of Lorraine
68 x 21 inches (172.7 x 53.3 cm)
Paintings
PROPERTY FROM A FLORIDA COLLECTION
Manner of LOUIS MAJORELLE
An Art Nouveau Wrought Iron Plant Stand with Enameled Berries
Early 20th Century
44 inches (111.8 cm) high
Manner of LOUIS MAJORELLE
An Art Nouveau Wrought Iron Plant Stand with Enameled Berries
Early 20th Century
44 inches (111.8 cm) high
Ceramics & Porcelain
HENRI RAPIN FOR SÈVRES
An Art Deco Porcelain Vase, circa 1930
Marks: printed SÈVRES MANUFACTURE NATIONALE FRANCE h, inscribed 96-32., incised 1P3.33 PN
11-1/2 inches (29.2 cm) high
LITERATURE:
"L'Exposition des Porcelaines de Sevres du Style Art Deco", Tokyo Metropolitan Teien Art Museum, October 1993, cat. no. 41.
An Art Deco Porcelain Vase, circa 1930
Marks: printed SÈVRES MANUFACTURE NATIONALE FRANCE h, inscribed 96-32., incised 1P3.33 PN
11-1/2 inches (29.2 cm) high
LITERATURE:
"L'Exposition des Porcelaines de Sevres du Style Art Deco", Tokyo Metropolitan Teien Art Museum, October 1993, cat. no. 41.
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Faience Vase, design no. 1556, decorated by Jan Wind, circa 1939
Marks: blue printed KERAMIS MADE IN BELGIUM, painted D.1556 and decorator's monogram WD
14 inches (35.6 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 372.
A Glazed Faience Vase, design no. 1556, decorated by Jan Wind, circa 1939
Marks: blue printed KERAMIS MADE IN BELGIUM, painted D.1556 and decorator's monogram WD
14 inches (35.6 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 372.
Ceramics & Porcelain, Continental
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Faience Vase, design no. 2928, circa 1930s
Marks: stamped BOCH FRERES LA LOUVIÈRE, painted D.2928
16 inches (40.6 cm) high
A Glazed Faience Vase, design no. 2928, circa 1930s
Marks: stamped BOCH FRERES LA LOUVIÈRE, painted D.2928
16 inches (40.6 cm) high
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Stoneware Vase, design no. 914, circa 1930s
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, painted D.914
9-1/2 inches (24.1 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 437.
A Glazed Stoneware Vase, design no. 914, circa 1930s
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, painted D.914
9-1/2 inches (24.1 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 437.
Ceramics & Porcelain
CHARLES CATTEAU FOR BOCH FRÈRES
A Red Earthenware Vase, design no. 2531, circa 1930
Marks: black printed KERAMIS MADE IN BELGIUM, painted D.2531 M
13-1/4 inches (33.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 370.
A Red Earthenware Vase, design no. 2531, circa 1930
Marks: black printed KERAMIS MADE IN BELGIUM, painted D.2531 M
13-1/4 inches (33.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 370.
Ceramics & Porcelain, Continental
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Stoneware Vase, design no. 666, circa 1935
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, painted D.666
9-1/4 inches (23.5 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 415.
A Glazed Stoneware Vase, design no. 666, circa 1935
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, painted D.666
9-1/4 inches (23.5 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 415.
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Stoneware Vase, circa 1930
Marks: engraved Grès Keramis, C, stamped KERAMIS MADE IN BELGIUM, painted D.14...(two numbers obscured)
10-1/2 inches (26.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 417.
Charles Catteau (1880-1966)
The following twelve lots represent the work of French ceramic artist Charles Catteau, collected over several decades by a discriminating New York private collector. Throughout his distinguished career, much of which was in association with the highly renowned Belgian firm Boch Freres, Catteau developed a unique style of ceramic decoration, evolving from his early Art Nouveau taste into a unique Art Deco, widely copied but never equaled in artistic or technical quality of execution. The work of Charles Catteau is well documented in an exhaustive catalogue raisonne: "Art Deco Ceramics Made in Belgium: Charles Catteau" by Marc Pairon, privately published for the Fondation Charles Catteau, 2006. All of the following lots are well illustrated and page references are given.
A Glazed Stoneware Vase, circa 1930
Marks: engraved Grès Keramis, C, stamped KERAMIS MADE IN BELGIUM, painted D.14...(two numbers obscured)
10-1/2 inches (26.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 417.
Charles Catteau (1880-1966)
The following twelve lots represent the work of French ceramic artist Charles Catteau, collected over several decades by a discriminating New York private collector. Throughout his distinguished career, much of which was in association with the highly renowned Belgian firm Boch Freres, Catteau developed a unique style of ceramic decoration, evolving from his early Art Nouveau taste into a unique Art Deco, widely copied but never equaled in artistic or technical quality of execution. The work of Charles Catteau is well documented in an exhaustive catalogue raisonne: "Art Deco Ceramics Made in Belgium: Charles Catteau" by Marc Pairon, privately published for the Fondation Charles Catteau, 2006. All of the following lots are well illustrated and page references are given.
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Stoneware Vase, design no. 1000, circa 1930
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, Ch. Catteau signature, painted D.1000
11-1/2 inches (29.2 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 426.
A Glazed Stoneware Vase, design no. 1000, circa 1930
Marks: engraved Grès Keramis, stamped BOCH FRERES LA LOUVIÈRE, Ch. Catteau signature, painted D.1000
11-1/2 inches (29.2 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 426.
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Faience Vase, design no. 1939, circa 1930
Marks: black printed BOCH FRERES KERAMIS, painted D.1939 L
16 inches (40.6 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 306.
A Glazed Faience Vase, design no. 1939, circa 1930
Marks: black printed BOCH FRERES KERAMIS, painted D.1939 L
16 inches (40.6 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 306.
CHARLES CATTEAU FOR BOCH FRÈRES
A Glazed Stoneware Vase, design no. 924, circa 1930
Marks: engraved Grès Keramis, C, painted B.F.K., Ch. Catteau signature, D.924
18 inches (45.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 484.
A Glazed Stoneware Vase, design no. 924, circa 1930
Marks: engraved Grès Keramis, C, painted B.F.K., Ch. Catteau signature, D.924
18 inches (45.7 cm) high
LITERATURE:
M. Pairon, Art Deco Ceramics Made in Belgium: Charles Catteau, Fondation Charles Catteau, 2006, p. 484.
Decorative Arts, French
PROPERTY OF A MASSACHUSETTS COLLECTOR
CLAUDIUS LINOSSIER
A Dinanderie Metal Vase, circa 1925
Marks: stamped CL-LINOSSIER
5-1/2 inches (14.0 cm) high
PROVENANCE:
Macklowe Gallery, New York.
CLAUDIUS LINOSSIER
A Dinanderie Metal Vase, circa 1925
Marks: stamped CL-LINOSSIER
5-1/2 inches (14.0 cm) high
PROVENANCE:
Macklowe Gallery, New York.
Prints
PROPERTY OF A MANHATTAN COLLECTOR
LOUIS ICART
Repose, 1934
Etching and drypoint with handcoloring
Signed lower right: Louis Icart
Numbered lower left: E.A. 106/ with L I Paris blindstamp
Inscribed in the plate upper right: © Copyright 1934 by L. Icart...N.Y.
19-1/2 x 46-1/4 inches (49.5 x 117.5 cm)
LOUIS ICART
Repose, 1934
Etching and drypoint with handcoloring
Signed lower right: Louis Icart
Numbered lower left: E.A. 106/ with L I Paris blindstamp
Inscribed in the plate upper right: © Copyright 1934 by L. Icart...N.Y.
19-1/2 x 46-1/4 inches (49.5 x 117.5 cm)
Ceramics & Porcelain, Continental
JEAN BESNARD
A Brown and Crackle Gold Glazed Ceramic Bowl and Cup, circa 1940
Marks: inscribed JB France (bowl); incised Jean Besnard France (cup)
10-1/2 inches (26.7 cm) diameter, bowl
3 inches (7.6 cm) high, cup
A Brown and Crackle Gold Glazed Ceramic Bowl and Cup, circa 1940
Marks: inscribed JB France (bowl); incised Jean Besnard France (cup)
10-1/2 inches (26.7 cm) diameter, bowl
3 inches (7.6 cm) high, cup
Decorative Prints, European
ALEXANDRE IACOVLEFF
A Set of Six Engravings from the Black Cruise series
11 x 7-3/4 inches (27.9 x 19.7 cm) image, largest
Including plate 34 Aoua, Femme Banda, plate 28 Daboa, Jeune Fille Sara, plate 39 Molendré, la Mangbetou, plate 31 Femme Banda avec son Enfant, plate 17 Magemma, and plate 36 Titi et Naranghe, filles du chef Eki Bondo
A Set of Six Engravings from the Black Cruise series
11 x 7-3/4 inches (27.9 x 19.7 cm) image, largest
Including plate 34 Aoua, Femme Banda, plate 28 Daboa, Jeune Fille Sara, plate 39 Molendré, la Mangbetou, plate 31 Femme Banda avec son Enfant, plate 17 Magemma, and plate 36 Titi et Naranghe, filles du chef Eki Bondo
Furniture
LA MAISON DESNY
A Burl Elm Veneered Sofa and Bookcase, 1930s
Hardware stamped: DESNY PARIS, MADE IN FRANCE, DEPOSÉ
43 x 128 x 128 inches (109.2 x 325.1 x 325.1 cm) overall
PROVENANCE:
Custom designed for a New York City apartment.
M. Desnet and René Nauny formed La Maison Desny in 1927. Nauny befriended many important artists and designers including Diego and Alberto Giacometti and André Masson. The two had a workshop and a retail space in Paris (at 122 Champs Elysées), creating highly exclusive items ranging from furniture to decorative accessories. They also offered an interior design service. They created designs for Worth (Paris) and Chanel, and collaborated with Robert Mallet-Stevens, Djo Bourgeois, and Jean-Michel Frank. The partnership lasted until the death of Desnet in 1933.
A Burl Elm Veneered Sofa and Bookcase, 1930s
Hardware stamped: DESNY PARIS, MADE IN FRANCE, DEPOSÉ
43 x 128 x 128 inches (109.2 x 325.1 x 325.1 cm) overall
PROVENANCE:
Custom designed for a New York City apartment.
M. Desnet and René Nauny formed La Maison Desny in 1927. Nauny befriended many important artists and designers including Diego and Alberto Giacometti and André Masson. The two had a workshop and a retail space in Paris (at 122 Champs Elysées), creating highly exclusive items ranging from furniture to decorative accessories. They also offered an interior design service. They created designs for Worth (Paris) and Chanel, and collaborated with Robert Mallet-Stevens, Djo Bourgeois, and Jean-Michel Frank. The partnership lasted until the death of Desnet in 1933.
LA MAISON DESNY
A Burl Elm Veneered Mantle, 1930s
Mantle stamped lower left: DESNY PARIS, MADE IN FRANCE, DEPOSÉ
43 x 137 x 16-1/2 inches (109.2 x 348.0 x 41.9 cm)
PROVENANCE:
Custom designed for a New York City apartment.
A Burl Elm Veneered Mantle, 1930s
Mantle stamped lower left: DESNY PARIS, MADE IN FRANCE, DEPOSÉ
43 x 137 x 16-1/2 inches (109.2 x 348.0 x 41.9 cm)
PROVENANCE:
Custom designed for a New York City apartment.
JULES BOUY FOR CARLOS SALZEDO
A Lacquered Wood Dining Table, Sideboard, Two Armchairs, and a Pair of Tripleback Wood Benches with caned seats, circa 1931
27 x 102 x 30 inches (68.6 x 259.1 x 76.2 cm) table
33-1/2 x 68-3/4 x 17-1/2 inches (84.5 x 174.5 x 44.5 cm) each bench
33-1/2 x 22-1/4 x 17-1/2 inches (84.5 x 56.5 x 44.5 cm) each armchair
63-1/4 x 86 x 15-1/2 inches (160.7 x 218.4 x 39.4 cm) sideboard
PROVENANCE:
Carlos Salzedo, Camden, Maine;
Alice Chalifoux.
A Lacquered Wood Dining Table, Sideboard, Two Armchairs, and a Pair of Tripleback Wood Benches with caned seats, circa 1931
27 x 102 x 30 inches (68.6 x 259.1 x 76.2 cm) table
33-1/2 x 68-3/4 x 17-1/2 inches (84.5 x 174.5 x 44.5 cm) each bench
33-1/2 x 22-1/4 x 17-1/2 inches (84.5 x 56.5 x 44.5 cm) each armchair
63-1/4 x 86 x 15-1/2 inches (160.7 x 218.4 x 39.4 cm) sideboard
PROVENANCE:
Carlos Salzedo, Camden, Maine;
Alice Chalifoux.
JULES BOUY
A Silvered and Lacquered Wood Sideboard, circa 1935
29-1/2 x 62 x 13 inches (74.9 x 157.5 x 33.0 cm)
A Silvered and Lacquered Wood Sideboard, circa 1935
29-1/2 x 62 x 13 inches (74.9 x 157.5 x 33.0 cm)
Decorative Arts, American
JAMES MONT
A Pair of Carved Wood Spiral Table Lamps with original shades
47 x 16 x 16 inches (119.4 x 40.6 x 40.6 cm) each
A Pair of Carved Wood Spiral Table Lamps with original shades
47 x 16 x 16 inches (119.4 x 40.6 x 40.6 cm) each
Furniture
JAMES MONT
A Lacquered, Gilt Wood, and Glass Dining Table and Four Chairs, circa 1940
29-1/2 x 52 x 52 inches (74.9 x 132.1 x 132.1 cm) table
35-3/4 inches (90.8 cm) high, each chair
A Lacquered, Gilt Wood, and Glass Dining Table and Four Chairs, circa 1940
29-1/2 x 52 x 52 inches (74.9 x 132.1 x 132.1 cm) table
35-3/4 inches (90.8 cm) high, each chair
ISAMU NOGUCHI
A Wood and Glass "IN-50" Coffee Table, designed 1944
15-3/4 x 51 x 37 inches (40.0 x 129.5 x 94.0 cm)
A Wood and Glass "IN-50" Coffee Table, designed 1944
15-3/4 x 51 x 37 inches (40.0 x 129.5 x 94.0 cm)
CHARLES AND RAY EAMES FOR HERMAN MILLER
A Black Laminated Plywood and Zinc Wire ETR "Surfboard" Table, circa 1950s
10-1/4 x 89-1/8 x 29-1/4 inches (26.0 x 226.4 x 74.3 cm)
A Black Laminated Plywood and Zinc Wire ETR "Surfboard" Table, circa 1950s
10-1/4 x 89-1/8 x 29-1/4 inches (26.0 x 226.4 x 74.3 cm)
Sculpture
PROPERTY FROM A COLORADO COLLECTION
HARRY BERTOIA
A Gilt Bronze Prototype for the Massachusetts Institute of Technology Chapel Reredos, circa 1955
52 inches (132.1 cm) high, including wood base
The present lot is an important and rare prototype for the reredos, or altar screen, Bertoia was commissioned to create for the Kresge Chapel at the Massachusetts Institute of Technology. The screen is among his first monumental architectural works and marked the artist's continuing collaboration with noted modernist architect Eero Saarinen. Saarinen's design for MIT shows a departure from orthodox modernism and is often contrasted with Mies van der Rohe's rather boxy chapel created for the ITT campus in Chicago. In a bold move a circular plan was selected, Saarinen explains:
The architect's goals were achieved with dramatic effect and Bertoia's work became the focal point of the structure. In traditional ecclesiastical architecture natural light is transformed into "spiritual light" as it passes through stained glass windows. In Saarinen's vision the windowless insular space is lit dramatically by an oculus placed above the altar flooding it with a column of natural light. The result is that of an intimate, minimalist mid-century pantheon. The screen itself consists of 24 metal wires arranged in an arc connecting the oculus to the back steps of the altar. The wires are interspersed with rectangular plates and geometric wire ornaments to play off the light from above. The screen itself becomes a glittering cascade of light that is ever changing throughout the seasons and times of day.
Bertoia supplied this prototype to the Saarinen Studio during the design phase of the chapel in the early 1950s. It differs from the finalized work in that it is embellished with individual square reflectors and not the rectangular panels seen elsewhere in the artist's "Money Trees." It is an intriguing rare survival and a testament to the collaboration between two great 20th century artists.
LITERATURE:
Cf. "Challenge to the Rectangle: MIT Campus Center with Auditorium and Chapel," Time, June 29, 1953, p. 64;
"Old Hand at Odd Shapes," Life, Mar. 14, 1955, p. 82;
"La Capella e l'Auditorium de MIT," Casabella, Nov.-Dec. 1955, pp. 16-29;
"Puddled Spire: Chapel for MIT," Time, Dec. 5, 1955, p. 88;
"Buildings in the Round: MIT's Cylindrical Chapel and a Domed Auditorium," Architectural Forum, Jan. 1956, pp. 116-121;
"MIT's Kresge Chapel," Architectural Record, Jan. 1956, pp. 154-157;
"New Chapel at MIT," Progressive Architecture, Jan. 1956, pp. 65-67;
"Three Critics Discuss MIT's New Buildings," Architectural Forum, Mar. 1956, p. 157;
A. Saarinen, Eero Saarinen on His Work, New Haven, 1968, p. 37;
J. Nelson, Harry Bertoia: Sculptor, Detroit, 1970, no. 25;
D. Albrecht, Eero Saarinen: Shaping the Future, New Haven, 2006, p. 170;
D. De Long, Eero Saarinen: Buildings from the Balthazar Korab Archive, New York, 2008, pp. 152 and 153.
HARRY BERTOIA
A Gilt Bronze Prototype for the Massachusetts Institute of Technology Chapel Reredos, circa 1955
52 inches (132.1 cm) high, including wood base
The present lot is an important and rare prototype for the reredos, or altar screen, Bertoia was commissioned to create for the Kresge Chapel at the Massachusetts Institute of Technology. The screen is among his first monumental architectural works and marked the artist's continuing collaboration with noted modernist architect Eero Saarinen. Saarinen's design for MIT shows a departure from orthodox modernism and is often contrasted with Mies van der Rohe's rather boxy chapel created for the ITT campus in Chicago. In a bold move a circular plan was selected, Saarinen explains:
"since this is uniquely, a non-denominational chapel, it was essential to create an atmosphere which was not derived from a particular religion, but from basic spiritual feelings. A dark interior seemed right-an interior completely separated from the outside world...The interior was curved, both for acoustical reasons and to give the space a lack of sharp definition and an increased sense of turning inward."
The architect's goals were achieved with dramatic effect and Bertoia's work became the focal point of the structure. In traditional ecclesiastical architecture natural light is transformed into "spiritual light" as it passes through stained glass windows. In Saarinen's vision the windowless insular space is lit dramatically by an oculus placed above the altar flooding it with a column of natural light. The result is that of an intimate, minimalist mid-century pantheon. The screen itself consists of 24 metal wires arranged in an arc connecting the oculus to the back steps of the altar. The wires are interspersed with rectangular plates and geometric wire ornaments to play off the light from above. The screen itself becomes a glittering cascade of light that is ever changing throughout the seasons and times of day.
Bertoia supplied this prototype to the Saarinen Studio during the design phase of the chapel in the early 1950s. It differs from the finalized work in that it is embellished with individual square reflectors and not the rectangular panels seen elsewhere in the artist's "Money Trees." It is an intriguing rare survival and a testament to the collaboration between two great 20th century artists.
LITERATURE:
Cf. "Challenge to the Rectangle: MIT Campus Center with Auditorium and Chapel," Time, June 29, 1953, p. 64;
"Old Hand at Odd Shapes," Life, Mar. 14, 1955, p. 82;
"La Capella e l'Auditorium de MIT," Casabella, Nov.-Dec. 1955, pp. 16-29;
"Puddled Spire: Chapel for MIT," Time, Dec. 5, 1955, p. 88;
"Buildings in the Round: MIT's Cylindrical Chapel and a Domed Auditorium," Architectural Forum, Jan. 1956, pp. 116-121;
"MIT's Kresge Chapel," Architectural Record, Jan. 1956, pp. 154-157;
"New Chapel at MIT," Progressive Architecture, Jan. 1956, pp. 65-67;
"Three Critics Discuss MIT's New Buildings," Architectural Forum, Mar. 1956, p. 157;
A. Saarinen, Eero Saarinen on His Work, New Haven, 1968, p. 37;
J. Nelson, Harry Bertoia: Sculptor, Detroit, 1970, no. 25;
D. Albrecht, Eero Saarinen: Shaping the Future, New Haven, 2006, p. 170;
D. De Long, Eero Saarinen: Buildings from the Balthazar Korab Archive, New York, 2008, pp. 152 and 153.
Lighting
PROPERTY OF A GERMAN COLLECTOR
JEAN ROYÈRE
A Wrought Iron Adjustable Floor Lamp, circa 1950
66-1/4 inches (168.3 cm) high, as shown
PROVENANCE:
Christie's, Paris, May 18, 2004, lot 63.
JEAN ROYÈRE
A Wrought Iron Adjustable Floor Lamp, circa 1950
66-1/4 inches (168.3 cm) high, as shown
PROVENANCE:
Christie's, Paris, May 18, 2004, lot 63.
Decorative Arts, French
JEAN ROYÈRE
A Painted Metal Floor Lamp with paper shade, circa 1950
61-1/2 inches (156.2 cm) high
A Painted Metal Floor Lamp with paper shade, circa 1950
61-1/2 inches (156.2 cm) high
JEAN ROYÈRE
A Painted Metal Floor Lamp with paper shade, circa 1950
61-1/2 inches (156.2 cm) high
A Painted Metal Floor Lamp with paper shade, circa 1950
61-1/2 inches (156.2 cm) high
Furniture
PHILIP AND KELVIN LAVERNE
A Patinated Bronze "Chan" Table, circa 1960s
Signed lower center: Philip + Kelvin LaVerne
28-3/4 x 48 x 48 inches (73.0 x 121.9 x 121.9 cm)
A Patinated Bronze "Chan" Table, circa 1960s
Signed lower center: Philip + Kelvin LaVerne
28-3/4 x 48 x 48 inches (73.0 x 121.9 x 121.9 cm)
PROPERTY OF A FRENCH COLLECTOR
ROGER CAPRON
"Navette" A Glazed Ceramic and Metal Low Table, circa 1960
Marks: signed CAPRON
15-1/2 x 23-1/2 x 24-1/4 inches (39.4 x 59.7 x 61.6 cm)
ROGER CAPRON
"Navette" A Glazed Ceramic and Metal Low Table, circa 1960
Marks: signed CAPRON
15-1/2 x 23-1/2 x 24-1/4 inches (39.4 x 59.7 x 61.6 cm)
Lighting
RISPAL
A Wood and Metal Floor Lamp, circa 1950
65 inches (165.1 cm) high
LITERATURE:
Cf. C. and P. Fiell, eds., 1000 Lights 1878-1959, Köln and Los Angeles, 2005, pp. 418-419.
A Wood and Metal Floor Lamp, circa 1950
65 inches (165.1 cm) high
LITERATURE:
Cf. C. and P. Fiell, eds., 1000 Lights 1878-1959, Köln and Los Angeles, 2005, pp. 418-419.
Decorative Arts, French
SERGE MOUILLE
"Tuyau" A Pair of Lacquered Aluminum Wall Lights, circa 1959
15 x 10 x 5 inches (38.1 x 25.4 x 12.7 cm) each
LITERATURE:
Cf. P.E. Pralus, Serge Mouille, un classique français, Les éditions du Mont Thou, Saint-Cyr au Mont d'Or, 2006, p. 239;
Galerie DownTown-François Laffanour, Steph Simon, retrospective : 1956-1974, éditions Deckers Druk, Antwerpen, 2006, p. 22.
"Tuyau" A Pair of Lacquered Aluminum Wall Lights, circa 1959
15 x 10 x 5 inches (38.1 x 25.4 x 12.7 cm) each
LITERATURE:
Cf. P.E. Pralus, Serge Mouille, un classique français, Les éditions du Mont Thou, Saint-Cyr au Mont d'Or, 2006, p. 239;
Galerie DownTown-François Laffanour, Steph Simon, retrospective : 1956-1974, éditions Deckers Druk, Antwerpen, 2006, p. 22.
Furniture
PROPERTY OF ANDREW CRISPO, NEW YORK
DIEGO GIACOMETTI
"Tabouret de Coiffeuse a l'Harpie" A Gilt Bronze Chair, designed circa 1960
Marks: inscribed Diego with monogram
22-3/4 x 14 x 14 inches (57.8 x 35.6 x 35.6 cm)
PROVENANCE:
Horst P. Horst, New York;
Billy Baldwin, New York;
Arthur E. Smith, New York;
Thence by descent.
EXHIBITED:
International Decoration & The Arts, November 5-28, 1976, Andrew Crispo Gallery, New York.
ILLUSTRATED:
P. Warner, "Venice-on-the-Hudson: Cultural Combinations in a Designer's West Village Penthouse," Architectural Digest, Nov. 1987, p. 146 (in situ).
LITERATURE:
Cf. M. Butor and J. Vincent, Diego Giacometti, Paris, 1985, p. 108;
F. Francisci, Diego Giacometti: Catalogue de l'oeuvre, vol. II, Paris, 1986, p. 46;
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 45;
C. Boutonnet and R. Ortiz, Diego Giacometti, exhibition catalogue, Paris, 2002, p. 76.
DIEGO GIACOMETTI
"Tabouret de Coiffeuse a l'Harpie" A Gilt Bronze Chair, designed circa 1960
Marks: inscribed Diego with monogram
22-3/4 x 14 x 14 inches (57.8 x 35.6 x 35.6 cm)
PROVENANCE:
Horst P. Horst, New York;
Billy Baldwin, New York;
Arthur E. Smith, New York;
Thence by descent.
EXHIBITED:
International Decoration & The Arts, November 5-28, 1976, Andrew Crispo Gallery, New York.
ILLUSTRATED:
P. Warner, "Venice-on-the-Hudson: Cultural Combinations in a Designer's West Village Penthouse," Architectural Digest, Nov. 1987, p. 146 (in situ).
LITERATURE:
Cf. M. Butor and J. Vincent, Diego Giacometti, Paris, 1985, p. 108;
F. Francisci, Diego Giacometti: Catalogue de l'oeuvre, vol. II, Paris, 1986, p. 46;
D. Marchesseau, Diego Giacometti, Paris, 1986, p. 45;
C. Boutonnet and R. Ortiz, Diego Giacometti, exhibition catalogue, Paris, 2002, p. 76.
PAUL EVANS
A Bronze and Glass "Stalagmite" Cocktail Table, circa 1970s
Marks: inscribed PE
16-1/4 x 36 x 36 inches (41.3 x 91.4 x 91.4 cm)
A Bronze and Glass "Stalagmite" Cocktail Table, circa 1970s
Marks: inscribed PE
16-1/4 x 36 x 36 inches (41.3 x 91.4 x 91.4 cm)
PAUL EVANS
A Chrome Plated Metal Patchwork Five-Piece Furniture Suite from the Cityscape series, circa 1970s
60 x 12-1/4 x 12-1/4 inches (152.4 x 31.1 x 31.1 cm) tallest
A Chrome Plated Metal Patchwork Five-Piece Furniture Suite from the Cityscape series, circa 1970s
60 x 12-1/4 x 12-1/4 inches (152.4 x 31.1 x 31.1 cm) tallest
PROPERTY OF A PENNSYLVANIA FAMILY
GEORGE NAKASHIMA
A Walnut Single-Pedestal Desk, circa 1960s
28-3/4 x 63-1/4 x 25-1/8 inches (73.0 x 160.7 x 63.8 cm)
PROVENANCE:
Acquired directly from the artist by the parents of the present owner.
GEORGE NAKASHIMA
A Walnut Single-Pedestal Desk, circa 1960s
28-3/4 x 63-1/4 x 25-1/8 inches (73.0 x 160.7 x 63.8 cm)
PROVENANCE:
Acquired directly from the artist by the parents of the present owner.
DONALD DESKEY FOR CHARAK
A Walnut, Handpainted Micarta, and Cast Aluminum Dining Table, for the Charak Modern line, designed 1958
29-1/2 x 108 x 44 inches (74.9 x 274.3 x 111.8 cm) extended
PROVENANCE:
Fifty/50, New York;
Barbara Jakobson, New York;
Christie's, New York, Post-War and Contemporary Art and Design from the Collection of Barbara Jakobson, May 12, 2005, lot 126.
LITERATURE:
Cf. Life, December 1958, for an article on this furniture series;
D.A. Hanks with Jennifer Toher, Donald Deskey Decorative Designs and Interiors, New York, 1987, pp. 121-122, for a discussion of Deskey's furniture line for Charak and an illustration of several pieces from this series.
A Walnut, Handpainted Micarta, and Cast Aluminum Dining Table, for the Charak Modern line, designed 1958
29-1/2 x 108 x 44 inches (74.9 x 274.3 x 111.8 cm) extended
PROVENANCE:
Fifty/50, New York;
Barbara Jakobson, New York;
Christie's, New York, Post-War and Contemporary Art and Design from the Collection of Barbara Jakobson, May 12, 2005, lot 126.
LITERATURE:
Cf. Life, December 1958, for an article on this furniture series;
D.A. Hanks with Jennifer Toher, Donald Deskey Decorative Designs and Interiors, New York, 1987, pp. 121-122, for a discussion of Deskey's furniture line for Charak and an illustration of several pieces from this series.
EDWARD WORMLEY FOR DUNBAR
An Upholstered "Gondola" Sofa on walnut frame, model no. 5719
32 x 112 x 25 inches (81.3 x 284.5 x 63.5 cm)
An Upholstered "Gondola" Sofa on walnut frame, model no. 5719
32 x 112 x 25 inches (81.3 x 284.5 x 63.5 cm)
ILANA GOOR
A Patinated Metal and Glass Coffee Table, circa 1985
16-1/2 x 48 x 48 inches (41.9 x 121.9 x 121.9 cm)
A Patinated Metal and Glass Coffee Table, circa 1985
16-1/2 x 48 x 48 inches (41.9 x 121.9 x 121.9 cm)
ELIZABETH GAROUSTE & MATTIA BONETTI
A Gilt Bronze and Fabric Upholstered "Parade" Sofa, circa 1989
Marks: signed BG
35 x 59 x 30 inches (88.9 x 149.9 x 76.2 cm)
A Gilt Bronze and Fabric Upholstered "Parade" Sofa, circa 1989
Marks: signed BG
35 x 59 x 30 inches (88.9 x 149.9 x 76.2 cm)
Decorative Arts, British
RON ARAD FOR BARTON
A "Tree Tops" Steel and Concrete Floor Lamp, manufactured by Barton, circa 1983
Marks: molded ...MALLEABLE, BARTON ENG, 6685
78 inches (198.1 cm) high
A "Tree Tops" Steel and Concrete Floor Lamp, manufactured by Barton, circa 1983
Marks: molded ...MALLEABLE, BARTON ENG, 6685
78 inches (198.1 cm) high
Furniture
PROPERTY FROM A TEXAS COLLECTION
CLAUDE LALANNE
"Trône de Pauline" A Gilt Bronze Chair, Paris, France, 2000
Marks: CL, 6/8, LALANNE, 2000
79 x 42 x 31 inches (200.7 x 106.7 x 78.7 cm)
LITERATURE:
Cf. F. Lalanne, Les Lalanne: Exposition, Centre National d'Art Contemporain, Paris 1975, p. 69 (for a related model);
R. Rosenblum, Les Lalanne, Geneva, 1991, p. 81;
D. Marchesseau, Les Lalanne, Paris, 1998, p. 128.
The fanciful and inspired work of the Lalannes consistently defies placement within the strict confines of a single movement in the history of 20th century design. Their works often reinterpret how we see the functional utilitarian object when it is transformed surrealistically, and very often by juxtaposition, into something extraordinary. In the present work Claude Lalanne tempers the delicacy of foliage with the monumental weight and scale of bronze. The result is not static but imbued with tension and the force of potential energy. The work draws upon earlier explorations utilizing ginkgo leaves and the delicate reeded quality of her furniture for Colonial Williamsburg. The present composition is at once Baroque with equal doses of Art Nouveau and the grotto woven masterfully by the artist into a utilitarian sculptural fantasy.
CLAUDE LALANNE
"Trône de Pauline" A Gilt Bronze Chair, Paris, France, 2000
Marks: CL, 6/8, LALANNE, 2000
79 x 42 x 31 inches (200.7 x 106.7 x 78.7 cm)
LITERATURE:
Cf. F. Lalanne, Les Lalanne: Exposition, Centre National d'Art Contemporain, Paris 1975, p. 69 (for a related model);
R. Rosenblum, Les Lalanne, Geneva, 1991, p. 81;
D. Marchesseau, Les Lalanne, Paris, 1998, p. 128.
The fanciful and inspired work of the Lalannes consistently defies placement within the strict confines of a single movement in the history of 20th century design. Their works often reinterpret how we see the functional utilitarian object when it is transformed surrealistically, and very often by juxtaposition, into something extraordinary. In the present work Claude Lalanne tempers the delicacy of foliage with the monumental weight and scale of bronze. The result is not static but imbued with tension and the force of potential energy. The work draws upon earlier explorations utilizing ginkgo leaves and the delicate reeded quality of her furniture for Colonial Williamsburg. The present composition is at once Baroque with equal doses of Art Nouveau and the grotto woven masterfully by the artist into a utilitarian sculptural fantasy.
Ceramics & Porcelain, Continental
A ROZENBURG EARTHENWARE VASE
Painted by W. Hartgring, 1896
Marks: painted factory mark, date code, painter's monogram, and order no. 864
15-1/2 inches (39.5 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 97, fig. 98 (actual piece).
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 115, fig. 120, for a similar example illustrated in the 1896 Rozenburg sales catalogue.
Painted by W. Hartgring, 1896
Marks: painted factory mark, date code, painter's monogram, and order no. 864
15-1/2 inches (39.5 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 97, fig. 98 (actual piece).
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 115, fig. 120, for a similar example illustrated in the 1896 Rozenburg sales catalogue.
A ROZENBURG EARTHENWARE COVERED VASE
1899
Marks: painted factory mark, date code, and order no. 218
16-3/4 inches (42.5 cm) high
LITERATURE:
Cf. W.J. Terlouw, exh. cat., De Stanya Collectie: een Particuliere Verzameling Rozenburg Keramiek, Leeuwarden, 2001, p. 35, for a similar example with a different pattern painted by J. van der Vet.
1899
Marks: painted factory mark, date code, and order no. 218
16-3/4 inches (42.5 cm) high
LITERATURE:
Cf. W.J. Terlouw, exh. cat., De Stanya Collectie: een Particuliere Verzameling Rozenburg Keramiek, Leeuwarden, 2001, p. 35, for a similar example with a different pattern painted by J. van der Vet.
A ROZENBURG EARTHENWARE WALL PLATE
Painted by S. Schellink, 1898
Marks: painted factory mark, date code, painter's monogram, and order no. 394
15-3/8 inches (39.2 cm) diameter
Painted by S. Schellink, 1898
Marks: painted factory mark, date code, painter's monogram, and order no. 394
15-3/8 inches (39.2 cm) diameter
Ceramics & Porcelain
A ROZENBURG EGGSHELL PORCELAIN VASE
Painted by H. De Klerk, 1899
Marks: stamped factory mark, painted date code, painter's monogram and order no. 296
8-1/8 inches (20.5 cm) high
Painted by H. De Klerk, 1899
Marks: stamped factory mark, painted date code, painter's monogram and order no. 296
8-1/8 inches (20.5 cm) high
Ceramics & Porcelain, Continental
A RARE ROZENBURG EGGSHELL PORCELAIN INKWELL
Painted by J.L. Verbeek Wolthuys, 1900
Marks: stamped green factory mark, painted date code, painter's monogram and order no. 697
6-1/4 inches (16.0 cm) long
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, pp. 142-143, fig. 146.
Painted by J.L. Verbeek Wolthuys, 1900
Marks: stamped green factory mark, painted date code, painter's monogram and order no. 697
6-1/4 inches (16.0 cm) long
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, pp. 142-143, fig. 146.
Ceramics & Porcelain
A ROZENBURG EGGSHELL PORCELAIN VASE
Painted by S. Schellink, 1900
Marks: stamped factory mark, painted date code, painter's monogram and order no. 822
10-3/4 inches (27.2 cm) high
Painted by S. Schellink, 1900
Marks: stamped factory mark, painted date code, painter's monogram and order no. 822
10-3/4 inches (27.2 cm) high
A ROZENBURG EGGSHELL PORCELAIN VASE
Painted by H.G.A. Huyvenaar, 1904
Marks: stamped factory mark, painted date code, painter's monogram and order no. 400
6-1/2 inches (16.5 cm) high
Painted by H.G.A. Huyvenaar, 1904
Marks: stamped factory mark, painted date code, painter's monogram and order no. 400
6-1/2 inches (16.5 cm) high
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
A Rozenburg Earthenware Wall Plate, 1886
Marks: painted factory mark and date code
15-5/8 inches (39.7 cm) diameter
A Rozenburg Earthenware Wall Plate, 1886
Marks: painted factory mark and date code
15-5/8 inches (39.7 cm) diameter
THEODOOR COLENBRANDER
A Rozenburg Earthenware Garniture Vase, 1887
Marks: painted factory mark and date code
13 inches (33.0 cm) high
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 72, fig. 72, for a garniture set from the same year. The present example is a variation on the "Tulip" model.
A Rozenburg Earthenware Garniture Vase, 1887
Marks: painted factory mark and date code
13 inches (33.0 cm) high
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 72, fig. 72, for a garniture set from the same year. The present example is a variation on the "Tulip" model.
THEODOOR COLENBRANDER
"Waterkant and Crocus" Two Rozenburg Earthenware Vases, painted by A. Dankelman and J. Suurbach (respectively), 1892
Marks: painted factory mark, date code, painter's monogram and title
9-1/2 inches (24.1 cm) high, Waterkant
7 inches (17.8 cm) high, Crocus
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 25, fig. 12 for a garniture set relating to the Crocus model from the collection of H.W. Mesdag.
"Waterkant and Crocus" Two Rozenburg Earthenware Vases, painted by A. Dankelman and J. Suurbach (respectively), 1892
Marks: painted factory mark, date code, painter's monogram and title
9-1/2 inches (24.1 cm) high, Waterkant
7 inches (17.8 cm) high, Crocus
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 25, fig. 12 for a garniture set relating to the Crocus model from the collection of H.W. Mesdag.
THEODOOR COLENBRANDER
An Extremely Rare Pair of Rozenburg Earthenware Vases, painted by H. Schild, 1887
Marks: Painted factory mark, date code, painter's monogram and monogram DG
13-1/8 inches (33.5 cm) high, each
This model previously unrecorded.
An Extremely Rare Pair of Rozenburg Earthenware Vases, painted by H. Schild, 1887
Marks: Painted factory mark, date code, painter's monogram and monogram DG
13-1/8 inches (33.5 cm) high, each
This model previously unrecorded.
Ceramics & Porcelain
THEODOOR COLENBRANDER
"Grasperk" A Rozenburg Earthenware Wall Plate with the original biscuit maquette, 1887
Marks for plate: painted factory mark and date code
Marks for maquette: title and directions in pencil
10-7/8 inches (27.6 cm) diameter, each
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 54, fig. 50 for a similar example of the plate in The Hague Municipal Museum, and pp. 237-241, for various biscuit maquettes.
"Grasperk" A Rozenburg Earthenware Wall Plate with the original biscuit maquette, 1887
Marks for plate: painted factory mark and date code
Marks for maquette: title and directions in pencil
10-7/8 inches (27.6 cm) diameter, each
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 54, fig. 50 for a similar example of the plate in The Hague Municipal Museum, and pp. 237-241, for various biscuit maquettes.
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
"Korenbloem" A Rozenburg Biscuit Earthenware Maquette Plate, circa 1887
Marks: indistinct designer's name, title, and directions in pencil
10-3/4 inches (27.5 cm) diameter
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, pp. 237-241, for the various biscuit maquettes.
"Korenbloem" A Rozenburg Biscuit Earthenware Maquette Plate, circa 1887
Marks: indistinct designer's name, title, and directions in pencil
10-3/4 inches (27.5 cm) diameter
LITERATURE:
Cf. Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, pp. 237-241, for the various biscuit maquettes.
Ceramics & Porcelain
THEODOOR COLENBRANDER
A Small Rozenburg Earthenware Wall Plate, 1886
Marks: painted factory mark and date code
8-3/4 inches (22.5 cm) diameter
A Small Rozenburg Earthenware Wall Plate, 1886
Marks: painted factory mark and date code
8-3/4 inches (22.5 cm) diameter
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
"Ster" A Rozenburg Earthenware Wall Plate, 1889
Marks: painted factory mark, date code, title, no. 113, and blindstamp VHG
15-3/8 inches (39.2 cm) diameter
"Ster" A Rozenburg Earthenware Wall Plate, 1889
Marks: painted factory mark, date code, title, no. 113, and blindstamp VHG
15-3/8 inches (39.2 cm) diameter
Ceramics & Porcelain
THEODOOR COLENBRANDER
A Rozenburg Earthenware Dish, 1887
Marks: painted factory mark, date code, and monogram AW with stylized flower
13-1/4 inches (33.7 cm) diameter
A Rozenburg Earthenware Dish, 1887
Marks: painted factory mark, date code, and monogram AW with stylized flower
13-1/4 inches (33.7 cm) diameter
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
A Rozenburg Earthenware Bowl, painted by W. Abspoel, 1888
Marks: painted factory mark, date code, and painter's monogram
3 x 7-1/2 inches (7.7 x 19.0 cm)
LITERATURE:
Cf. l'Art Hollandais à Paris, exh. cat., Amsterdam, 1925, pp. 65 and 110 (contemporary photographs of the 1925 Paris World Fair with another example exhibited);
Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 54, fig. 51, for a similar example in The Hague Municipal Museum.
A Rozenburg Earthenware Bowl, painted by W. Abspoel, 1888
Marks: painted factory mark, date code, and painter's monogram
3 x 7-1/2 inches (7.7 x 19.0 cm)
LITERATURE:
Cf. l'Art Hollandais à Paris, exh. cat., Amsterdam, 1925, pp. 65 and 110 (contemporary photographs of the 1925 Paris World Fair with another example exhibited);
Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 54, fig. 51, for a similar example in The Hague Municipal Museum.
THEODOOR COLENBRANDER
"Arceering" A Rozenburg Earthenware 'Pagoda' Covered Vase, 1885-1889
Marks: painted factory mark, indistinct date code, and title; the inside of cover with title
15-1/2 inches (39.5 cm) high
"Arceering" A Rozenburg Earthenware 'Pagoda' Covered Vase, 1885-1889
Marks: painted factory mark, indistinct date code, and title; the inside of cover with title
15-1/2 inches (39.5 cm) high
Ceramics & Porcelain
THEODOOR COLENBRANDER
A Rare and Early Rozenburg Earthenware Vase, 1886
Marks: painted factory mark and date code
6-5/8 inches (16.8 cm) high
LITERATURE:
Cf. Den Haag Gemeentemuseum, exh. cat., Rozenburg, 1883-1917, Geschiedenis van een Haagse Fabriek, Zeist, 1983, p. 110, fig. 8;
Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 35, fig. 29, for a similar example in the collection of The Hague Municipal Museum.
A Rare and Early Rozenburg Earthenware Vase, 1886
Marks: painted factory mark and date code
6-5/8 inches (16.8 cm) high
LITERATURE:
Cf. Den Haag Gemeentemuseum, exh. cat., Rozenburg, 1883-1917, Geschiedenis van een Haagse Fabriek, Zeist, 1983, p. 110, fig. 8;
Y. Brentjens, exh. cat., Rozenburg, Plateel uit Haagse Kringen, 1883-1917, Zwolle, 2007, p. 35, fig. 29, for a similar example in the collection of The Hague Municipal Museum.
THEODOOR COLENBRANDER
"Naloop" A RAM Earthenware Covered Vase, painted by W. Elstrodt, 1924
Marks: stamped factory mark, painted date code, painter's monogram, title, and no. 313, incised model no. 38
12-3/8 inches (31.5 cm) high
"Naloop" A RAM Earthenware Covered Vase, painted by W. Elstrodt, 1924
Marks: stamped factory mark, painted date code, painter's monogram, title, and no. 313, incised model no. 38
12-3/8 inches (31.5 cm) high
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
"Kracht" A Large RAM Vase and Cover, painted by W. Elstrodt, 1925
Marks: stamped factory mark, painted date code, painter's monogram, title, and model no. 21
23-5/8 inches (60.0 cm) high
"Kracht" A Large RAM Vase and Cover, painted by W. Elstrodt, 1925
Marks: stamped factory mark, painted date code, painter's monogram, title, and model no. 21
23-5/8 inches (60.0 cm) high
Ceramics & Porcelain
THEODOOR COLENBRANDER
"Naloop" A Pair of RAM Earthenware Covered Vases, painted by G. Baas, 1925
12-3/8 inches (31.5 cm) high, each
"Naloop" A Pair of RAM Earthenware Covered Vases, painted by G. Baas, 1925
12-3/8 inches (31.5 cm) high, each
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
A Rare and Unusual RAM Earthenware Vase Garniture, painted by W. Elstrodt, 1923-1925
Marks: stamped factory mark, painted painter's monogram and model nos. 38 and 37, respectively
12-3/8 inches (31.5 cm) high, each covered vase
7-5/8 inches (19.5 cm) high, each cylindrical vase
A Rare and Unusual RAM Earthenware Vase Garniture, painted by W. Elstrodt, 1923-1925
Marks: stamped factory mark, painted painter's monogram and model nos. 38 and 37, respectively
12-3/8 inches (31.5 cm) high, each covered vase
7-5/8 inches (19.5 cm) high, each cylindrical vase
Ceramics & Porcelain
THEODOOR COLENBRANDER
"Eenvoud", "Sterren", and "Los" Three RAM Earthenware Bowls, 1923-1924
Marks for Sterren: painted factory mark and title
Marks for others: stamped factory mark, painted date code and painter's monogram
3-1/8 inches (8.0 cm) high, each
"Eenvoud", "Sterren", and "Los" Three RAM Earthenware Bowls, 1923-1924
Marks for Sterren: painted factory mark and title
Marks for others: stamped factory mark, painted date code and painter's monogram
3-1/8 inches (8.0 cm) high, each
Ceramics & Porcelain, Continental
THEODOOR COLENBRANDER
"Herfst" A Near Pair of RAM Earthenware Bowls, painted by A. Muller, 1923
Marks: stamped factory mark, painted date code, painter's monogram, and nos. 258 and 253, respectively
3-1/8 inches (8.0 cm) high, each
"Herfst" A Near Pair of RAM Earthenware Bowls, painted by A. Muller, 1923
Marks: stamped factory mark, painted date code, painter's monogram, and nos. 258 and 253, respectively
3-1/8 inches (8.0 cm) high, each
THEODOOR COLENBRANDER
A Large RAM Earthenware Commemorative Wall Plate, painted by A. Muller, 1923
Marks: stamped and dated factory marks, painted date code, painter's monogram, model no. 25, and edition no. 14/100
16-1/8 inches (41.0 cm) diameter
LITERATURE:
Cf. Arnhem Gemeentemuseum, exh. cat., T.A.C. Colenbrander, Plateelbakkerij "RAM" te Arnhem, Arnhem, 1986, p. 70;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 142, fig. 160.
A Large RAM Earthenware Commemorative Wall Plate, painted by A. Muller, 1923
Marks: stamped and dated factory marks, painted date code, painter's monogram, model no. 25, and edition no. 14/100
16-1/8 inches (41.0 cm) diameter
LITERATURE:
Cf. Arnhem Gemeentemuseum, exh. cat., T.A.C. Colenbrander, Plateelbakkerij "RAM" te Arnhem, Arnhem, 1986, p. 70;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 142, fig. 160.
THEODOOR COLENBRANDER
A Zuid Holland Earthenware Pitcher, 1912-1913
Marks: painted flag mark and indistinct painter's monogram (probably W. van Ham), incised nos. 0126P:160XD
9-1/4 inches (23.5 cm) high
A Zuid Holland Earthenware Pitcher, 1912-1913
Marks: painted flag mark and indistinct painter's monogram (probably W. van Ham), incised nos. 0126P:160XD
9-1/4 inches (23.5 cm) high
THEODOOR COLENBRANDER
"Dun" A Pair of RAM Earthenware Beakers, painted by W. Elstrodt, 1923
Marks: stamped factory mark, painted date code, title, painter's monogram, and nos. 44 and 140, respectively, incised model no. 39
4-7/8 inches (12.5 cm) high, each
"Dun" A Pair of RAM Earthenware Beakers, painted by W. Elstrodt, 1923
Marks: stamped factory mark, painted date code, title, painter's monogram, and nos. 44 and 140, respectively, incised model no. 39
4-7/8 inches (12.5 cm) high, each
THEODOOR COLENBRANDER
"Phantaisie" A RAM Earthenware Vase, painted by W. Elstrodt, 1923
Marks: painted factory mark (without Ram's head), date code, title, and painter's monogram, incised model no. 29
8-1/8 inches (20.5 cm) high
"Phantaisie" A RAM Earthenware Vase, painted by W. Elstrodt, 1923
Marks: painted factory mark (without Ram's head), date code, title, and painter's monogram, incised model no. 29
8-1/8 inches (20.5 cm) high
Fine Art - Work on Paper
JAN TOOROP
Viool Spelend Meisje, 1904
Lithograph
Signed on the stone
10-3/4 x 8-3/8 inches (27.2 x 21.3 cm)
PROVENANCE:
Viool Spelend Meisje;
Herman Dommisse, Amsterdam;
Sotheby's, Amsterdam, 1986, sale AM0427, lot 421 (part).
LITERATURE:
Amsterdam Printroom, exh. cat., De Grafiek van Jan Toorop, Amsterdam, 1969, p. 35, no. 72a, fig. 72;
P. van der Coelen and K. van Lieverloo, Jan Toorop Portrettist, Zwolle, 2003, p. 89, fig. 19.
This lithograph was published on the cover of the catalogue Tentoonstelling van Schilderijen, Aquarellen en Teekeningen door Jan Toorop, Amsterdam, Fr. Buffa & Zonen.
Viool Spelend Meisje, 1904
Lithograph
Signed on the stone
10-3/4 x 8-3/8 inches (27.2 x 21.3 cm)
PROVENANCE:
Viool Spelend Meisje;
Herman Dommisse, Amsterdam;
Sotheby's, Amsterdam, 1986, sale AM0427, lot 421 (part).
LITERATURE:
Amsterdam Printroom, exh. cat., De Grafiek van Jan Toorop, Amsterdam, 1969, p. 35, no. 72a, fig. 72;
P. van der Coelen and K. van Lieverloo, Jan Toorop Portrettist, Zwolle, 2003, p. 89, fig. 19.
This lithograph was published on the cover of the catalogue Tentoonstelling van Schilderijen, Aquarellen en Teekeningen door Jan Toorop, Amsterdam, Fr. Buffa & Zonen.
JAN TOOROP
Het Hooge Land, 1896
Lithograph in colors
Signed with monogram on the stone
Printed by S. Lankhout & Co.
33-7/8 x 25-1/2 inches (86.0 x 64.7 cm)
LITERATURE:
D. Dooijes and P. Brattinga, A History of the Dutch Poster, 1890-1940, Amsterdam, 1968, fig. 104;
Amsterdam Printroom, exh. cat., De Grafiek van Jan Toorop, Amsterdam, 1969, p. 25, no. 23, fig. 23;
M. Bax, et al., Symbolisme in Nederland 1890-1935, Zwolle, 2004, fig. 48, cover;
W. van Leeuwen, De Nieuwe Kunst dl. 2, Impressionism, Japonism & Symbolism, The van Leeuwen Print BV, Amsterdam 2001, p. 60, fig. XI.
Het Hooge Land, 1896
Lithograph in colors
Signed with monogram on the stone
Printed by S. Lankhout & Co.
33-7/8 x 25-1/2 inches (86.0 x 64.7 cm)
LITERATURE:
D. Dooijes and P. Brattinga, A History of the Dutch Poster, 1890-1940, Amsterdam, 1968, fig. 104;
Amsterdam Printroom, exh. cat., De Grafiek van Jan Toorop, Amsterdam, 1969, p. 25, no. 23, fig. 23;
M. Bax, et al., Symbolisme in Nederland 1890-1935, Zwolle, 2004, fig. 48, cover;
W. van Leeuwen, De Nieuwe Kunst dl. 2, Impressionism, Japonism & Symbolism, The van Leeuwen Print BV, Amsterdam 2001, p. 60, fig. XI.
BART VAN DER LECK
De Farizeeërs, circa 1905
Pencil and black and blue pastels on paper
16-3/4 x 23-5/8 inches (42.6 x 60.0 cm)
EXHIBITED:
Utrecht, Tentoonstelling van Werken door B. van der Leck, January-February 1919, no. 4;
Amsterdam, Stedelijk Museum, Overzicht van het Levenswerk van Bart van der Leck, 1949, no. 11, illus.;
Otterlo, Rijksmuseum Kröller-Müller/Amsterdam, Stedelijk Museum/Berlin, National Galerie Berlin, Bart van der Leck 1876-1958, July-September 1976/September-November 1976/February-March 1977, no. T18, illus.;
The Hague, Haags Gemeentemuseum, Kunstenaren der Idee. Symbolistische Tendenzen in Nederland, ca. 1880-1978, no. 143, illus.;
Laren, Singer Museum, April-June 1981, no. 449.
LITERATURE:
W.B.A. Feltkamp, Van der Leck, Leven en Werk, Leiden, 1956, p. 94, no. 2;
Loosjes-Terpstra, Moderne Kunst in Nederland 1900-1914, Utrecht, 1959, pp. 186 and 300;
R. Oxenaar, Bart van der Leck tot 1920, Een Primitief van de Nieuwe Tijd, Utrecht, 1976, pp. 32 and 120;
C. Blotkamp, et al., exh. cat., Kunstenaren der Idee: Symbolistische Tendenzen in Nederland, ca. 1880-1930, The Hague, 1978, p. 165, no. 143.
De Farizeeërs, circa 1905
Pencil and black and blue pastels on paper
16-3/4 x 23-5/8 inches (42.6 x 60.0 cm)
EXHIBITED:
Utrecht, Tentoonstelling van Werken door B. van der Leck, January-February 1919, no. 4;
Amsterdam, Stedelijk Museum, Overzicht van het Levenswerk van Bart van der Leck, 1949, no. 11, illus.;
Otterlo, Rijksmuseum Kröller-Müller/Amsterdam, Stedelijk Museum/Berlin, National Galerie Berlin, Bart van der Leck 1876-1958, July-September 1976/September-November 1976/February-March 1977, no. T18, illus.;
The Hague, Haags Gemeentemuseum, Kunstenaren der Idee. Symbolistische Tendenzen in Nederland, ca. 1880-1978, no. 143, illus.;
Laren, Singer Museum, April-June 1981, no. 449.
LITERATURE:
W.B.A. Feltkamp, Van der Leck, Leven en Werk, Leiden, 1956, p. 94, no. 2;
Loosjes-Terpstra, Moderne Kunst in Nederland 1900-1914, Utrecht, 1959, pp. 186 and 300;
R. Oxenaar, Bart van der Leck tot 1920, Een Primitief van de Nieuwe Tijd, Utrecht, 1976, pp. 32 and 120;
C. Blotkamp, et al., exh. cat., Kunstenaren der Idee: Symbolistische Tendenzen in Nederland, ca. 1880-1930, The Hague, 1978, p. 165, no. 143.
BART VAN DER LECK
Batavier Lijn: Two Studies and Two Proof Prints for the Poster, circa 1915
Two gouaches on paper and two lithograph in colors, Cargo and Passengers, respectively
7-1/8 x 13-5/8 inches (18.0 x 34.5 cm) each
Together with an original brochure for Batavier-Lijn dated 1923.
PROVENANCE:
Sotheby's, Amsterdam, 1989, sale AM0505, lots 314 and 315 (gouaches).
Christie's, Amsterdam, 1989, sale 2096, lot 472 (prints).
LITERATURE:
Cf. C. Blotkamp, et al., exh. cat., Van Gogh to Mondrian: Dutch Works on Paper, Zwolle and Amsterdam, 2000, p. 167, fig. 101a, for a sketch of the entire poster in the Stedelijk Museum, Amsterdam.
Batavier Lijn: Two Studies and Two Proof Prints for the Poster, circa 1915
Two gouaches on paper and two lithograph in colors, Cargo and Passengers, respectively
7-1/8 x 13-5/8 inches (18.0 x 34.5 cm) each
Together with an original brochure for Batavier-Lijn dated 1923.
PROVENANCE:
Sotheby's, Amsterdam, 1989, sale AM0505, lots 314 and 315 (gouaches).
Christie's, Amsterdam, 1989, sale 2096, lot 472 (prints).
LITERATURE:
Cf. C. Blotkamp, et al., exh. cat., Van Gogh to Mondrian: Dutch Works on Paper, Zwolle and Amsterdam, 2000, p. 167, fig. 101a, for a sketch of the entire poster in the Stedelijk Museum, Amsterdam.
Ceramics & Porcelain
JOSEPH MENDES DA COSTA
"Babij" A Grès Figure of a Chimpanzee, circa 1903
Marks: inscribed monogram and title
8-1/8 inches (20.5 cm) high
PROVENANCE:
Glerum, Amsterdam, Furniture and Decorative Arts, June 19-20, 2005, lot 335.
LITERATURE:
Cf. H.P. Bremmer, Moderne Kunstwerken, Amsterdam, 1903, no. 9, p. 69;
Wendingen, no. 5/6, 1929, p. 10;
A.M. Hammacher, Mendes da Costa, de Geestelijke Boodschap der Beeldhouwkunst, Rotterdam, 1941, pp. 31 and 72, ill. 14;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 33, fig. 33;
M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for similar examples of this model.
"Babij" A Grès Figure of a Chimpanzee, circa 1903
Marks: inscribed monogram and title
8-1/8 inches (20.5 cm) high
PROVENANCE:
Glerum, Amsterdam, Furniture and Decorative Arts, June 19-20, 2005, lot 335.
LITERATURE:
Cf. H.P. Bremmer, Moderne Kunstwerken, Amsterdam, 1903, no. 9, p. 69;
Wendingen, no. 5/6, 1929, p. 10;
A.M. Hammacher, Mendes da Costa, de Geestelijke Boodschap der Beeldhouwkunst, Rotterdam, 1941, pp. 31 and 72, ill. 14;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 33, fig. 33;
M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for similar examples of this model.
JOSEPH MENDES DA COSTA
A Grès Figural Ash Tray, circa 1898-1900
Marks: inscribed monogram, paper label with no. 604
4 x 5-1/4 inches (10.3 x 13.3 cm)
PROVENANCE:
H.P. Bremmer, The Hague, no. 604;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 138.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 190, no. 39 and p. 218, for another version.
A Grès Figural Ash Tray, circa 1898-1900
Marks: inscribed monogram, paper label with no. 604
4 x 5-1/4 inches (10.3 x 13.3 cm)
PROVENANCE:
H.P. Bremmer, The Hague, no. 604;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 138.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 190, no. 39 and p. 218, for another version.
Ceramics & Porcelain, Continental
JOSEPH MENDES DA COSTA
"Dromedary", A Grès Figure of a Sleeping Camel, 1901
Marks: incised monogram and date
11-3/8 inches (29.0 cm) long
"Dromedary", A Grès Figure of a Sleeping Camel, 1901
Marks: incised monogram and date
11-3/8 inches (29.0 cm) long
Ceramics & Porcelain
JOSEPH MENDES DA COSTA
"Ziek Aapje" A Grès Figure of a Monkey, 1900
Marks: inscribed monogram and date
7-5/8 inches (19.5 cm) high
PROVENANCE:
Sotheby's, Amsterdam, Fine Decorative Arts, June 18, 1991, lot 150.
LITERATURE:
Cf. Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 38, figs. A and B, for similar examples.
"Ziek Aapje" A Grès Figure of a Monkey, 1900
Marks: inscribed monogram and date
7-5/8 inches (19.5 cm) high
PROVENANCE:
Sotheby's, Amsterdam, Fine Decorative Arts, June 18, 1991, lot 150.
LITERATURE:
Cf. Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 38, figs. A and B, for similar examples.
JOSEPH MENDES DA COSTA
A Grès Figural Inkwell, 1901
Marks: inscribed monogram and date
5-1/4 inches (13.4 cm) long
PROVENANCE:
H.P. Bremmer, The Hague, no. 621;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 137.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for a similar example in the Boymans van Beuningen Museum, Rotterdam;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 17, fig. 21;
W.J. de Gruyter, "Menselijkheid, Humor en Geloof, Kleinplastiek Mendes da Costa" in Openbaar Kunstbezit, vol. XII, no. 1, January 1968, p. 79.
A Grès Figural Inkwell, 1901
Marks: inscribed monogram and date
5-1/4 inches (13.4 cm) long
PROVENANCE:
H.P. Bremmer, The Hague, no. 621;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 137.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for a similar example in the Boymans van Beuningen Museum, Rotterdam;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 17, fig. 21;
W.J. de Gruyter, "Menselijkheid, Humor en Geloof, Kleinplastiek Mendes da Costa" in Openbaar Kunstbezit, vol. XII, no. 1, January 1968, p. 79.
JOSEPH MENDES DA COSTA
A Grès Pen Tray, circa 1900
Marks: inscribed monogram
6 inches (15.3 cm) long
A Grès Pen Tray, circa 1900
Marks: inscribed monogram
6 inches (15.3 cm) long
Ceramics & Porcelain, Continental
JOSEPH MENDES DA COSTA
"Slapende Apen" A Grès Figural Group of Sleeping Monkeys, 1908
Marks: inscribed monogram and date, Bremmer nos. 709 (sticker) and B 185 (ink)
5-3/8 inches (13.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague, no. 709/B 185;
Christie's, Amsterdam, Twentieth Century Art, June 10, 1999, lot 23.
EXHIBITED:
Stedelijk Museum, Amsterdam, on loan until 1957.
LITERATURE:
Cf. Elseviers no. 4, April 1909, p. 27;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 39, for a similar example in the Kröller-Müller Museum, Otterlo;
M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for similar examples.
"Slapende Apen" A Grès Figural Group of Sleeping Monkeys, 1908
Marks: inscribed monogram and date, Bremmer nos. 709 (sticker) and B 185 (ink)
5-3/8 inches (13.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague, no. 709/B 185;
Christie's, Amsterdam, Twentieth Century Art, June 10, 1999, lot 23.
EXHIBITED:
Stedelijk Museum, Amsterdam, on loan until 1957.
LITERATURE:
Cf. Elseviers no. 4, April 1909, p. 27;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 39, for a similar example in the Kröller-Müller Museum, Otterlo;
M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for similar examples.
Fine Art - Sculpture, European
JOSEPH MENDES DA COSTA
Vincent Van Gogh, circa 1915
Bronze with patina
Inscribed monogram, title, and motto: MIJN GOD MAG HET
Cast in an edition of thirteen
Foundry mark: Fonderie Natle des Bronzes Ance Firme J. Petermann St. Gilles Bruxelles
15-1/2 inches (39.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague;
Christie's, Amsterdam, 1990, lot 232.
EXHIBITED:
Stichting Hopmanshuis Zwolle, Herleving Nederlandse Beeldhouwkunst van 1890-1920, 1959.
LITERATURE:
Cf. Wendingen, vol. V, 1923, p. 7;
A.M. Hammacher, Mendes da Costa, de Geestelijke Boodschap der Beeldhouwkunst, Rotterdam, 1941, pp. 43-45, and 74;
A.M. Hammacher, Beeldhouwkunst van Deze Eeuw en een Schets van Haar Ontwikkeling in de Negentiende Eeuw, Amsterdam, 1955, figs. 29 and 30;
E. van Uitert, De Legende Vorming te Bevorderen: Vincent van Gogh Mythe, Amsterdam, 1977, p. 22;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 32, fig. 45, for another cast in the Van Gogh Museum, Amsterdam;
Singer Museum, exh. cat., Leven in een Verzameling, Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 171, fig. 196, for other casts in the collections of the Kröller-Müller Museum, Otterlo, and Stedelijk Museum, Amsterdam.
Vincent Van Gogh, circa 1915
Bronze with patina
Inscribed monogram, title, and motto: MIJN GOD MAG HET
Cast in an edition of thirteen
Foundry mark: Fonderie Natle des Bronzes Ance Firme J. Petermann St. Gilles Bruxelles
15-1/2 inches (39.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague;
Christie's, Amsterdam, 1990, lot 232.
EXHIBITED:
Stichting Hopmanshuis Zwolle, Herleving Nederlandse Beeldhouwkunst van 1890-1920, 1959.
LITERATURE:
Cf. Wendingen, vol. V, 1923, p. 7;
A.M. Hammacher, Mendes da Costa, de Geestelijke Boodschap der Beeldhouwkunst, Rotterdam, 1941, pp. 43-45, and 74;
A.M. Hammacher, Beeldhouwkunst van Deze Eeuw en een Schets van Haar Ontwikkeling in de Negentiende Eeuw, Amsterdam, 1955, figs. 29 and 30;
E. van Uitert, De Legende Vorming te Bevorderen: Vincent van Gogh Mythe, Amsterdam, 1977, p. 22;
Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 32, fig. 45, for another cast in the Van Gogh Museum, Amsterdam;
Singer Museum, exh. cat., Leven in een Verzameling, Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 171, fig. 196, for other casts in the collections of the Kröller-Müller Museum, Otterlo, and Stedelijk Museum, Amsterdam.
Sculpture
JOSEPH MENDES DA COSTA
Jan Steen, 1911
Bronze with dark brown patina
Inscribed monogram and date
Cast in an edition of seven
Foundry mark: Fonderie Natle des Bronzes J. Petermann St. Gilles Bruxelles
13-3/4 inches (35.0 cm) high
LITERATURE:
Cf. Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 26, fig. 34, for another cast in the Kröller-Müller Museum, Otterlo.
Jan Steen, 1911
Bronze with dark brown patina
Inscribed monogram and date
Cast in an edition of seven
Foundry mark: Fonderie Natle des Bronzes J. Petermann St. Gilles Bruxelles
13-3/4 inches (35.0 cm) high
LITERATURE:
Cf. Kunstschrift no. 1, Joseph Mendes da Costa, "een prachtig mens", The Hague, 1997, p. 26, fig. 34, for another cast in the Kröller-Müller Museum, Otterlo.
Ceramics & Porcelain
JOSEPH MENDES DA COSTA
A Grès Vase, 1899
Marks: inscribed monogram and date
4-5/8 inches (11.7 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 1988, sale AM0482, lot 413.
A Grès Vase, 1899
Marks: inscribed monogram and date
4-5/8 inches (11.7 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 1988, sale AM0482, lot 413.
JOSEPH MENDES DA COSTA
A Grès Milk Jug, 1900
Marks: inscribed monogram and date
5-1/8 inches (13.0 cm) high
PROVENANCE:
Glerum, Amsterdam, Furniture and Decorative Arts, May 30, 2000.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 216, for similar examples.
A Grès Milk Jug, 1900
Marks: inscribed monogram and date
5-1/8 inches (13.0 cm) high
PROVENANCE:
Glerum, Amsterdam, Furniture and Decorative Arts, May 30, 2000.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 216, for similar examples.
Ceramics & Porcelain, Continental
JOSEPH MENDES DA COSTA
"Het Licht Gedragen Door de Liefde" A Pair of Grès Figural Candlesticks, 1901
Marks: both with inscribed monogram, one dated
9-1/4 inches (23.4 cm) high, taller
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 82, fig. 78 (actual pieces);
F. de Miranda, Mendes da Costa - Jessurun de Mesquita, Wassenaar, 1978, p. 81.
"Het Licht Gedragen Door de Liefde" A Pair of Grès Figural Candlesticks, 1901
Marks: both with inscribed monogram, one dated
9-1/4 inches (23.4 cm) high, taller
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 82, fig. 78 (actual pieces);
F. de Miranda, Mendes da Costa - Jessurun de Mesquita, Wassenaar, 1978, p. 81.
JOSEPH MENDES DA COSTA
A Small Grès Figural Vase, circa 1900
Marks: inscribed monogram
4-1/8 inches (10.4 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 1988, lot 404.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 217, for a similar example.
A Small Grès Figural Vase, circa 1900
Marks: inscribed monogram
4-1/8 inches (10.4 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 1988, lot 404.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 217, for a similar example.
JOSEPH MENDES DA COSTA
"Clown" A Rare Grès Figure of a Male Pierrot, 1901
Marks: inscribed monogram and date
11-3/8 inches (29.0 cm) high
PROVENANCE:
Christie's, Amsterdam, 1990, sale code Seattle, lot 170.
LITERATURE:
T.M. Elïens and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 56 (actual piece);
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for a similar example.
"Clown" A Rare Grès Figure of a Male Pierrot, 1901
Marks: inscribed monogram and date
11-3/8 inches (29.0 cm) high
PROVENANCE:
Christie's, Amsterdam, 1990, sale code Seattle, lot 170.
LITERATURE:
T.M. Elïens and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 56 (actual piece);
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 219, for a similar example.
Ceramics & Porcelain
JOSEPH MENDES DA COSTA
A Grès Marabou Cup, circa 1900
Marks: incised monogram and no. III
4-1/2 inches (11.3 cm) high
PROVENANCE:
Tutein Nolthenius, Amersfoort;
Herman Dommisse, Amsterdam;
Sotheby's, Amsterdam, 1986, sale AM0427, lot 157;
Sotheby's, Amsterdam, 1995, sale AM0636, lot 739.
LITERATURE:
F. de Miranda, Mendes da Costa--Jessurun de Mesquita, Wassenaar, 1978, p. 77, afb. 29.
A Grès Marabou Cup, circa 1900
Marks: incised monogram and no. III
4-1/2 inches (11.3 cm) high
PROVENANCE:
Tutein Nolthenius, Amersfoort;
Herman Dommisse, Amsterdam;
Sotheby's, Amsterdam, 1986, sale AM0427, lot 157;
Sotheby's, Amsterdam, 1995, sale AM0636, lot 739.
LITERATURE:
F. de Miranda, Mendes da Costa--Jessurun de Mesquita, Wassenaar, 1978, p. 77, afb. 29.
JOSEPH MENDES DA COSTA
A Grès Beaker, circa 1900
Marks: inscribed monogram, paper label with no. 413
4-1/8 inches (10.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague, no. 413;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 142.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 218, for a similar example with owl lozenges.
A Grès Beaker, circa 1900
Marks: inscribed monogram, paper label with no. 413
4-1/8 inches (10.5 cm) high
PROVENANCE:
H.P. Bremmer, The Hague, no. 413;
Christie's, Amsterdam, Twentieth Century Art, June 8, 2000, lot 142.
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 218, for a similar example with owl lozenges.
WILLEM BROUWER
A Large Earthenware Four-Handled Vase, 1909
Marks: impressed factory mark, incised date
14-3/8 inches (36.6 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 81, fig. 75 (actual piece);
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 156, no. 33, fig. 36;
E. Ebbinge, W.C. Brouwer (1877-1933) Aarden Vaatwerk, Tuin-Aardewerk, Bouwkeramiek, Mededelingenblad Ned. Ver. V. Vrienden v.d. Ceramiek 97/98, Leeuwarden, 1980, p. 46, fig. 75.
A Large Earthenware Four-Handled Vase, 1909
Marks: impressed factory mark, incised date
14-3/8 inches (36.6 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 81, fig. 75 (actual piece);
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, p. 156, no. 33, fig. 36;
E. Ebbinge, W.C. Brouwer (1877-1933) Aarden Vaatwerk, Tuin-Aardewerk, Bouwkeramiek, Mededelingenblad Ned. Ver. V. Vrienden v.d. Ceramiek 97/98, Leeuwarden, 1980, p. 46, fig. 75.
WILLEM BROUWER
An Earthenware Vase, 1907
Marks: impressed factory mark, incised date and model no. 184
11-5/8 inches (29.5 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 81, fig. 76 (actual piece).
An Earthenware Vase, 1907
Marks: impressed factory mark, incised date and model no. 184
11-5/8 inches (29.5 cm) high
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 81, fig. 76 (actual piece).
WILLEM BROUWER
An Earthenware Vase, 1909
Marks: impressed factory mark, incised date and model no. 12
6-1/2 inches (16.4 cm) high
An Earthenware Vase, 1909
Marks: impressed factory mark, incised date and model no. 12
6-1/2 inches (16.4 cm) high
WILLEM BROUWER
An Earthenware Vase, 1905
Marks: incised factory mark, date, and model no. 12
6-1/2 inches (16.4 cm) high
An Earthenware Vase, 1905
Marks: incised factory mark, date, and model no. 12
6-1/2 inches (16.4 cm) high
WILLEM BROUWER
An Earthenware Vase, 1909
Marks: impressed factory mark, incised date and model no. 12
6-1/2 inches (16.4 cm) high
An Earthenware Vase, 1909
Marks: impressed factory mark, incised date and model no. 12
6-1/2 inches (16.4 cm) high
WILLEM BROUWER
Two Earthenware Owl Jugs, circa 1905-1910
Marks for taller: indistinctly marked
Marks for smaller: impressed factory mark
8-1/8 inches (20.5 cm) high, taller
4-3/4 inches (12.0 cm) high, smaller
Two Earthenware Owl Jugs, circa 1905-1910
Marks for taller: indistinctly marked
Marks for smaller: impressed factory mark
8-1/8 inches (20.5 cm) high, taller
4-3/4 inches (12.0 cm) high, smaller
WILLEM BROUWER
Three Earthenware Vases, 1901, 1907, 1908
Marks: impressed factory mark, date, and model nos. 15, 138, and 46, respectively
5-5/8 inches (14.2 cm) high, tallest
LITERATURE:
The 1907 vase: T.M. Elïens and F. Leidelmejer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 56 (actual piece).
Three Earthenware Vases, 1901, 1907, 1908
Marks: impressed factory mark, date, and model nos. 15, 138, and 46, respectively
5-5/8 inches (14.2 cm) high, tallest
LITERATURE:
The 1907 vase: T.M. Elïens and F. Leidelmejer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 56 (actual piece).
WILLEM BROUWER
Three Various Earthenware Vases, 1908
Marks: larger two with impressed mark and indistinctly inscribed date (one probably 1908), the other with illegible incised marks
5-1/8 inches (13.0 cm) high, larger two
3-1/4 inches (8.4 cm) high, smaller
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, pp. 166 and 169.
Three Various Earthenware Vases, 1908
Marks: larger two with impressed mark and indistinctly inscribed date (one probably 1908), the other with illegible incised marks
5-1/8 inches (13.0 cm) high, larger two
3-1/4 inches (8.4 cm) high, smaller
LITERATURE:
Cf. M. Simon Thomas, ed., Nederlandse Art Nouveau en Art Deco Keramiek, 1880-1940, Collectie Boymans Van Beuningen, Rotterdam, 2001, pp. 166 and 169.
Ceramics & Porcelain, Continental
Attributed to WILLEM BROUWER
An Earthenware Figure of a Egyptian-Style Seated Baboon, after 1910
15-3/4 inches (40 cm) high
An Earthenware Figure of a Egyptian-Style Seated Baboon, after 1910
15-3/4 inches (40 cm) high
Fine Art - Painting, European
LOU LOEBER
Bouwen, 1932
Oil on panel
Initialed and dated '32; signed, titled, inscribed Laren N-H and dated 1932 verso
35-7/8 x 24 inches (91.0 x 61.0 cm)
PROVENANCE:
Galerie Brockstedt, Hamburg, 1972;
Brook Street Gallery, London;
Herman Dommisse, Amsterdam, 1988.
EXHIBITED:
Amsterdam, Rijksmuseum, Kunst in Vrijheid, September-October 1945;
The Hague, Haags Gemeentemuseum, De Rationele Keuken, 1982.
Bouwen, 1932
Oil on panel
Initialed and dated '32; signed, titled, inscribed Laren N-H and dated 1932 verso
35-7/8 x 24 inches (91.0 x 61.0 cm)
PROVENANCE:
Galerie Brockstedt, Hamburg, 1972;
Brook Street Gallery, London;
Herman Dommisse, Amsterdam, 1988.
EXHIBITED:
Amsterdam, Rijksmuseum, Kunst in Vrijheid, September-October 1945;
The Hague, Haags Gemeentemuseum, De Rationele Keuken, 1982.
Ceramics & Porcelain, Continental
HILDO KROP
An ESKAF Huizen Earthenware Covered Bowl, 1927-circa 1930
Marks: indistinct coldpainted marks
8-7/8 inches (22.5 cm) high
LITERATURE:
Cf. W. Spitzen and A. Verschuuren, exh. cat., ESKAF, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Vormen uit Vuur, 171/172, Leeuwarden, 2000, p. 13, fig. 11, for a contemporary photograph of this model shown in the 1925 Paris World Fair.
An ESKAF Huizen Earthenware Covered Bowl, 1927-circa 1930
Marks: indistinct coldpainted marks
8-7/8 inches (22.5 cm) high
LITERATURE:
Cf. W. Spitzen and A. Verschuuren, exh. cat., ESKAF, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Vormen uit Vuur, 171/172, Leeuwarden, 2000, p. 13, fig. 11, for a contemporary photograph of this model shown in the 1925 Paris World Fair.
HILDO KROP
An ESKAF Earthenware Covered Bowl, circa 1920-1927
Marks: painted and incised model no. 102
8-5/8 inches (22.0 cm) high
LITERATURE:
Cf. W. Spitzen and A. Verschuuren, exh. cat., ESKAF, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Vormen uit Vuur, 171/172, Leeuwarden, 2000, p. 13, fig. 11, for a contemporary photograph of this model shown in the 1925 Paris World Fair.
An ESKAF Earthenware Covered Bowl, circa 1920-1927
Marks: painted and incised model no. 102
8-5/8 inches (22.0 cm) high
LITERATURE:
Cf. W. Spitzen and A. Verschuuren, exh. cat., ESKAF, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Vormen uit Vuur, 171/172, Leeuwarden, 2000, p. 13, fig. 11, for a contemporary photograph of this model shown in the 1925 Paris World Fair.
Fine Art - Work on Paper
GERRIT THOMAS RIETVELD
Vereeniging van Onthouders, 1917-1920
Lithograph in colors
Signed on the stone
Printed by Zuidam, Utrecht
19-1/8 x 14-5/8 inches (48.5 x 37.2 cm)
This exquisite lithograph is the only recorded copy of the artist's only poster.
PROVENANCE:
Barry Friedman Ltd, New York.
LITERATURE:
M. Küper and I. van Zijl, Gerrit Th. Rietveld 1888-1964, The Complete Works, Utrecht, 1992, p. 82, no. 49 (actual piece).
Vereeniging van Onthouders, 1917-1920
Lithograph in colors
Signed on the stone
Printed by Zuidam, Utrecht
19-1/8 x 14-5/8 inches (48.5 x 37.2 cm)
This exquisite lithograph is the only recorded copy of the artist's only poster.
PROVENANCE:
Barry Friedman Ltd, New York.
LITERATURE:
M. Küper and I. van Zijl, Gerrit Th. Rietveld 1888-1964, The Complete Works, Utrecht, 1992, p. 82, no. 49 (actual piece).
Furniture
CAREL LION CACHET FOR E.J. VAN WISSELINGH & CO, AMSTERDAM
A Brass and Ivory Inlaid Coromandel Occasional Table, circa 1902
28-7/8 x 15-1/8 x 15-1/8 inches (73.5 x 38.5 x 38.5 cm)
PROVENANCE:
Frans Leidelmeijer, Amsterdam;
Christie's, Amsterdam, The Frans Leidelmeijer Collection, Pioneer of Dutch Decorative Arts 1880-1940, May 16, 2006, lot 103.
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 88, fig. 87 (actual piece).
Cf. E.J. van Wisselingh & Co catalogue, Haarlem, 1904, pl. 18;
L. Dosi Delfini, et al., The Furniture Collection Stedelijk Museum Amsterdam, Rotterdam, 2004, p. 252, no. 363.
A Brass and Ivory Inlaid Coromandel Occasional Table, circa 1902
28-7/8 x 15-1/8 x 15-1/8 inches (73.5 x 38.5 x 38.5 cm)
PROVENANCE:
Frans Leidelmeijer, Amsterdam;
Christie's, Amsterdam, The Frans Leidelmeijer Collection, Pioneer of Dutch Decorative Arts 1880-1940, May 16, 2006, lot 103.
LITERATURE:
F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 88, fig. 87 (actual piece).
Cf. E.J. van Wisselingh & Co catalogue, Haarlem, 1904, pl. 18;
L. Dosi Delfini, et al., The Furniture Collection Stedelijk Museum Amsterdam, Rotterdam, 2004, p. 252, no. 363.
Ceramics & Porcelain, Continental
CHRIS VAN DER HOEF
A Voorheen Amstelhoek Earthenware Vase, probably 1906
Marks: stamped factory mark, incised 22-8-06 and Z
8-1/4 inches (21.0 cm) high
LITERATURE:
Cf. F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 75, fig. 65;
T.M. Elïens and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 43, for similar examples.
A Voorheen Amstelhoek Earthenware Vase, probably 1906
Marks: stamped factory mark, incised 22-8-06 and Z
8-1/4 inches (21.0 cm) high
LITERATURE:
Cf. F. Leidelmeijer and D. van der Cingel, Art Nouveau en Art Deco in Nederland, Epe, 1983, p. 75, fig. 65;
T.M. Elïens and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 43, for similar examples.
CHRIS VAN DER HOEF
A Voorheen Amstelhoek Earthenware Vase, probably 1906
Marks: stamped factory mark and inscribed 29/12-06
16-1/8 inches (41.0 cm) high
LITERATURE:
J.D. van Dam and A. Hidding, exh. cat., Amstelhoek 1897-1910, Leeuwarden, 1986, p. 50, fig. 39, for a similarly designed cache pot.
A Voorheen Amstelhoek Earthenware Vase, probably 1906
Marks: stamped factory mark and inscribed 29/12-06
16-1/8 inches (41.0 cm) high
LITERATURE:
J.D. van Dam and A. Hidding, exh. cat., Amstelhoek 1897-1910, Leeuwarden, 1986, p. 50, fig. 39, for a similarly designed cache pot.
Ceramics & Porcelain
CHRIS VAN DER HOEF
A Rare Haga Earthenware Vase, 1905-1907
Marks: stamped factory mark, painted monograms LV and RS, painted and incised model no. 3003
13-3/8 inches (34 cm) high
LITERATURE:
Cf. F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Supplement, Purmerends, 2005, p. 146, for an identical example.
A Rare Haga Earthenware Vase, 1905-1907
Marks: stamped factory mark, painted monograms LV and RS, painted and incised model no. 3003
13-3/8 inches (34 cm) high
LITERATURE:
Cf. F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Supplement, Purmerends, 2005, p. 146, for an identical example.
Ceramics & Porcelain, Continental
CHRIS VAN DER HOEF
A Haga Earthenware Figure of a Young Girl, circa 1906
Marks: painted factory mark and designer's name on base, stamped and incised factory marks on underside and incised no. D 385 I and LK, painted monogram LV
14-3/8 inches (36.5 cm) high
LITERATURE:
Cf. L.F. Jintes, and J. Pol-Tyskiewicz, Chris van der Hoef 1875-1933, Leiden, 1994, p. 74, fig. 118;
F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Purmerends, 1995, p. 174, no. 366, for an identical example in the Purmerends Museum;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 280, fig. 214, for a similar example by Voorheen Amstelhoek.
A Haga Earthenware Figure of a Young Girl, circa 1906
Marks: painted factory mark and designer's name on base, stamped and incised factory marks on underside and incised no. D 385 I and LK, painted monogram LV
14-3/8 inches (36.5 cm) high
LITERATURE:
Cf. L.F. Jintes, and J. Pol-Tyskiewicz, Chris van der Hoef 1875-1933, Leiden, 1994, p. 74, fig. 118;
F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Purmerends, 1995, p. 174, no. 366, for an identical example in the Purmerends Museum;
Singer Museum, exh. cat., Leven in een Verzameling: Toegepaste Kunst 1890-1940 uit de Collectie Meentwijck, Waanders, 2000, p. 280, fig. 214, for a similar example by Voorheen Amstelhoek.
THEODOOR NIEUWENHUIS
A Rare Distel Earthenware Wall Plate, circa 1914-1915
Inscribed: Distel TN
12-3/4 inches (32.5 cm) diameter
LITERATURE:
T.M. Eliëns and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 28 (actual piece).
A Rare Distel Earthenware Wall Plate, circa 1914-1915
Inscribed: Distel TN
12-3/4 inches (32.5 cm) diameter
LITERATURE:
T.M. Eliëns and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 28 (actual piece).
Ceramics & Porcelain
THEODOOR NIEUWENHUIS
A Rare Distel Earthenware Vase, circa 1914-1915
Inscribed: Distel fecit TN
8-7/8 inches (22.5 cm) high
LITERATURE:
T.M. Eliëns and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 28 (actual piece).
A Rare Distel Earthenware Vase, circa 1914-1915
Inscribed: Distel fecit TN
8-7/8 inches (22.5 cm) high
LITERATURE:
T.M. Eliëns and F. Leidelmeijer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 28 (actual piece).
A DISTEL EARTHENWARE VASE
Circa 1905-1910
Marks: unknown symbol or monogram in blue glaze, blindstamped no. 74 L
4-5/8 inches (11.7 cm) high
Circa 1905-1910
Marks: unknown symbol or monogram in blue glaze, blindstamped no. 74 L
4-5/8 inches (11.7 cm) high
Ceramics & Porcelain, Continental
AN UNUSUAL DISTEL EARTHENWARE CACHE POT
Circa 1895-1900
Marks: painted factory mark and painter's monogram B
6-1/8 x 8-5/8 inches (15.5 x 22.0 cm)
Circa 1895-1900
Marks: painted factory mark and painter's monogram B
6-1/8 x 8-5/8 inches (15.5 x 22.0 cm)
Ceramics & Porcelain
A DISTEL EARTHENWARE VASE
Circa 1900
Marks: painted factory mark, model no. 66, and painter's monogram NvB
12-3/8 inches (31.5 cm) high
Circa 1900
Marks: painted factory mark, model no. 66, and painter's monogram NvB
12-3/8 inches (31.5 cm) high
TWO DISTEL EARTHENWARE VASES
Circa 1900
Marks: painted factory mark and painter's monogram AV and NvB, respectively
10 inches (25.5 cm) high, taller
Circa 1900
Marks: painted factory mark and painter's monogram AV and NvB, respectively
10 inches (25.5 cm) high, taller
Fine Art - Painting, European
THEO VAN HOYTEMA
Peacock, circa 1894
Oil on canvas
Bookmark label of Van Hoytema dated 1895 and various annotations in pencil verso
28-7/8 x 14-3/4 inches (73.5 x 37.5 cm)
PROVENANCE:
K. Sanders, The Hague.
LITERATURE:
Cf. M. Boot, et al., exh. cat., Theo van Hoytema, 1863-1917, Zwolle, 1999, p. 25, figs. 20 and 21, for very similar design sketches of a mural by Van Hoytema for the Groote Societeit in Gorinchem commissioned in 1894. This painting may have been a study for the finished mural.
Peacock, circa 1894
Oil on canvas
Bookmark label of Van Hoytema dated 1895 and various annotations in pencil verso
28-7/8 x 14-3/4 inches (73.5 x 37.5 cm)
PROVENANCE:
K. Sanders, The Hague.
LITERATURE:
Cf. M. Boot, et al., exh. cat., Theo van Hoytema, 1863-1917, Zwolle, 1999, p. 25, figs. 20 and 21, for very similar design sketches of a mural by Van Hoytema for the Groote Societeit in Gorinchem commissioned in 1894. This painting may have been a study for the finished mural.
Fine Art - Work on Paper
THEO VAN HOYTEMA
Poule Mourante, circa 1890s
Ink and pastel on paper
Signed and titled
33-1/8 x 20-1/4 inches (84.0 x 51.5 cm)
PROVENANCE:
K. Sanders, The Hague.
Poule Mourante, circa 1890s
Ink and pastel on paper
Signed and titled
33-1/8 x 20-1/4 inches (84.0 x 51.5 cm)
PROVENANCE:
K. Sanders, The Hague.
Ceramics & Porcelain
CORNELIS DE BRUIN
An Extremely Rare Dordtsche Kunstpotterij Earthenware Clock Garniture, 1903-1906
Marks: all with painted factory mark
13-3/8 inches (34.0 cm) high, clock
10 inches (25.5 cm) high, each vase
LITERATURE:
T.M. Elïens and F. Leidelmejer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 57 (actual piece);
Cf. J.M. de Groot in Antiek, no. 10, 1974, p. 828, fig. 11, for a contemporary photograph of a similar set.
An Extremely Rare Dordtsche Kunstpotterij Earthenware Clock Garniture, 1903-1906
Marks: all with painted factory mark
13-3/8 inches (34.0 cm) high, clock
10 inches (25.5 cm) high, each vase
LITERATURE:
T.M. Elïens and F. Leidelmejer, Kunstnijverheid in Nederland 1880-1940, Bussum, 1997, p. 57 (actual piece);
Cf. J.M. de Groot in Antiek, no. 10, 1974, p. 828, fig. 11, for a contemporary photograph of a similar set.
Timepieces
A THE HAGUE SCHOOL NICKEL PLATED BRASS AND NIELLO MANTEL CLOCK
1920s
11-7/8 x 9-5/8 x 4-1/2 inches (30.3 x 24.3 x 11.3 cm)
LITERATURE:
Cf. T. de Rijk, De Haagse Stijl, Art Deco in Nederland, Rotterdam, 2004, pl. I, p. 8, for a Jan Lecointre cabinet, designed circa 1920, with anniversary date in metal inlay, similar to that of the numerals on the present clock.
1920s
11-7/8 x 9-5/8 x 4-1/2 inches (30.3 x 24.3 x 11.3 cm)
LITERATURE:
Cf. T. de Rijk, De Haagse Stijl, Art Deco in Nederland, Rotterdam, 2004, pl. I, p. 8, for a Jan Lecointre cabinet, designed circa 1920, with anniversary date in metal inlay, similar to that of the numerals on the present clock.
Ceramics & Porcelain, Continental
AUGUSTE FALISE
A Haga Earthenware Figure of a Seated Nude Boy and a plaster version stained green, 1904-1907
Marks: incised sculptor's name on both; the ceramic version with stamped factory mark and painted painter's monogram RS and model
no. 438; the plaster version with incised factory mark and model no.
11-3/4 inches (30.0 cm) high, each
LITERATURE:
Cf. F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Purmerends, 1995, pp. 135 and 150, no. 380.
A Haga Earthenware Figure of a Seated Nude Boy and a plaster version stained green, 1904-1907
Marks: incised sculptor's name on both; the ceramic version with stamped factory mark and painted painter's monogram RS and model
no. 438; the plaster version with incised factory mark and model no.
11-3/4 inches (30.0 cm) high, each
LITERATURE:
Cf. F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Purmerends, 1995, pp. 135 and 150, no. 380.
Decorative Arts, Continental
CHRIS LEBEAU
A Rare Pair of Engraved Marble Plaques, executed circa 1920
Marks: engraved designer's monogram
21-5/8 x 15-3/4 inches (55.0 x 40.0 cm) each plaque
30-5/8 x 18-5/8 x 9-3/8 inches (78.0 x 47.5 x 24.0 cm) each overall
PROVENANCE:
Sotheby's, Amsterdam, 1987, sale AM0467, lot 778.
LITERATURE:
M. de Bois, exh. cat., Chris Lebeau 1878-1945, Assen, 1987, pp. 189-191 and 212.
A Rare Pair of Engraved Marble Plaques, executed circa 1920
Marks: engraved designer's monogram
21-5/8 x 15-3/4 inches (55.0 x 40.0 cm) each plaque
30-5/8 x 18-5/8 x 9-3/8 inches (78.0 x 47.5 x 24.0 cm) each overall
PROVENANCE:
Sotheby's, Amsterdam, 1987, sale AM0467, lot 778.
LITERATURE:
M. de Bois, exh. cat., Chris Lebeau 1878-1945, Assen, 1987, pp. 189-191 and 212.
Fine Art - Work on Paper
BERNARD RICHTERS
Methamorphosis, 1920s
Black charcoal on card
Signed and inscribed Gooyergracht 21 Laren N5 verso
28-7/8 x 12-1/4 inches (73.5 x 31.0 cm)
PROVENANCE:
The family of the artist;
Frans Leidelmeijer, Amsterdam.
LITERATURE:
Y. Koopmans, Bernard Richters in Galerie Frans Leidelmeijer, Leeuwarden, 1993, p. 30 (actual piece).
Methamorphosis, 1920s
Black charcoal on card
Signed and inscribed Gooyergracht 21 Laren N5 verso
28-7/8 x 12-1/4 inches (73.5 x 31.0 cm)
PROVENANCE:
The family of the artist;
Frans Leidelmeijer, Amsterdam.
LITERATURE:
Y. Koopmans, Bernard Richters in Galerie Frans Leidelmeijer, Leeuwarden, 1993, p. 30 (actual piece).
Ceramics & Porcelain
CHRIS LANOOY
A Rare De Kleiweg Earthenware Vase, circa 1907
Marks: painted mark De Kleiweg CJ Lanooy Gouda
13-1/4 inches (33.5 cm) high
A Rare De Kleiweg Earthenware Vase, circa 1907
Marks: painted mark De Kleiweg CJ Lanooy Gouda
13-1/4 inches (33.5 cm) high
Ceramics & Porcelain, Continental
CHRIS LANOOY
Three Earthenware Anniversary Mushroom Wall Plates, 1925
Marks: painted marks C.J. Lanooy, CLBR within circle, and 1 sept 1900-1925
13-1/4 inches (33.5 cm) diameter, largest
Three Earthenware Anniversary Mushroom Wall Plates, 1925
Marks: painted marks C.J. Lanooy, CLBR within circle, and 1 sept 1900-1925
13-1/4 inches (33.5 cm) diameter, largest
Ceramics & Porcelain
A MONUMENTAL HOLLAND EARTHENWARE WALL PLATE
1895-1905
Marks: painted factory mark, no. 827, and G
20-1/2 inches (52.0 cm) diameter
LITERATURE:
Cf. M. Heslenfeld, exh. cat., De Collectie Holland, Art Nouveau Ceramiek van de NV Faience - en Tegelfabriek "Holland" te Utrecht 1894-1918, Zwolle, 2006, pp. 57 and 69, figs. 307 and 78, for similar examples with lotus flowers.
1895-1905
Marks: painted factory mark, no. 827, and G
20-1/2 inches (52.0 cm) diameter
LITERATURE:
Cf. M. Heslenfeld, exh. cat., De Collectie Holland, Art Nouveau Ceramiek van de NV Faience - en Tegelfabriek "Holland" te Utrecht 1894-1918, Zwolle, 2006, pp. 57 and 69, figs. 307 and 78, for similar examples with lotus flowers.
ADOLPHE LE COMTE
An Unusual Porceleyne Fles Jacoba Earthenware Wall Plate, after 1897
Marks: incised factory mark and F, indistinct painted marks
12-3/8 inches (31.5 cm) diameter
LITERATURE:
Cf. M.-R. Bogaers, et al., exh. cat., De Porceleyne Fles: De Wedergeboorte van een Delftse Aardewerkfabriek, Utrecht, 1986, pp. 148-156.
An Unusual Porceleyne Fles Jacoba Earthenware Wall Plate, after 1897
Marks: incised factory mark and F, indistinct painted marks
12-3/8 inches (31.5 cm) diameter
LITERATURE:
Cf. M.-R. Bogaers, et al., exh. cat., De Porceleyne Fles: De Wedergeboorte van een Delftse Aardewerkfabriek, Utrecht, 1986, pp. 148-156.
Decorative Arts, Continental
JAN EISENLOEFFEL FOR DE WONING, AMSTERDAM
A Brass Bouilloire, after 1902
Marks: impressed designer's monogram
12-5/8 inches (32.0 cm) high, including handle
LITERATURE:
Cf. A. Krekel-Aalberse, exh. cat., Jan Eisenloeffel 1876-1957, Zwolle, 1996, p. 78, fig. 53, for a similar example.
A Brass Bouilloire, after 1902
Marks: impressed designer's monogram
12-5/8 inches (32.0 cm) high, including handle
LITERATURE:
Cf. A. Krekel-Aalberse, exh. cat., Jan Eisenloeffel 1876-1957, Zwolle, 1996, p. 78, fig. 53, for a similar example.
Ceramics & Porcelain
A MONUMENTAL EARTHENWARE TWO-HANDLED VASE
Attributed to Holland, circa 1900
Marks: incised no. 3024
19 inches (50.8 cm) high
Attributed to Holland, circa 1900
Marks: incised no. 3024
19 inches (50.8 cm) high
Timepieces
PAUL GRÉGOIRE
"Night and Day" An Oak and Copper Mantel Clock, 1930s
19-1/2 x 16-7/8 x 4-1/2 inches (49.5 x 43 x 11.5 cm)
PROVENANCE:
The family of the artist;
Frans Leidelmeijer, Amsterdam.
LITERATURE:
Cf. P.M.J.E. Jacobs, ed., Beeldend Benelux: Beeldende Kunstenaars in België, Nederland en Luxemburg, Tilburg, 2000, pp. 580-581.
"Night and Day" An Oak and Copper Mantel Clock, 1930s
19-1/2 x 16-7/8 x 4-1/2 inches (49.5 x 43 x 11.5 cm)
PROVENANCE:
The family of the artist;
Frans Leidelmeijer, Amsterdam.
LITERATURE:
Cf. P.M.J.E. Jacobs, ed., Beeldend Benelux: Beeldende Kunstenaars in België, Nederland en Luxemburg, Tilburg, 2000, pp. 580-581.
Ceramics & Porcelain, Continental
LEON SENF
"Ondergaande Zon" A Porceleyne Fles Earthenware Wall Plate, circa 1900
Marks: painted factory mark, painter's monogram VH, date code U or V, and no. 1285
12-7/8 inches (33.0 cm) diameter
LITERATURE:
Cf. M.-R. Bogaers, et al., exh. cat., De Porceleyne Fles: De Wedergeboorte van een Delftse Aardewerkfabriek, Utrecht, 1986, p. 116, no. 99, for a similar example.
"Ondergaande Zon" A Porceleyne Fles Earthenware Wall Plate, circa 1900
Marks: painted factory mark, painter's monogram VH, date code U or V, and no. 1285
12-7/8 inches (33.0 cm) diameter
LITERATURE:
Cf. M.-R. Bogaers, et al., exh. cat., De Porceleyne Fles: De Wedergeboorte van een Delftse Aardewerkfabriek, Utrecht, 1986, p. 116, no. 99, for a similar example.
LEON SENF
A Porceleyne Fles Earthenware Wall Plate, painted by P. Senf, after 1921
Marks: painted factory mark and painter's monogram
13-7/8 inches (35.5 cm) diameter
LITERATURE:
Cf. Wendingen, no. 12, 1927, p. 9, for a similar example.
Together with a Porceleyne Fles rectangular bowl decorated with "Berbas" lustrous stream red and green glazes.
A Porceleyne Fles Earthenware Wall Plate, painted by P. Senf, after 1921
Marks: painted factory mark and painter's monogram
13-7/8 inches (35.5 cm) diameter
LITERATURE:
Cf. Wendingen, no. 12, 1927, p. 9, for a similar example.
Together with a Porceleyne Fles rectangular bowl decorated with "Berbas" lustrous stream red and green glazes.
A HOLLAND EARTHENWARE VASE
1895-1905
Marks: painted factory mark and no. 624 H, incised no. 212
14-1/8 inches (35.8 cm) high
LITERATURE:
Cf. M. Heslenfeld, exh. cat., De Collectie Holland, Art Nouveau Ceramiek van de NV Faience - en Tegelfabriek "Holland" te Utrecht 1894-1918, Zwolle, 2006, pp. 68 and 82, figs. 76, 101, 102, for the type.
1895-1905
Marks: painted factory mark and no. 624 H, incised no. 212
14-1/8 inches (35.8 cm) high
LITERATURE:
Cf. M. Heslenfeld, exh. cat., De Collectie Holland, Art Nouveau Ceramiek van de NV Faience - en Tegelfabriek "Holland" te Utrecht 1894-1918, Zwolle, 2006, pp. 68 and 82, figs. 76, 101, 102, for the type.
Attributed to BERT NIENHUIS
A Distel Earthenware Jardinière, circa 1905
Marks: stamped factory mark, painted painter's monogram GB and model no. 99
A Distel Earthenware Jardinière, circa 1905
Marks: stamped factory mark, painted painter's monogram GB and model no. 99
Glass
A.D. COPIER FOR LEERDAM
A Plum Glass Vase, circa 1930
Marks: etched artist's monogram
14-1/4 inches (36.2 cm) high
A Plum Glass Vase, circa 1930
Marks: etched artist's monogram
14-1/4 inches (36.2 cm) high
Fine Art - Sculpture, European
ANTON FORTUIN
A Rosewood Standing Male Figure, 1920s
Inscribed: Anton Fortuin
7-5/8 inches (19.5 cm) high
A Rosewood Standing Male Figure, 1920s
Inscribed: Anton Fortuin
7-5/8 inches (19.5 cm) high
Ceramics & Porcelain, Continental
AUGUSTE FALISE
A Haga Patinated Plaster Figure of an Old Peasant Woman, 1904-1907
Marks: inscribed sculptor's signature and no. 150
12-1/4 inches (31.0 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 20th Century Applied Arts, June 13, 2001, lot 170.
LITERATURE:
F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Supplement, Purmerends, 2005, p. 95, no. 734 (actual piece).
A Haga Patinated Plaster Figure of an Old Peasant Woman, 1904-1907
Marks: inscribed sculptor's signature and no. 150
12-1/4 inches (31.0 cm) high
PROVENANCE:
Sotheby's, Amsterdam, 20th Century Applied Arts, June 13, 2001, lot 170.
LITERATURE:
F.D. Doornberg, et al., exh. cat., Purmerends Jugendstil Aardewerk 1895-1907, Supplement, Purmerends, 2005, p. 95, no. 734 (actual piece).
Paintings
A CASED SET OF TWELVE SILVER GILT ICE CREAM SPOONS
Circa 1910
Marks: ...800...
5-1/2 inches (14.0 cm) long, each
Circa 1910
Marks: ...800...
5-1/2 inches (14.0 cm) long, each
Session 3
Glass
R. LALIQUE
"Lézards" A Frosted and Clear Glass Perfume Bottle, designed 1912
Marks: engraved R. Lalique
4-1/4 inches (10.8 cm) high
LITERATURE:
"Lézards" A Frosted and Clear Glass Perfume Bottle, designed 1912
Marks: engraved R. Lalique
4-1/4 inches (10.8 cm) high
LITERATURE:
M.L. and G. Utt, Lalique Perfume Bottles, 1990.
Rene Lalique (1860-1945)
Heritage is proud to present an extraordinary selection of works by Rene Lalique, most produced during the peak period of operation between the two wars. The work of Rene Lalique, further examined in the current edition of "Heritage Magazine", presents a unique opportunity for collecting as it offers remarkable variety and levels of price. We have taken care to include only pieces in fine, original condition, and recommend you examine secondary photographs of all pieces at HA.com. The complete work in glass by Rene Lalique is well documented in a comprehensive catalogue raisonné, by French expert Felix Marcilhac, published in three editions since 1992. References to the recent edition are included on most lots.
R. LALIQUE
"Au Coeur des Calices" A Frosted Blue Glass Perfume Bottle (stopper frozen), made for Coty, Marcilhac no. 20, designed 1913
Marks: impressed Au Coeur des Calices, Coty, LALIQUE, with gold label
2-1/2 inches (6.4 cm) high
"Au Coeur des Calices" A Frosted Blue Glass Perfume Bottle (stopper frozen), made for Coty, Marcilhac no. 20, designed 1913
Marks: impressed Au Coeur des Calices, Coty, LALIQUE, with gold label
2-1/2 inches (6.4 cm) high
LALIQUE
"L'Origan" A Glass Perfume Bottle with blue satin patina, created for Coty, Marcilhac no. 5, designed 1910
Marks: engraved R. Lalique France
10-7/8 inches (27.5 cm) high, including stopper
"L'Origan" A Glass Perfume Bottle with blue satin patina, created for Coty, Marcilhac no. 5, designed 1910
Marks: engraved R. Lalique France
10-7/8 inches (27.5 cm) high, including stopper
R. LALIQUE
"Pavots d'Argent" A Glass Perfume Bottle, created for Roger & Gallet, Marcilhac p. 949, designed 1927
Marks: molded R. LALIQUE
3-1/8 inches (8.0 cm) high
"Pavots d'Argent" A Glass Perfume Bottle, created for Roger & Gallet, Marcilhac p. 949, designed 1927
Marks: molded R. LALIQUE
3-1/8 inches (8.0 cm) high
R. LALIQUE
"Fleurettes, no. 3" A Pair of Glass Perfume Bottles with charcoal patina, Marcilhac no. 577, designed 1919
Marks: molded extended L LALIQUE
5-1/4 inches (13.3 cm) high, each
"Fleurettes, no. 3" A Pair of Glass Perfume Bottles with charcoal patina, Marcilhac no. 577, designed 1919
Marks: molded extended L LALIQUE
5-1/4 inches (13.3 cm) high, each
R. LALIQUE
"Perles" Three Frosted Glass Perfume Bottles, two with gray patina, Marcilhac no. 601, designed 1926
Marks: engraved LALIQUE France (left), clear molded and engraved R. LALIQUE (center), clear molded R. LALIQUE
FRANCE (right)
6-1/2 inches (16.5 cm) high, 8-1/4 inches (21.0 cm) high, 5-1/4 inches (13.3 cm) high, respectively
"Perles" Three Frosted Glass Perfume Bottles, two with gray patina, Marcilhac no. 601, designed 1926
Marks: engraved LALIQUE France (left), clear molded and engraved R. LALIQUE (center), clear molded R. LALIQUE
FRANCE (right)
6-1/2 inches (16.5 cm) high, 8-1/4 inches (21.0 cm) high, 5-1/4 inches (13.3 cm) high, respectively
R. LALIQUE
"Deux Sirènes" An Opalescent Glass Covered Box or Bonbonnière, Marcilhac no. 43, designed 1921
Marks: molded R. LALIQUE, engraved France No. 43
10-1/4 inches (26.0 cm) diameter
"Deux Sirènes" An Opalescent Glass Covered Box or Bonbonnière, Marcilhac no. 43, designed 1921
Marks: molded R. LALIQUE, engraved France No. 43
10-1/4 inches (26.0 cm) diameter
R. LALIQUE
"Cleones" An Amber Glass Box, Marcilhac no. 49, designed 1921
Marks: impressed R. LALIQUE
7 inches (17.8 cm) diameter
"Cleones" An Amber Glass Box, Marcilhac no. 49, designed 1921
Marks: impressed R. LALIQUE
7 inches (17.8 cm) diameter
R. LALIQUE
"Cabochon Acacias" A Gilt Metal and Glass Brooch with green patina, Marcilhac no. 1381, designed 1920
Marks: back stamped LALIQUE
1-3/4 inches (4.4 cm) diameter
"Cabochon Acacias" A Gilt Metal and Glass Brooch with green patina, Marcilhac no. 1381, designed 1920
Marks: back stamped LALIQUE
1-3/4 inches (4.4 cm) diameter
R. LALIQUE
"Deux Figurines Dos A Dos" A Gilt Metal and Glass Brooch, Marcilhac no. 1388, designed 1913
Marks: back stamped LALIQUE and with poincon
2-1/8 inches (5.5 cm) long
"Deux Figurines Dos A Dos" A Gilt Metal and Glass Brooch, Marcilhac no. 1388, designed 1913
Marks: back stamped LALIQUE and with poincon
2-1/8 inches (5.5 cm) long
R. LALIQUE
"Cabochons Bluets" A Gilt Metal and Glass Brooch with green reflecting foil, Marcilhac no. 1398, designed 1913
Marks: back stamped LALIQUE and with poincon
3-1/4 inches (8.3 cm) long
"Cabochons Bluets" A Gilt Metal and Glass Brooch with green reflecting foil, Marcilhac no. 1398, designed 1913
Marks: back stamped LALIQUE and with poincon
3-1/4 inches (8.3 cm) long
R. LALIQUE
"Grenouilles" A Blue Glass Pendant, Marcilhac no. 1649, designed 1920
Marks: engraved Lalique
1-3/4 inches (4.5 cm) high
"Grenouilles" A Blue Glass Pendant, Marcilhac no. 1649, designed 1920
Marks: engraved Lalique
1-3/4 inches (4.5 cm) high
R. LALIQUE
"Lézards" A Clear and Frosted Glass Pendant with blue enamel, Marcilhac no. 1665, designed 1912
Marks: molded R. LALIQUE
1-1/2 inches (4.0 cm) high
"Lézards" A Clear and Frosted Glass Pendant with blue enamel, Marcilhac no. 1665, designed 1912
Marks: molded R. LALIQUE
1-1/2 inches (4.0 cm) high
Art Glass
RENE LALIQUE
An Original Design for a Figural Pendant to be rendered in gold and enamels, circa 1900
Watercolor and pencil on BFK Rives parchment paper
7-3/4 x 2-3/4 inches (19.7 x 7.0 cm) window
An Original Design for a Figural Pendant to be rendered in gold and enamels, circa 1900
Watercolor and pencil on BFK Rives parchment paper
7-3/4 x 2-3/4 inches (19.7 x 7.0 cm) window
RENE LALIQUE
An Original Design for a Mistletoe Pendant, circa 1900
Watercolor and pencil on BFK Rives parchment paper
10-1/4 x 7-1/4 inches (26.0 x 18.4 cm) window
An Original Design for a Mistletoe Pendant, circa 1900
Watercolor and pencil on BFK Rives parchment paper
10-1/4 x 7-1/4 inches (26.0 x 18.4 cm) window
Glass
LALIQUE REFERENCE LIBRARY
A unique reference library assembled by Lloyd Glasgow over his fifty years with the Lalique company. The library comprises twenty-one volumes, including a complete, original edition of the hardbound company catalogue of 1932 with illustrations by Paul Burty Haviland, a numbered copy of Lalique par Lalique from 1977 inscribed to Lloyd Glasgow from Marc and Marie-Claude, a selection of rare publications intended only for company use and never available commercially, and most major works of reference.
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
The following lots are from the collection of Lloyd Glasgow, who began his career with the Lalique Company in New York in the mid 1950s: 75017, 75031, 75065, 75072, 75073, 75074 and 75075. Working for legendary Lalique distributor Jacques Jugeat, Mr. Glasgow ultimately became president of Lalique North America before retiring in the 1990s. His long association with Lalique brought him into close contact with Marc and Marie-Claude Lalique, with whom he became a close friend.
A unique reference library assembled by Lloyd Glasgow over his fifty years with the Lalique company. The library comprises twenty-one volumes, including a complete, original edition of the hardbound company catalogue of 1932 with illustrations by Paul Burty Haviland, a numbered copy of Lalique par Lalique from 1977 inscribed to Lloyd Glasgow from Marc and Marie-Claude, a selection of rare publications intended only for company use and never available commercially, and most major works of reference.
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
The following lots are from the collection of Lloyd Glasgow, who began his career with the Lalique Company in New York in the mid 1950s: 75017, 75031, 75065, 75072, 75073, 75074 and 75075. Working for legendary Lalique distributor Jacques Jugeat, Mr. Glasgow ultimately became president of Lalique North America before retiring in the 1990s. His long association with Lalique brought him into close contact with Marc and Marie-Claude Lalique, with whom he became a close friend.
A LALIQUE REFERENCE LIBRARY
A comprehensive library comprising most standard works and a selection of volumes including rare auction and exhibition catalogues, Lalique promotional material, and two volumes of Lalique research papers and historical references compiled in the late 1980s.
A comprehensive library comprising most standard works and a selection of volumes including rare auction and exhibition catalogues, Lalique promotional material, and two volumes of Lalique research papers and historical references compiled in the late 1980s.
R. LALIQUE
"Marguerites" A Pair of Glass Chandelier Candlesticks with sepia patina, Marcilhac no. 2101, designed 1922
Marks: molded R. LALIQUE
8-7/8 inches (22.4 cm) high, each
"Marguerites" A Pair of Glass Chandelier Candlesticks with sepia patina, Marcilhac no. 2101, designed 1922
Marks: molded R. LALIQUE
8-7/8 inches (22.4 cm) high, each
Art Glass
R. LALIQUE
A Rare Celluloid Invitation Plaque with sepia patina, mid 1920s
Inscribed: INVITATION POUR VISITER L'EXPOSITION/ DES NOUVELLES VERRERIES DE RENE LALIQUE/ 24 PLACE VENDOME
4-1/4 x 5-1/2 inches (10.8 x 14.0 cm) window
Professionally framed
A Rare Celluloid Invitation Plaque with sepia patina, mid 1920s
Inscribed: INVITATION POUR VISITER L'EXPOSITION/ DES NOUVELLES VERRERIES DE RENE LALIQUE/ 24 PLACE VENDOME
4-1/4 x 5-1/2 inches (10.8 x 14.0 cm) window
Professionally framed
R. LALIQUE
"Pinsons" A Cased Set of Six Glass Menu Holders with sepia patina, Marcilhac no. 3501, circa 1935
Marks: engraved R. Lalique France No. 3501
1-7/8 inches (4.8 cm) high, each
"Pinsons" A Cased Set of Six Glass Menu Holders with sepia patina, Marcilhac no. 3501, circa 1935
Marks: engraved R. Lalique France No. 3501
1-7/8 inches (4.8 cm) high, each
Paintings
R. LALIQUE
A Rare Silvered Bronze Mirror with Caryatid Stem, circa 1912
19-1/2 inches (49.5 cm) high
PROVENANCE:
Michael John, London;
New York Private Collector.
Mirrors of this design were used by Rene Lalique in his Paris showroom on Place Vendôme from about 1910, and later on the jewelry counters of Van Cleef and Arpels in Paris. It is estimated that fewer than ten were manufactured.
A Rare Silvered Bronze Mirror with Caryatid Stem, circa 1912
19-1/2 inches (49.5 cm) high
PROVENANCE:
Michael John, London;
New York Private Collector.
Mirrors of this design were used by Rene Lalique in his Paris showroom on Place Vendôme from about 1910, and later on the jewelry counters of Van Cleef and Arpels in Paris. It is estimated that fewer than ten were manufactured.
Glass
R. LALIQUE
"Deux Colombes" A Glass Ashtray, Marcilhac no. 320, designed 1931
Marks: stenciled R. LALIQUE
2-3/8 inches (6.0 cm) high
"Deux Colombes" A Glass Ashtray, Marcilhac no. 320, designed 1931
Marks: stenciled R. LALIQUE
2-3/8 inches (6.0 cm) high
Art Glass
R. LALIQUE
"Deux Zéphyrs" A Blue Glass Ashtray, Marcilhac no. 275, designed 1913
Marks: molded R. LALIQUE
3-1/8 inches (8.0 cm) diameter
"Deux Zéphyrs" A Blue Glass Ashtray, Marcilhac no. 275, designed 1913
Marks: molded R. LALIQUE
3-1/8 inches (8.0 cm) diameter
R. LALIQUE
"Moineau" A Green Glass Ashtray, Marcilhac no. 284, designed 1925
Marks: engraved R. Lalique France
4-3/4 inches (12.0 cm) diameter
"Moineau" A Green Glass Ashtray, Marcilhac no. 284, designed 1925
Marks: engraved R. Lalique France
4-3/4 inches (12.0 cm) diameter
Glass
R. LALIQUE
Four Glass Ashtrays, two "Moineau" in amber, Marcilhac no. 284, designed 1925; a "Dindon" in opalescent, Marcilhac no. 287, designed 1925; and a "Renard" in opalescent, Marcilhac no. 291, designed 1926
Marks: engraved R. Lalique France
4 inches (10.2 cm) diameter, each
Four Glass Ashtrays, two "Moineau" in amber, Marcilhac no. 284, designed 1925; a "Dindon" in opalescent, Marcilhac no. 287, designed 1925; and a "Renard" in opalescent, Marcilhac no. 291, designed 1926
Marks: engraved R. Lalique France
4 inches (10.2 cm) diameter, each
Art Glass
LALIQUE
"Croix aux Quatre Anges" A Glass Architectural Panel, Marcilhac p. 516, designed 1925
Marks: unmarked
6-7/8 x 9-1/4 inches (17.5 x 23.5 cm) panel
The stand is a custom-made modern addition, bringing the total height to 9-3/4 inches as shown.
"Croix aux Quatre Anges" A Glass Architectural Panel, Marcilhac p. 516, designed 1925
Marks: unmarked
6-7/8 x 9-1/4 inches (17.5 x 23.5 cm) panel
The stand is a custom-made modern addition, bringing the total height to 9-3/4 inches as shown.
Glass
R. LALIQUE
"Myrtilles" A Glass Inkwell with black enamel on a mahogany stand, Marcilhac no. 436, designed 1924
Marks: molded R. LALIQUE
9-1/8 inches (23.2 cm) diameter
"Myrtilles" A Glass Inkwell with black enamel on a mahogany stand, Marcilhac no. 436, designed 1924
Marks: molded R. LALIQUE
9-1/8 inches (23.2 cm) diameter
R. LALIQUE
"Canard" A Topaz Glass Seal, Marcilhac no. 219, designed 1925
Marks: engraved R. Lalique France
2-1/2 inches (6.3 cm) high
"Canard" A Topaz Glass Seal, Marcilhac no. 219, designed 1925
Marks: engraved R. Lalique France
2-1/2 inches (6.3 cm) high
R. LALIQUE
"Inséparables" A Glass Table Clock with Swiss 8-day wind-up movement, Marcilhac no. 765, designed 1926
Marks: engraved Lalique France
4-3/8 inches (11.0 cm) high
"Inséparables" A Glass Table Clock with Swiss 8-day wind-up movement, Marcilhac no. 765, designed 1926
Marks: engraved Lalique France
4-3/8 inches (11.0 cm) high
LALIQUE
A Molded Glass Clock with amber patina, modern
Marks: molded LALIQUE
Dial signed: ATO Made in France
4-1/2 inches (11.4 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
A Molded Glass Clock with amber patina, modern
Marks: molded LALIQUE
Dial signed: ATO Made in France
4-1/2 inches (11.4 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
LALIQUE
"Motif Tête de Gazelle" A Glass Sculpture, circa 1955
Marks: engraved LALIQUE FRANCE
20-1/2 inches (52.1 cm) high
An extremely rare model, (one of two recorded), introduced as part of an ambitious series of large animal heads designed by Marc Lalique. The famous "Tête de Cheval" survived into modern times, but this model appears to have been made in extremely limited numbers, presumably due to technical difficulties in production.
"Motif Tête de Gazelle" A Glass Sculpture, circa 1955
Marks: engraved LALIQUE FRANCE
20-1/2 inches (52.1 cm) high
An extremely rare model, (one of two recorded), introduced as part of an ambitious series of large animal heads designed by Marc Lalique. The famous "Tête de Cheval" survived into modern times, but this model appears to have been made in extremely limited numbers, presumably due to technical difficulties in production.
R. LALIQUE
"Coq Nain" A Glass Mascot, Marcilhac no. 1135, designed 1928
Marks: molded R. LALIQUE
8-1/8 inches (20.5 cm) high
"Coq Nain" A Glass Mascot, Marcilhac no. 1135, designed 1928
Marks: molded R. LALIQUE
8-1/8 inches (20.5 cm) high
R. LALIQUE
"Faucon" A Glass Mascot, Marcilhac no. 1124, designed 1925
Marks: molded R. LALIQUE
5-7/8 inches (15.0 cm) high
"Faucon" A Glass Mascot, Marcilhac no. 1124, designed 1925
Marks: molded R. LALIQUE
5-7/8 inches (15.0 cm) high
R. LALIQUE
"Victoire" A Glass Mascot, Marcilhac no. 1147, designed 1928
Marks: molded R. LALIQUE FRANCE
10-3/8 inches (26.5 cm) long
The mascot is mounted on a custom-made, hardwood base fitted with a modern chrome plated metal ring mount, comparable to fixtures used in the period. Inset shows the offered lot as used historically by the present owner's family, mounted on a 1935 Duesenberg.
"Victoire" A Glass Mascot, Marcilhac no. 1147, designed 1928
Marks: molded R. LALIQUE FRANCE
10-3/8 inches (26.5 cm) long
The mascot is mounted on a custom-made, hardwood base fitted with a modern chrome plated metal ring mount, comparable to fixtures used in the period. Inset shows the offered lot as used historically by the present owner's family, mounted on a 1935 Duesenberg.
R. LALIQUE
"Longchamps A" A Glass Mascot, Marcilhac no. 1152A, designed 1929
Marks: molded R. LALIQUE
6-1/8 inches (15.5 cm) high
"Longchamps A" A Glass Mascot, Marcilhac no. 1152A, designed 1929
Marks: molded R. LALIQUE
6-1/8 inches (15.5 cm) high
R. LALIQUE
"Longchamps B" A Glass Mascot, Marcilhac no. 1152B, designed 1929
Marks: molded R. LALIQUE
5-1/8 inches (13.0 cm) high
"Longchamps B" A Glass Mascot, Marcilhac no. 1152B, designed 1929
Marks: molded R. LALIQUE
5-1/8 inches (13.0 cm) high
R. LALIQUE
"Faisans" A Glass Candelabrum Centerpiece with sepia patina, Marcilhac no. 2125bis, designed 1942
Marks: engraved R. Lalique France
15-7/8 inches (40.2 cm) diameter
"Faisans" A Glass Candelabrum Centerpiece with sepia patina, Marcilhac no. 2125bis, designed 1942
Marks: engraved R. Lalique France
15-7/8 inches (40.2 cm) diameter
R. LALIQUE
"Chasse, Chiens" A Clear Glass Plate with sepia patina, Marcilhac no. 3001, designed 1914
Marks: engraved R. Lalique
8-1/2 inches (21.6 cm) diameter
"Chasse, Chiens" A Clear Glass Plate with sepia patina, Marcilhac no. 3001, designed 1914
Marks: engraved R. Lalique
8-1/2 inches (21.6 cm) diameter
R. LALIQUE
"Une Figurine et Fleurs" A Clear and Frosted Glass Plate with sepia patina, Marcilhac no. 3002, designed 1920
Marks: impressed LALIQUE, engraved France
6-7/8 inches (17.3 cm) diameter
"Une Figurine et Fleurs" A Clear and Frosted Glass Plate with sepia patina, Marcilhac no. 3002, designed 1920
Marks: impressed LALIQUE, engraved France
6-7/8 inches (17.3 cm) diameter
R. LALIQUE
"Cremieu" An Opalescent Glass Center Bowl, Marcilhac no. 400, designed 1928
Marks: molded R. LALIQUE FRANCE
12 inches (30.5 cm) diameter
"Cremieu" An Opalescent Glass Center Bowl, Marcilhac no. 400, designed 1928
Marks: molded R. LALIQUE FRANCE
12 inches (30.5 cm) diameter
R. LALIQUE
"Ondines" An Opalescent Glass Bowl, Marcilhac no. 380, designed 1921
and "Dahlias No. 1" A Glass Bowl, Marcilhac no. 3210, designed 1921
Marks: engraved R. LALIQUE FRANCE (Ondines) and engraved R. LALIQUE No. 3210 (Dahlias)
8-1/4 inches (21.0 cm) diameter, Ondines
9-3/8 inches (23.9 cm) diameter, Dahlias
"Ondines" An Opalescent Glass Bowl, Marcilhac no. 380, designed 1921
and "Dahlias No. 1" A Glass Bowl, Marcilhac no. 3210, designed 1921
Marks: engraved R. LALIQUE FRANCE (Ondines) and engraved R. LALIQUE No. 3210 (Dahlias)
8-1/4 inches (21.0 cm) diameter, Ondines
9-3/8 inches (23.9 cm) diameter, Dahlias
R. LALIQUE
"Coquilles" An Opalescent Glass Bowl and Plate
Marks: molded R. LALIQUE, engraved France
9-1/2 inches (24.1 cm) diameter, bowl
10-1/2 inches (26.7 cm) diameter, plate
"Coquilles" An Opalescent Glass Bowl and Plate
Marks: molded R. LALIQUE, engraved France
9-1/2 inches (24.1 cm) diameter, bowl
10-1/2 inches (26.7 cm) diameter, plate
R. LALIQUE
"Côte d'Or" A Glass Platter with sepia patina, Marcilhac no. 10-406, designed 1943
Marks: stenciled R. LALIQUE
15-3/4 inches (40.0 cm) diameter
"Côte d'Or" A Glass Platter with sepia patina, Marcilhac no. 10-406, designed 1943
Marks: stenciled R. LALIQUE
15-3/4 inches (40.0 cm) diameter
LALIQUE
"Sirènes" An Opalescent Glass Plate
Marks: engraved R. LALIQUE FRANCE
11 inches (27.9 cm) diameter
"Sirènes" An Opalescent Glass Plate
Marks: engraved R. LALIQUE FRANCE
11 inches (27.9 cm) diameter
R. LALIQUE
"Sirènes" A White Opalescent Glass Coupe, Marcilhac no. 376, designed 1920
Marks: engraved R. Lalique France, France
13-7/8 inches (35.1 cm) diameter
"Sirènes" A White Opalescent Glass Coupe, Marcilhac no. 376, designed 1920
Marks: engraved R. Lalique France, France
13-7/8 inches (35.1 cm) diameter
R. LALIQUE
"Calypso" A Clear Glass Coupe with blue patina, Marcilhac no. 413, designed 1930
Marks: engraved R. Lalique France
14-1/2 inches (36.8 cm) diameter
"Calypso" A Clear Glass Coupe with blue patina, Marcilhac no. 413, designed 1930
Marks: engraved R. Lalique France
14-1/2 inches (36.8 cm) diameter
R. LALIQUE
"Oeillets" An Opalescent and Clear Glass Coupe, Marcilhac no. 11-001, designed 1932
Marks: stenciled R. LALIQUE FRANCE
14-3/8 inches (36.4 cm) diameter
"Oeillets" An Opalescent and Clear Glass Coupe, Marcilhac no. 11-001, designed 1932
Marks: stenciled R. LALIQUE FRANCE
14-3/8 inches (36.4 cm) diameter
Art Glass
R. LALIQUE
"Gazelles" An Opalescent Glass Coupe, Marcilhac no. 390, designed 1925
Marks: molded R. LALIQUE, engraved FRANCE
11-5/8 inches (29.5 cm) diameter
"Gazelles" An Opalescent Glass Coupe, Marcilhac no. 390, designed 1925
Marks: molded R. LALIQUE, engraved FRANCE
11-5/8 inches (29.5 cm) diameter
Glass
R. LALIQUE
"Flora-Bella" A Blue Glass Bowl, Marcilhac no. 407, designed 1930
Marks: engraved R. LALIQUE FRANCE
15-3/8 inches (39.0 cm) diameter
"Flora-Bella" A Blue Glass Bowl, Marcilhac no. 407, designed 1930
Marks: engraved R. LALIQUE FRANCE
15-3/8 inches (39.0 cm) diameter
R. LALIQUE
"Acanthes" A Frosted and Clear Glass Jardinière, Marcilhac no. 3460, designed 1927
Marks: engraved R. LALIQUE FRANCE
18 inches (45.7 cm) long
"Acanthes" A Frosted and Clear Glass Jardinière, Marcilhac no. 3460, designed 1927
Marks: engraved R. LALIQUE FRANCE
18 inches (45.7 cm) long
LALIQUE
"Ganymede" A Glass Wine Cooler, modern
Marks: engraved Lalique France
9 inches (22.9 cm) high
"Ganymede" A Glass Wine Cooler, modern
Marks: engraved Lalique France
9 inches (22.9 cm) high
LALIQUE
"Pyramidale" A Glass Carafe with green frosted stopper, Marcilhac no. 3152, designed 1912, and
"Aubépines" A Glass Carafe with sepia patina, Marcilhac no. 3157, designed 1914
Marks: engraved R. Lalique France, No. 3152 and engraved R. Lalique France
12 inches (30.5 cm) high and 11 inches (27.9 cm) high
"Pyramidale" A Glass Carafe with green frosted stopper, Marcilhac no. 3152, designed 1912, and
"Aubépines" A Glass Carafe with sepia patina, Marcilhac no. 3157, designed 1914
Marks: engraved R. Lalique France, No. 3152 and engraved R. Lalique France
12 inches (30.5 cm) high and 11 inches (27.9 cm) high
LALIQUE
"Hagenau" A Glass Decanter and Pair of Glass Wine Goblets, late 1990s
Marks: engraved Lalique France, 42388, and signed by Marie-Claude Lalique (decanter)
10-3/4 inches (27.3 cm) high, decanter
7-3/4 inches (19.7 cm) high, each goblet
"Hagenau" A Glass Decanter and Pair of Glass Wine Goblets, late 1990s
Marks: engraved Lalique France, 42388, and signed by Marie-Claude Lalique (decanter)
10-3/4 inches (27.3 cm) high, decanter
7-3/4 inches (19.7 cm) high, each goblet
R. LALIQUE
"Ricquewihr" A Pair of Glass Wine Goblets with sepia patina, Marcilhac p. 836, designed 1925
and "Saint-Nabor" A Pair of Glass Champagnes with black enamel, Marcilhac no. 5124, designed 1926
Marks: engraved R. Lalique France and engraved R. Lalique France No. 5124
3-7/8 inches (9.8 cm) high, Saint-Nabor pair
"Ricquewihr" A Pair of Glass Wine Goblets with sepia patina, Marcilhac p. 836, designed 1925
and "Saint-Nabor" A Pair of Glass Champagnes with black enamel, Marcilhac no. 5124, designed 1926
Marks: engraved R. Lalique France and engraved R. Lalique France No. 5124
3-7/8 inches (9.8 cm) high, Saint-Nabor pair
R. LALIQUE
"Bahia" Three Amber Glass Tumblers, Marcilhac no. 3413, designed 1932
Marks: each stenciled R. LALIQUE FRANCE
4-3/4 inches (12.1 cm) high, each
"Bahia" Three Amber Glass Tumblers, Marcilhac no. 3413, designed 1932
Marks: each stenciled R. LALIQUE FRANCE
4-3/4 inches (12.1 cm) high, each
LALIQUE
"Giverny" A Glass Vase, design no. 125000, circa 1990s
Marks: engraved Lalique France
11 inches (27.9 cm) high
Together with figures of a vulture, designed circa 1990s, engraved Lalique ® France, approximately 11 inches high, and a sea lion "Ooglit" designed by Marie Claude Lalique, circa early 1990s, engraved Lalique France with sticker, approximately 6 inches high; both have been retired for over fifteen years
"Giverny" A Glass Vase, design no. 125000, circa 1990s
Marks: engraved Lalique France
11 inches (27.9 cm) high
Together with figures of a vulture, designed circa 1990s, engraved Lalique ® France, approximately 11 inches high, and a sea lion "Ooglit" designed by Marie Claude Lalique, circa early 1990s, engraved Lalique France with sticker, approximately 6 inches high; both have been retired for over fifteen years
Art Glass
R. LALIQUE
"Méandres" A Glass Vase, Marcilhac no. 10-876, designed 1934
Marks: stenciled R. LALIQUE FRANCE
6-1/2 inches (16.5 cm) high
"Méandres" A Glass Vase, Marcilhac no. 10-876, designed 1934
Marks: stenciled R. LALIQUE FRANCE
6-1/2 inches (16.5 cm) high
Glass
R. LALIQUE
"Renoncules" An Opalescent Glass Vase, Marcilhac no. 1044, designed 1930
Marks: stenciled R. LALIQUE FRANCE
6-1/8 inches (15.5 cm) high
"Renoncules" An Opalescent Glass Vase, Marcilhac no. 1044, designed 1930
Marks: stenciled R. LALIQUE FRANCE
6-1/8 inches (15.5 cm) high
R. LALIQUE
"Spirales" An Opalescent Glass Vase, Marcilhac no. 1060, designed 1930
Marks: stenciled R. LALIQUE
6-1/2 inches (16.5 cm) high
"Spirales" An Opalescent Glass Vase, Marcilhac no. 1060, designed 1930
Marks: stenciled R. LALIQUE
6-1/2 inches (16.5 cm) high
R. LALIQUE
"Perigord" A Frosted Satin Glass Vase, Marcilhac no. 1003, designed 1928
Marks: engraved R. Lalique France
5-3/4 inches (14.6 cm) high
"Perigord" A Frosted Satin Glass Vase, Marcilhac no. 1003, designed 1928
Marks: engraved R. Lalique France
5-3/4 inches (14.6 cm) high
R. LALIQUE
"Gui" A Teal Green Glass Vase, Marcilhac no. 948, designed 1920
Marks: molded R. LALIQUE
6-3/4 inches (17.1 cm) high
"Gui" A Teal Green Glass Vase, Marcilhac no. 948, designed 1920
Marks: molded R. LALIQUE
6-3/4 inches (17.1 cm) high
R. LALIQUE
"Gui" An Opalescent Glass Vase with blue patina, Marcilhac no. 948, designed 1920
Marks: stenciled R. LALIQUE FRANCE
6-3/4 inches (17.1 cm) high
"Gui" An Opalescent Glass Vase with blue patina, Marcilhac no. 948, designed 1920
Marks: stenciled R. LALIQUE FRANCE
6-3/4 inches (17.1 cm) high
R. LALIQUE
"Domremy" A Green Glass Vase with white patina, Marcilhac no. 979, designed 1926
Marks: engraved R. Lalique France No. 979
8-3/8 inches (21.1 cm) high
"Domremy" A Green Glass Vase with white patina, Marcilhac no. 979, designed 1926
Marks: engraved R. Lalique France No. 979
8-3/8 inches (21.1 cm) high
R. LALIQUE
"Ceylan" An Opalescent Glass Vase with blue patina, Marcilhac no. 905, designed 1924
Marks: engraved R. LALIQUE France
9-1/2 inches (24.1 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
"Ceylan" An Opalescent Glass Vase with blue patina, Marcilhac no. 905, designed 1924
Marks: engraved R. LALIQUE France
9-1/2 inches (24.1 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
Art Glass
R. LALIQUE
"Ornis" An Opalescent Glass Vase, Marcilhac no. 976, designed 1926
Marks: engraved R. LALIQUE FRANCE No. 976
7-3/4 inches (19.7 cm) high
"Ornis" An Opalescent Glass Vase, Marcilhac no. 976, designed 1926
Marks: engraved R. LALIQUE FRANCE No. 976
7-3/4 inches (19.7 cm) high
Glass
R. LALIQUE
"Aigrettes" An Olive Green Glass Vase, Marcilhac no. 988, designed 1926
Marks: engraved R. LALIQUE FRANCE
10 inches (25.4 cm) high
"Aigrettes" An Olive Green Glass Vase, Marcilhac no. 988, designed 1926
Marks: engraved R. LALIQUE FRANCE
10 inches (25.4 cm) high
R. LALIQUE
"Archers" A Glass Vase with pale blue patina, Marcilhac no. 893, designed 1921
Marks: molded R. LALIQUE
10-1/4 inches (26.0 cm) high
"Archers" A Glass Vase with pale blue patina, Marcilhac no. 893, designed 1921
Marks: molded R. LALIQUE
10-1/4 inches (26.0 cm) high
R. LALIQUE
"Archers" A Gray Glass Vase, Marcilhac no. 893, designed 1921
Marks: engraved R. Lalique France No. 893
10-1/4 inches (26.0 cm) high
"Archers" A Gray Glass Vase, Marcilhac no. 893, designed 1921
Marks: engraved R. Lalique France No. 893
10-1/4 inches (26.0 cm) high
R. LALIQUE
"Archers" A Cased Red Amber Glass Vase, Marcilhac no. 893, designed 1921
Marks: engraved R. Lalique France No. 893
10-1/2 inches (26.7 cm) high
"Archers" A Cased Red Amber Glass Vase, Marcilhac no. 893, designed 1921
Marks: engraved R. Lalique France No. 893
10-1/2 inches (26.7 cm) high
LALIQUE
"Chardon" A Glass Vase, design no. 1266000, circa 2003
Marks: engraved Lalique ® France
10 inches (25.4 cm) high
"Chardon" A Glass Vase, design no. 1266000, circa 2003
Marks: engraved Lalique ® France
10 inches (25.4 cm) high
LALIQUE
Three Frosted and Clear Glass Vases, modern
Marks: engraved Lalique ® France, two with MADE IN FRANCE paper label
8 inches (20.3 cm) high, doves
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
Three Frosted and Clear Glass Vases, modern
Marks: engraved Lalique ® France, two with MADE IN FRANCE paper label
8 inches (20.3 cm) high, doves
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
LALIQUE
"Mortefontaine" A Glass Vase, designed 1970
Marks: engraved Lalique ® France
9-1/2 inches (24.1 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
"Mortefontaine" A Glass Vase, designed 1970
Marks: engraved Lalique ® France
9-1/2 inches (24.1 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
LALIQUE
"Antinea" A Clear and Green Frosted Glass Vase, modern
Marks: engraved Lalique France
8 inches (20.3 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
"Antinea" A Clear and Green Frosted Glass Vase, modern
Marks: engraved Lalique France
8 inches (20.3 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
LALIQUE
"Marrakech" A Clear and Deep Amber Glass Vase, no. 12311, dated 1984
Marks: engraved Lalique ® France, inscribed A LLOYD ET DOROTHY/ 25 AVRIL 1984
12 inches (30.5 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
This vase, with a unique inscription, is an outstanding example of this model in depth of color, and one of the very first produced.
"Marrakech" A Clear and Deep Amber Glass Vase, no. 12311, dated 1984
Marks: engraved Lalique ® France, inscribed A LLOYD ET DOROTHY/ 25 AVRIL 1984
12 inches (30.5 cm) high
PROVENANCE:
From the collection of Lloyd Glasgow, New York.
This vase, with a unique inscription, is an outstanding example of this model in depth of color, and one of the very first produced.
LALIQUE
"Tourbillons" A Limited Edition Yellow Glass Vase, modern
Marks: engraved Lalique ® France 336/999 with sticker
7-7/8 inches (20.0 cm) high
"Tourbillons" A Limited Edition Yellow Glass Vase, modern
Marks: engraved Lalique ® France 336/999 with sticker
7-7/8 inches (20.0 cm) high
Art Glass
LALIQUE
"Tourbillons" A Limited Edition Glass Vase with black enamel, modern
Ed. 35/999
Marks: engraved Lalique ® France 35/999
8-1/2 inches (21.6 cm) high
Complete with original Lalique box and reference materials. This edition is sold out.
"Tourbillons" A Limited Edition Glass Vase with black enamel, modern
Ed. 35/999
Marks: engraved Lalique ® France 35/999
8-1/2 inches (21.6 cm) high
Complete with original Lalique box and reference materials. This edition is sold out.
Glass
LALIQUE
"Bacchantes" A Limited Edition Black Glass Vase, modern
Ed. 414/999
Marks: engraved Lalique ® France 414/999
9-1/2 inches (24.1 cm) high
Complete with original Lalique box and reference materials. This edition is sold out.
"Bacchantes" A Limited Edition Black Glass Vase, modern
Ed. 414/999
Marks: engraved Lalique ® France 414/999
9-1/2 inches (24.1 cm) high
Complete with original Lalique box and reference materials. This edition is sold out.
LALIQUE
"Chrysalide" A Glass Vase, design no. 1254600, modern
Marks: engraved Lalique France
11-1/2 inches (29.2 cm) high
"Chrysalide" A Glass Vase, design no. 1254600, modern
Marks: engraved Lalique France
11-1/2 inches (29.2 cm) high
R. LALIQUE
"Courlis" A Frosted and Deep Green Glass Vase, Marcilhac no. 1085, designed 1931
Marks: stenciled R. LALIQUE FRANCE
6-3/4 inches (17.1 cm) high
"Courlis" A Frosted and Deep Green Glass Vase, Marcilhac no. 1085, designed 1931
Marks: stenciled R. LALIQUE FRANCE
6-3/4 inches (17.1 cm) high
R. LALIQUE
"Six Figurines et Masques" An Opalescent Glass Vase with blue patina, Marcilhac no. 886, designed 1912
Marks: engraved R. Lalique France and R. Lalique
9-1/2 inches (24.1 cm) high
"Six Figurines et Masques" An Opalescent Glass Vase with blue patina, Marcilhac no. 886, designed 1912
Marks: engraved R. Lalique France and R. Lalique
9-1/2 inches (24.1 cm) high
R. LALIQUE
"Ronces" A Ruby Red Glass Vase, Marcilhac no. 946, designed 1921
Marks: engraved Lalique, R. Lalique France
9-1/4 inches (23.5 cm) high
"Ronces" A Ruby Red Glass Vase, Marcilhac no. 946, designed 1921
Marks: engraved Lalique, R. Lalique France
9-1/4 inches (23.5 cm) high
R. LALIQUE
"Danaïdes" An Opalescent Glass Vase, Marcilhac no. 972, designed 1926
Marks: stenciled R. LALIQUE FRANCE
7-1/4 inches (18.5 cm) high
"Danaïdes" An Opalescent Glass Vase, Marcilhac no. 972, designed 1926
Marks: stenciled R. LALIQUE FRANCE
7-1/4 inches (18.5 cm) high
R. LALIQUE
"Coquilles" An Opalescent Glass Vase with blue patina, Marcilhac no. 932, designed 1920
Marks: engraved R. Lalique France No. 932
7-3/8 inches (18.6 cm) high
"Coquilles" An Opalescent Glass Vase with blue patina, Marcilhac no. 932, designed 1920
Marks: engraved R. Lalique France No. 932
7-3/8 inches (18.6 cm) high
R. LALIQUE
"Escargot" A Clear Glass Vase, Marcilhac no. 931, designed 1920
Marks: engraved Lalique
8-1/2 inches (21.6 cm) high
"Escargot" A Clear Glass Vase, Marcilhac no. 931, designed 1920
Marks: engraved Lalique
8-1/2 inches (21.6 cm) high
R. LALIQUE
"Espalion" An Opalescent Glass Vase with green patina, Marcilhac no. 996, designed 1927
Marks: impressed R. LALIQUE, etched France
7 inches (17.8 cm) high
"Espalion" An Opalescent Glass Vase with green patina, Marcilhac no. 996, designed 1927
Marks: impressed R. LALIQUE, etched France
7 inches (17.8 cm) high
R. LALIQUE
"Violettes" A Frosted and Clear Glass Vase with blue patina, Marcilhac no. 930, designed 1921
Marks: engraved R. Lalique
6-1/4 inches (15.9 cm) high
"Violettes" A Frosted and Clear Glass Vase with blue patina, Marcilhac no. 930, designed 1921
Marks: engraved R. Lalique
6-1/4 inches (15.9 cm) high
R. LALIQUE
"Lievres" A Clear Glass Vase with blue patina, Marcilhac no. 942, designed 1923
Marks: clear molded R LALIQUE
6-1/4 inches (15.9 cm) high
"Lievres" A Clear Glass Vase with blue patina, Marcilhac no. 942, designed 1923
Marks: clear molded R LALIQUE
6-1/4 inches (15.9 cm) high
R. LALIQUE
"Formose" An Opalescent Glass Vase with blue patina, Marcilhac no. 934, designed 1924
Marks: impressed R. LALIQUE
6-3/4 inches (17.1 cm) high
"Formose" An Opalescent Glass Vase with blue patina, Marcilhac no. 934, designed 1924
Marks: impressed R. LALIQUE
6-3/4 inches (17.1 cm) high
R. LALIQUE
"Druides" An Opalescent Glass Vase with green patina, Marcilhac no. 937, designed 1924
Marks: molded R. LALIQUE
7 inches (17.8 cm) high
"Druides" An Opalescent Glass Vase with green patina, Marcilhac no. 937, designed 1924
Marks: molded R. LALIQUE
7 inches (17.8 cm) high
R. LALIQUE
"Druides" An Opalescent Glass Vase, Marcilhac no. 937, designed 1924
Marks: engraved R. Lalique
7-1/2 inches (19.0 cm) high
"Druides" An Opalescent Glass Vase, Marcilhac no. 937, designed 1924
Marks: engraved R. Lalique
7-1/2 inches (19.0 cm) high
R. LALIQUE
"Perles" A Frosted and Clear Glass Vase, Marcilhac no. 959, designed 1925
Marks: molded R. LALIQUE, etched France
4-5/8 inches (11.7 cm) high
Together with an opalescent glass vase with berries, stenciled R. LALIQUE FRANCE
"Perles" A Frosted and Clear Glass Vase, Marcilhac no. 959, designed 1925
Marks: molded R. LALIQUE, etched France
4-5/8 inches (11.7 cm) high
Together with an opalescent glass vase with berries, stenciled R. LALIQUE FRANCE
R. LALIQUE
"Moissac" A Deep Red Amber Glass Vase, Marcilhac no. 992, designed 1927
Marks: stenciled R. LALIQUE
5-1/8 inches (13.0 cm) high
"Moissac" A Deep Red Amber Glass Vase, Marcilhac no. 992, designed 1927
Marks: stenciled R. LALIQUE
5-1/8 inches (13.0 cm) high
R. LALIQUE
"Moissac" A Yellow Glass Vase, Marcilhac no. 992, designed 1927
Marks: engraved R. LALIQUE FRANCE
5 inches (12.7 cm) high
"Moissac" A Yellow Glass Vase, Marcilhac no. 992, designed 1927
Marks: engraved R. LALIQUE FRANCE
5 inches (12.7 cm) high
R. LALIQUE
"Piriac" A Frosted and Clear Glass Vase, Marcilhac no. 1043, designed 1930
Marks: engraved R. LALIQUE FRANCE
7-1/4 inches (18.4 cm) high
"Piriac" A Frosted and Clear Glass Vase, Marcilhac no. 1043, designed 1930
Marks: engraved R. LALIQUE FRANCE
7-1/4 inches (18.4 cm) high
R. LALIQUE
"Cariatides" A Clear and Frosted Glass Covered Vase, Marcilhac no. 924, designed 1920, and
"Campanule" An Opalescent Glass Vase with blue patina, Marcilhac no. 1096, designed 1926
Marks: engraved R. Lalique France No. 924 (first)
8-1/4 inches (21.0 cm) high and 5-5/8 inches (14.5 cm) high
"Cariatides" A Clear and Frosted Glass Covered Vase, Marcilhac no. 924, designed 1920, and
"Campanule" An Opalescent Glass Vase with blue patina, Marcilhac no. 1096, designed 1926
Marks: engraved R. Lalique France No. 924 (first)
8-1/4 inches (21.0 cm) high and 5-5/8 inches (14.5 cm) high
R. LALIQUE
"Palestre" A Glass Vase with charcoal gray patina, Marcilhac no. 1012, designed 1928
Marks: stenciled R. LALIQUE FRANCE
15-7/8 inches (40.2 cm) high
"Palestre" A Glass Vase with charcoal gray patina, Marcilhac no. 1012, designed 1928
Marks: stenciled R. LALIQUE FRANCE
15-7/8 inches (40.2 cm) high
R. LALIQUE
"Grand Nue Longue Cheveux Socle Lierre" A Glass Statuette with sepia patina, Marcilhac no. 836, designed 1919
Marks: engraved R. Lalique
15-1/4 inches (38.7 cm) high, overall
On a later palissandre wood stand.
"Grand Nue Longue Cheveux Socle Lierre" A Glass Statuette with sepia patina, Marcilhac no. 836, designed 1919
Marks: engraved R. Lalique
15-1/4 inches (38.7 cm) high, overall
On a later palissandre wood stand.
R. LALIQUE
"Moyenne Voilée" An Opalescent Glass Figure with blue patina, Marcilhac no. 829, designed 1912
Marks: engraved Lalique
5-3/8 inches (13.5 cm) high
"Moyenne Voilée" An Opalescent Glass Figure with blue patina, Marcilhac no. 829, designed 1912
Marks: engraved Lalique
5-3/8 inches (13.5 cm) high
R. LALIQUE
"Sirène" An Opalescent Glass Statuette, Marcilhac no. 831, designed 1920
Marks: engraved R. Lalique France No. 831
3-7/8 inches (10.0 cm) high
"Sirène" An Opalescent Glass Statuette, Marcilhac no. 831, designed 1920
Marks: engraved R. Lalique France No. 831
3-7/8 inches (10.0 cm) high
R. LALIQUE
"Grande Ovale Joyeuse de Flute" A Frosted and Clear Glass Sculpture, Marcilhac no. 826, designed 1919
Marks: engraved R. LALIQUE
14-5/8 inches (37.1 cm) high
"Grande Ovale Joyeuse de Flute" A Frosted and Clear Glass Sculpture, Marcilhac no. 826, designed 1919
Marks: engraved R. LALIQUE
14-5/8 inches (37.1 cm) high
LALIQUE
"Deux Danseuses" A Frosted and Clear Glass Sculpture, modern
Marks: stenciled LALIQUE FRANCE
10 inches (25.4 cm) high
"Deux Danseuses" A Frosted and Clear Glass Sculpture, modern
Marks: stenciled LALIQUE FRANCE
10 inches (25.4 cm) high
Art Glass
R. LALIQUE
"Suzanne" An Amber Glass Figure on base, Marcilhac no. 833, designed 1925
Marks: molded R. LALIQUE
9 inches (22.9 cm) high, excluding base
"Suzanne" An Amber Glass Figure on base, Marcilhac no. 833, designed 1925
Marks: molded R. LALIQUE
9 inches (22.9 cm) high, excluding base
R. LALIQUE
"Suzanne" An Opalescent Glass Figure on a bronze illuminating base, Marcilhac no. 833, designed 1925
Marks: molded R. LALIQUE
10-3/4 inches (27.3 cm) high, overall
"Suzanne" An Opalescent Glass Figure on a bronze illuminating base, Marcilhac no. 833, designed 1925
Marks: molded R. LALIQUE
10-3/4 inches (27.3 cm) high, overall
R. LALIQUE
"Thaïs" An Opalescent Glass Figure on base, Marcilhac no. 834, designed 1925
Marks: engraved R. LALIQUE
8-1/2 inches (21.6 cm) high, excluding base
"Thaïs" An Opalescent Glass Figure on base, Marcilhac no. 834, designed 1925
Marks: engraved R. LALIQUE
8-1/2 inches (21.6 cm) high, excluding base
Glass
R. LALIQUE
"Eucalyptus" An Opalescent Glass Vase, Marcilhac no. 936, designed 1925
Marks: molded R. LALIQUE, engraved France
6-5/8 inches (16.8 cm) high
"Eucalyptus" An Opalescent Glass Vase, Marcilhac no. 936, designed 1925
Marks: molded R. LALIQUE, engraved France
6-5/8 inches (16.8 cm) high
R. LALIQUE
"Chamarande" An Opalescent Glass Vase, Marcilhac no. 974, designed 1926
Marks: engraved R. LALIQUE FRANCE
7-3/4 inches (19.7 cm) high
"Chamarande" An Opalescent Glass Vase, Marcilhac no. 974, designed 1926
Marks: engraved R. LALIQUE FRANCE
7-3/4 inches (19.7 cm) high
R. LALIQUE
"Nivernaig" An Opalescent Glass Vase, Marcilhac no. 1005, designed 1927
Marks: engraved R. Lalique France No. 1005
6-3/4 inches (17.1 cm) high
"Nivernaig" An Opalescent Glass Vase, Marcilhac no. 1005, designed 1927
Marks: engraved R. Lalique France No. 1005
6-3/4 inches (17.1 cm) high
R. LALIQUE
"Biskra" An Opalescent Glass Vase with blue patina, Marcilhac no. 1078, designed 1932
Marks: stenciled R. LALIQUE FRANCE
11-1/4 inches (28.6 cm) high
"Biskra" An Opalescent Glass Vase with blue patina, Marcilhac no. 1078, designed 1932
Marks: stenciled R. LALIQUE FRANCE
11-1/4 inches (28.6 cm) high
R. LALIQUE
"Milan" A Green Glass Vase, Marcilhac no. 1025, designed 1929
Marks: engraved R. Lalique France No. 1025
11-1/4 inches (28.6 cm) high
"Milan" A Green Glass Vase, Marcilhac no. 1025, designed 1929
Marks: engraved R. Lalique France No. 1025
11-1/4 inches (28.6 cm) high
Art Glass
R. LALIQUE
"Aras" A Cased Jade Green Glass Vase, Marcilhac no. 919, designed 1924
Marks: engraved R. Lalique France
9-1/2 inches (24 cm) high
"Aras" A Cased Jade Green Glass Vase, Marcilhac no. 919, designed 1924
Marks: engraved R. Lalique France
9-1/2 inches (24 cm) high
Glass
R. LALIQUE
"Tourbillons" A Glass Vase with black enamel, Marcilhac no. 973, designed 1926
Marks: engraved R. Lalique France
7-7/8 inches (20.0 cm) high
"Tourbillons" A Glass Vase with black enamel, Marcilhac no. 973, designed 1926
Marks: engraved R. Lalique France
7-7/8 inches (20.0 cm) high
R. LALIQUE
"Oranges" A Glass Vase with black enamel, Marcilhac no. 973, designed 1926
Marks: molded R. LALIQUE
11-3/8 inches (29.0 cm) high
"Oranges" A Glass Vase with black enamel, Marcilhac no. 973, designed 1926
Marks: molded R. LALIQUE
11-3/8 inches (29.0 cm) high
Art Glass
R. LALIQUE
"Perruches" A Cased Jade Green Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. Lalique France
10-1/4 inches (26.0 cm) high
"Perruches" A Cased Jade Green Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. Lalique France
10-1/4 inches (26.0 cm) high
R. LALIQUE
"Perruches" A Red Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. LALIQUE
10-1/4 inches (26.0 cm) high
PROVENANCE:
Sale 8340, 30 November 1995, lot 49 (label on base).
"Perruches" A Red Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. LALIQUE
10-1/4 inches (26.0 cm) high
PROVENANCE:
Sale 8340, 30 November 1995, lot 49 (label on base).
Glass
R. LALIQUE
"Perruches" An Amber Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. Lalique
10 inches (25.4 cm) high
"Perruches" An Amber Glass Vase, Marcilhac no. 876, designed 1919
Marks: engraved R. Lalique
10 inches (25.4 cm) high
R. LALIQUE
"Borromée" A Blue Glass Vase, Marcilhac no. 1017, designed 1928
Marks: engraved R. Lalique France
9 inches (23.0 cm) high
"Borromée" A Blue Glass Vase, Marcilhac no. 1017, designed 1928
Marks: engraved R. Lalique France
9 inches (23.0 cm) high
R. LALIQUE
"Serpent" An Amber Glass Vase, Marcilhac no. 896, designed 1924
Marks: molded R. LALIQUE
10-1/4 inches (26.0 cm) high
"Serpent" An Amber Glass Vase, Marcilhac no. 896, designed 1924
Marks: molded R. LALIQUE
10-1/4 inches (26.0 cm) high
Art Glass
R. LALIQUE
"Frise Aigles" A Pair of Glass Vases, Marcilhac no. E bis, p. 400, designed 1911
Marks: molded R. LALIQUE, engraved FRANCE
11-3/4 inches (30.0 cm) high, each
"Frise Aigles" A Pair of Glass Vases, Marcilhac no. E bis, p. 400, designed 1911
Marks: molded R. LALIQUE, engraved FRANCE
11-3/4 inches (30.0 cm) high, each
R. LALIQUE
"Masques" A Unique Pair of Wall Mirrors composed of elements from the 1913 masque chandelier, Marcilhac no. 2257, circa 1925
31-1/4 x 21-1/4 inches (79.4 x 54.0 cm)
"Masques" A Unique Pair of Wall Mirrors composed of elements from the 1913 masque chandelier, Marcilhac no. 2257, circa 1925
31-1/4 x 21-1/4 inches (79.4 x 54.0 cm)
Furniture
LALIQUE
A Mahogany, Gray Leather Upholstered, and Chrome Plated Metal Side Chair inlaid with glass "Raisins" panels, circa 1990s
31-1/4 inches (79.4 cm) high
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
A Mahogany, Gray Leather Upholstered, and Chrome Plated Metal Side Chair inlaid with glass "Raisins" panels, circa 1990s
31-1/4 inches (79.4 cm) high
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
LALIQUE
A Pair of Mahogany, Gray Leather Upholstered, and Chrome Plated Metal Cocktail Bar Stools inlaid with glass "Raisins" panels, circa 1990s
35 inches (88.9 cm) high, each
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
A Pair of Mahogany, Gray Leather Upholstered, and Chrome Plated Metal Cocktail Bar Stools inlaid with glass "Raisins" panels, circa 1990s
35 inches (88.9 cm) high, each
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
LALIQUE
A Set of Four Blonde Wood, Gray Leather Upholstered, and Chrome Plated Metal Cocktail Bar Stools inlaid with glass "Raisins" panels, circa 1990s
35 inches (88.9 cm) high, each
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
A Set of Four Blonde Wood, Gray Leather Upholstered, and Chrome Plated Metal Cocktail Bar Stools inlaid with glass "Raisins" panels, circa 1990s
35 inches (88.9 cm) high, each
PROVENANCE:
Removed from the Lalique boutique, Madison Avenue, New York.
Attributed to RENE LALIQUE AND CHARLES LAMBERT
An Extremely Rare Embossed Leather and Walnut Gallery Chair, circa 1890
36-3/4 x 17 x 16 inches (93.3 x 43.2 x 40.6 cm)
The chair is believed to have been designed by Lalique (leather) and manufactured by his brother-in-law, Lambert, in 1890 for use at Lalique's Rue Therese premises. The showrooms opened in 1890 and were used until 1903, when Lalique moved to 40 Cours de la Reine. The interiors of these premises are described by Vever as having "furniture decorated with flowers", and the design conforms closely with Lalique's letterhead used at Rue Therese.
An Extremely Rare Embossed Leather and Walnut Gallery Chair, circa 1890
36-3/4 x 17 x 16 inches (93.3 x 43.2 x 40.6 cm)
The chair is believed to have been designed by Lalique (leather) and manufactured by his brother-in-law, Lambert, in 1890 for use at Lalique's Rue Therese premises. The showrooms opened in 1890 and were used until 1903, when Lalique moved to 40 Cours de la Reine. The interiors of these premises are described by Vever as having "furniture decorated with flowers", and the design conforms closely with Lalique's letterhead used at Rue Therese.
Manner of RENE LALIQUE
A Three-Panel Embossed and Gilt Leather Folding Room Screen, probably English, London, circa 1905
72-1/4 x 60-3/4 inches (183.5 x 154.3 cm) extended
A screen of the same dimension and standard of manufacture, patterned with birds on pine branches and attributed to Rene Lalique in design, is in the permanent collection of the Hakone Museum, Hakone, Japan. The treatment of the peacock on this example conforms closely with Rene Lalique's designs for peacocks in fabric of 1906 (Marcilhac, p. 38), and in particular to the peacock centerpiece illustrated in "Art et Decoration" in 1900 and exhibited by Lalique at Agnew in London in 1905.
A Three-Panel Embossed and Gilt Leather Folding Room Screen, probably English, London, circa 1905
72-1/4 x 60-3/4 inches (183.5 x 154.3 cm) extended
A screen of the same dimension and standard of manufacture, patterned with birds on pine branches and attributed to Rene Lalique in design, is in the permanent collection of the Hakone Museum, Hakone, Japan. The treatment of the peacock on this example conforms closely with Rene Lalique's designs for peacocks in fabric of 1906 (Marcilhac, p. 38), and in particular to the peacock centerpiece illustrated in "Art et Decoration" in 1900 and exhibited by Lalique at Agnew in London in 1905.
Glass
R. LALIQUE
"Moineaux" A Pair of Glass Table Lamps, Marcilhac no. 2237, circa 1930
Marks: each stenciled R. LALIQUE FRANCE
24 inches (61.0 cm) high, tallest
Lamps of this design were assembled by the Lalique Company and Lalique international retailers using production items as components. The black glass bases were typically used for bookend supports; the stem elements are from the "Moineaux" chandelier (Marcilhac no. 2237), and the surviving original finial is the "Sirènes" letter seal, (Marcilhac no. 211).
"Moineaux" A Pair of Glass Table Lamps, Marcilhac no. 2237, circa 1930
Marks: each stenciled R. LALIQUE FRANCE
24 inches (61.0 cm) high, tallest
Lamps of this design were assembled by the Lalique Company and Lalique international retailers using production items as components. The black glass bases were typically used for bookend supports; the stem elements are from the "Moineaux" chandelier (Marcilhac no. 2237), and the surviving original finial is the "Sirènes" letter seal, (Marcilhac no. 211).
R. LALIQUE
"Tulipes" A Glass Luminaire on Metal Stand, Marcilhac no. 2005, designed 1925
Marks: engraved R. Lalique
17-3/4 inches (45.0 cm) high
"Tulipes" A Glass Luminaire on Metal Stand, Marcilhac no. 2005, designed 1925
Marks: engraved R. Lalique
17-3/4 inches (45.0 cm) high
LALIQUE
"Lalique Le Parfum" A Large Crystal Promotional Flacon, designed 2005
Promotional, non-commercial model with extremely limited production
One of only two available in the United States
1500 ml
Inspired by Rene Lalique's "Masque de Femmes" of 1935, this magnificent and sophisticated display bottle is ornamented with a black silk tassel. The model was created by Lalique as a promotional display for 'Parfums Lalique' and has not been offered commercially.
"Lalique Le Parfum" A Large Crystal Promotional Flacon, designed 2005
Promotional, non-commercial model with extremely limited production
One of only two available in the United States
1500 ml
Inspired by Rene Lalique's "Masque de Femmes" of 1935, this magnificent and sophisticated display bottle is ornamented with a black silk tassel. The model was created by Lalique as a promotional display for 'Parfums Lalique' and has not been offered commercially.
Art Glass
LALIQUE
"Angelique" A Limited Edition Gold Glass Vase, designed 2007
Numbered 17 from an edition of 19, the last one remaining
20-7/8 inches (53.2 cm) high
Last recorded retail price: $31,500
Originally created in 2000, this vase was produced with hand-painted details in 24 karat gold. This is one of the three largest vases ever created by the Lalique Company. A classic frieze of goddesses grace the perimeter of the vase. They, in turn, are surrounded by the 'flowers of heaven' in clear/satin finish crystal.
"Angelique" A Limited Edition Gold Glass Vase, designed 2007
Numbered 17 from an edition of 19, the last one remaining
20-7/8 inches (53.2 cm) high
Last recorded retail price: $31,500
Originally created in 2000, this vase was produced with hand-painted details in 24 karat gold. This is one of the three largest vases ever created by the Lalique Company. A classic frieze of goddesses grace the perimeter of the vase. They, in turn, are surrounded by the 'flowers of heaven' in clear/satin finish crystal.
LALIQUE
"Imperial, Red" A Limited Edition Glass Vase, designed 2000
Numbered 32 from an edition of 99, one of two remaining
14-1/4 inches (36.2 cm) high
Last recorded retail price: $42,000
Lalique designers created this dramatic model for the Asian market to celebrate the transition of the year of the Dragon to the Year of the Serpent. The head is a deep red hue and the body is clear/satin finish crystal. Production is especially challenging in this piece due to the thickness of the crystal.
"Imperial, Red" A Limited Edition Glass Vase, designed 2000
Numbered 32 from an edition of 99, one of two remaining
14-1/4 inches (36.2 cm) high
Last recorded retail price: $42,000
Lalique designers created this dramatic model for the Asian market to celebrate the transition of the year of the Dragon to the Year of the Serpent. The head is a deep red hue and the body is clear/satin finish crystal. Production is especially challenging in this piece due to the thickness of the crystal.
LALIQUE
"Grand Venus" A Limited Edition Black Glass Figure, designed 2005
Numbered 33 from a sold-out edition of 99, one of three remaining
13-5/8 inches (34.5 cm) high
Last recorded retail price: $55,200
The Goddess of Love. Press molded in opaque black crystal "Venus" became a highly popular limited edition. In mythology, Venus descended to earth in a large shell which, when opened, revealed her beauty.
"Grand Venus" A Limited Edition Black Glass Figure, designed 2005
Numbered 33 from a sold-out edition of 99, one of three remaining
13-5/8 inches (34.5 cm) high
Last recorded retail price: $55,200
The Goddess of Love. Press molded in opaque black crystal "Venus" became a highly popular limited edition. In mythology, Venus descended to earth in a large shell which, when opened, revealed her beauty.
LALIQUE
"Tianlong" A Limited Edition Amber Glass Vase, designed 2008
Numbered 34 from an edition of 88
10-7/8 inches (27.5 cm) high
Last recorded retail price: $35,000
A pair of bold amber Celestial Dragons encircle the clear center. Each of their stylized bodies form the number 8 which represents Good Fortune in Chinese tradition. Created with the double-injection method, using hand carving on the scales, this vase is considered Lalique's most challenging production model with a less than 10% success rate, resulting in fewer than the original edition being produced.
"Tianlong" A Limited Edition Amber Glass Vase, designed 2008
Numbered 34 from an edition of 88
10-7/8 inches (27.5 cm) high
Last recorded retail price: $35,000
A pair of bold amber Celestial Dragons encircle the clear center. Each of their stylized bodies form the number 8 which represents Good Fortune in Chinese tradition. Created with the double-injection method, using hand carving on the scales, this vase is considered Lalique's most challenging production model with a less than 10% success rate, resulting in fewer than the original edition being produced.
LALIQUE
"Les Eleens" A Limited Edition Black Glass Vase, designed 2009
Numbered 2 from an extremely limited edition, yet to be determined
25-5/8 inches (65.0 cm) high
Last recorded retail price: $35,000
Originally created by Marie Claude Lalique in clear crystal, Lalique's master glassmaker's recreated this piece in opaque black crystal in 2009. Inspired by a series of Rene Lalique panels featuring classical athletes, the vase pays homage to the Olympic Spirit and the original games in Athens.
"Les Eleens" A Limited Edition Black Glass Vase, designed 2009
Numbered 2 from an extremely limited edition, yet to be determined
25-5/8 inches (65.0 cm) high
Last recorded retail price: $35,000
Originally created by Marie Claude Lalique in clear crystal, Lalique's master glassmaker's recreated this piece in opaque black crystal in 2009. Inspired by a series of Rene Lalique panels featuring classical athletes, the vase pays homage to the Olympic Spirit and the original games in Athens.
Glass
LALIQUE
"Raspberry" A Limited Edition Bowl Plat, designed 2003
Numbered 7 from a sold-out edition of 21, one of two remaining
12-7/8 inches (32.9 cm) diameter
Last recorded retail price: $41,400
An early limited edition from Lalique, mouth-blown in deep amethyst crystal and hand-painted with platinum, the raspberry symbolizes abundance and festivity.
"Raspberry" A Limited Edition Bowl Plat, designed 2003
Numbered 7 from a sold-out edition of 21, one of two remaining
12-7/8 inches (32.9 cm) diameter
Last recorded retail price: $41,400
An early limited edition from Lalique, mouth-blown in deep amethyst crystal and hand-painted with platinum, the raspberry symbolizes abundance and festivity.
Art Glass
LALIQUE
"Sparrows" A Limited Edition Glass Vase, designed 2007
Numbered 153 from an edition of 188
11 inches (27.9 cm) high
Last recorded retail price: $24,850
The vase is the largest round vase produced in recent Lalique history. The pair of opalescent sparrows are created using the double-injection method. The body of the vase has a deep relief of wings which add a sense of motion to the piece.
"Sparrows" A Limited Edition Glass Vase, designed 2007
Numbered 153 from an edition of 188
11 inches (27.9 cm) high
Last recorded retail price: $24,850
The vase is the largest round vase produced in recent Lalique history. The pair of opalescent sparrows are created using the double-injection method. The body of the vase has a deep relief of wings which add a sense of motion to the piece.
LALIQUE
"Cactus" An Amber Glass Table, designed 2006
Extremely limited production and availability
27-1/4 x 44-7/8 inches (69.1 x 114.0 cm)
Last recorded retail price: $130,000+
Originally designed in 1951 by Marc Lalique for a display featuring Lalique's Under the Sea Collection, the amber table debuted in 2006. The deep amber hue is produced thru a re-heating process once the individual pieces are completely finished.
"Cactus" An Amber Glass Table, designed 2006
Extremely limited production and availability
27-1/4 x 44-7/8 inches (69.1 x 114.0 cm)
Last recorded retail price: $130,000+
Originally designed in 1951 by Marc Lalique for a display featuring Lalique's Under the Sea Collection, the amber table debuted in 2006. The deep amber hue is produced thru a re-heating process once the individual pieces are completely finished.
Glass
DAUM
A Cameo Glass Bowl, circa 1900
Marks: gilt Daum Nancy with the Cross of Lorraine
5 inches (12.7 cm) diameter
A Cameo Glass Bowl, circa 1900
Marks: gilt Daum Nancy with the Cross of Lorraine
5 inches (12.7 cm) diameter
Art Glass
DAUM
A Cameo Glass Vase, circa 1900
Marks: engraved Daum Nancy with the Cross of Lorraine
6-1/2 inches (16.5 cm) high
A Cameo Glass Vase, circa 1900
Marks: engraved Daum Nancy with the Cross of Lorraine
6-1/2 inches (16.5 cm) high
DAUM
A Cameo Glass Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
13 inches (33.0 cm) high
A Cameo Glass Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
13 inches (33.0 cm) high
DAUM
A Cameo Glass "Magnolia" Box, circa 1900
Marks: engraved DAUM NANCY FRANCE with the Cross of Lorraine
5-1/4 inches (13.3 cm) high
A Cameo Glass "Magnolia" Box, circa 1900
Marks: engraved DAUM NANCY FRANCE with the Cross of Lorraine
5-1/4 inches (13.3 cm) high
DAUM
A Cameo Glass "Pinecone" Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
8-1/2 inches (21.6 cm) high
A Cameo Glass "Pinecone" Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
8-1/2 inches (21.6 cm) high
Glass
DAUM
An Enameled and Gilt-Decorated Glass "Wheat" Vase, circa 1890s
Marks: gilt Daum Nancy with the Cross of Lorraine
11-1/4 inches (28.6 cm) high
An Enameled and Gilt-Decorated Glass "Wheat" Vase, circa 1890s
Marks: gilt Daum Nancy with the Cross of Lorraine
11-1/4 inches (28.6 cm) high
DAUM
A Martelé and Cameo Glass Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
8-3/8 inches (21.1 cm) high
PROVENANCE:
Macklowe Gallery, New York.
A Martelé and Cameo Glass Vase, circa 1910
Marks: engraved DAUM NANCY with the Cross of Lorraine
8-3/8 inches (21.1 cm) high
PROVENANCE:
Macklowe Gallery, New York.
Art Glass
DAUM
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: enameled Daum Nancy with the Cross of Lorraine
8 inches (20.3 cm) high
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: enameled Daum Nancy with the Cross of Lorraine
8 inches (20.3 cm) high
DAUM
A Cameo Glass Summer Salt, circa 1900
Marks: engraved DAUM NANCY with the Cross of Lorraine
1 x 2 inches (2.5 x 5.1 cm)
A Cameo Glass Summer Salt, circa 1900
Marks: engraved DAUM NANCY with the Cross of Lorraine
1 x 2 inches (2.5 x 5.1 cm)
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
10 inches (25.4 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
10 inches (25.4 cm) high
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
9 inches (22.9 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
9 inches (22.9 cm) high
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
4-3/4 inches (12.1 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
4-3/4 inches (12.1 cm) high
Glass
EMILE GALLÉ
An Overlaid and Wheel-Carved Glass Vase, circa 1910
Signed in intaglio: Gallé
5-7/8 inches (14.9 cm) high
An Overlaid and Wheel-Carved Glass Vase, circa 1910
Signed in intaglio: Gallé
5-7/8 inches (14.9 cm) high
EMILE GALLÉ
A Cameo Glass "Underwater Floral" Vase, circa 1900
Marks: cameo Gallé
6 inches (15.2 cm) high
A Cameo Glass "Underwater Floral" Vase, circa 1900
Marks: cameo Gallé
6 inches (15.2 cm) high
Art Glass
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
22-1/2 inches (57.2 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
22-1/2 inches (57.2 cm) high
EMILE GALLÉ
A Cameo Glass Chalice-Form Vase, circa 1900
Marks: cameo Gallé
8 inches (20.3 cm) high
A Cameo Glass Chalice-Form Vase, circa 1900
Marks: cameo Gallé
8 inches (20.3 cm) high
Glass
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
11-1/2 inches (29.2 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
11-1/2 inches (29.2 cm) high
EMILE GALLÉ
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
9 inches (22.9 cm) high
A Cameo Glass Vase, circa 1910
Marks: cameo Gallé
9 inches (22.9 cm) high
Art Glass
EMILE GALLÉ
A Cameo Glass "Iris" Vase, circa 1910
Marks: cameo Gallé
16 inches (40.6 cm) high
A Cameo Glass "Iris" Vase, circa 1910
Marks: cameo Gallé
16 inches (40.6 cm) high
EMILE GALLÉ
An Enameled and Gilt Glass Vase, circa 1900
Marks: molded Gallé
12-1/4 inches (31.1 cm) high
An Enameled and Gilt Glass Vase, circa 1900
Marks: molded Gallé
12-1/4 inches (31.1 cm) high
Glass
EMILE GALLÉ
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: cameo Gallé
12 inches (30.5 cm) high
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: cameo Gallé
12 inches (30.5 cm) high
EMILE GALLÉ
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: cameo Gallé
4-1/2 inches (11.4 cm) high
A Cameo Glass "Scenic Landscape" Vase, circa 1900
Marks: cameo Gallé
4-1/2 inches (11.4 cm) high
Art Glass
GALLÉ
A Gilt Decorated Glass Perfume Bottle, circa 1900
Marks: gilt E. Gallé Paris
12 inches (30.5 cm) high, overall
A Gilt Decorated Glass Perfume Bottle, circa 1900
Marks: gilt E. Gallé Paris
12 inches (30.5 cm) high, overall
LE VERRE FRANÇAIS
A Cameo Glass Vase, circa 1920
Marks: cameo Charder, engraved Le Verre Français FRANCE
10 inches (25.4 cm) high
A Cameo Glass Vase, circa 1920
Marks: cameo Charder, engraved Le Verre Français FRANCE
10 inches (25.4 cm) high
LE VERRE FRANÇAIS
A Cameo Glass Vase, circa 1920
Marks: engraved Le Verre Français France
17 inches (43.2 cm) high
A Cameo Glass Vase, circa 1920
Marks: engraved Le Verre Français France
17 inches (43.2 cm) high
SCHNEIDER
A Mottled Glass and Wrought Iron Vase, circa 1920
Marks: engraved Schneider
10 inches (25.4 cm) high
A Mottled Glass and Wrought Iron Vase, circa 1920
Marks: engraved Schneider
10 inches (25.4 cm) high
GABRIEL ARGY-ROUSSEAU
A Pâte-de-Verre Moth Pendant, circa 1920s
Marks: engraved G-A-R
2-3/4 x 2 inches (7.0 x 5.1 cm)
A Pâte-de-Verre Moth Pendant, circa 1920s
Marks: engraved G-A-R
2-3/4 x 2 inches (7.0 x 5.1 cm)
GABRIEL ARGY-ROUSSEAU
A Pâte-de-Verre Box, circa 1920s
Marks: molded ARGY-ROUSSEAU
4 x 3-3/4 inches (10.2 x 9.5 cm)
A Pâte-de-Verre Box, circa 1920s
Marks: molded ARGY-ROUSSEAU
4 x 3-3/4 inches (10.2 x 9.5 cm)
Glass
ALMERIC WALTER, NANCY
A Pâte-de-Verre Vase and Cover, circa 1920
Marks: impressed AWalter Nancy
5 inches (12.7 cm) high
A Pâte-de-Verre Vase and Cover, circa 1920
Marks: impressed AWalter Nancy
5 inches (12.7 cm) high
SALVADOR DALI FOR DAUM
"The Soft Watch" A Blue Pâte-de-Cristal and Bronze Sculpture, no. 3096
From a sold-out limited edition of 850
21-1/4 inches (54.0 cm) high
The 'Montre Molle' is a recurrent and classic theme in Dali's surrealist work, exploited in painting and sculpture. Dali defines it as a 'persistence of memory', like a giant molecule carrying hereditary genetic traits and thus a symbol of eterntiy. This 'Montre Molle' hanging from a coat-stand in incongruous association is Dali's most recognizable surrealist creation.
"The Soft Watch" A Blue Pâte-de-Cristal and Bronze Sculpture, no. 3096
From a sold-out limited edition of 850
21-1/4 inches (54.0 cm) high
The 'Montre Molle' is a recurrent and classic theme in Dali's surrealist work, exploited in painting and sculpture. Dali defines it as a 'persistence of memory', like a giant molecule carrying hereditary genetic traits and thus a symbol of eterntiy. This 'Montre Molle' hanging from a coat-stand in incongruous association is Dali's most recognizable surrealist creation.
SALVADOR DALI FOR DAUM
"Venus with Drawers" A Pale Blue Pâte-de-Cristal and Silver Sculpture, no. 3097
From a sold-out limited edition of 850
17 inches (43.2 cm) high
This Venus sculpture dates from 1936 when Dali developed the concept of 'Paranoiac-critical activity' defined by Paul Eluard. His neoclassical, surrealist figures become narcissistic, hysterical,
oneiric, and spectral. In this one, the drawers are a kind of metaphor of psychoanalysis. According to Salvador Dali: "All the drawers had to be put in a plump body that had not yet experienced the Christian invention of a guilty conscience. This sculpture might cure us of psychoanalysis".
"Venus with Drawers" A Pale Blue Pâte-de-Cristal and Silver Sculpture, no. 3097
From a sold-out limited edition of 850
17 inches (43.2 cm) high
This Venus sculpture dates from 1936 when Dali developed the concept of 'Paranoiac-critical activity' defined by Paul Eluard. His neoclassical, surrealist figures become narcissistic, hysterical,
oneiric, and spectral. In this one, the drawers are a kind of metaphor of psychoanalysis. According to Salvador Dali: "All the drawers had to be put in a plump body that had not yet experienced the Christian invention of a guilty conscience. This sculpture might cure us of psychoanalysis".
SALVADOR DALI FOR DAUM
"The Velocipede Horse" A Green Pâte-de-Cristal and Bronze Sculpture, no. 3098
From a sold-out limited edition of 850
15-3/8 inches (39.1 cm) high
This sculpture, inspired by Dali's 1938 painting bearing the same name, belongs to the series of figural works Dali created to symbolize various emotions and ideals through transmutation. This sculpture, in which the blind horse seems to start its transmutation into a bicycle or car, becomes a
phantasmagorical allegory denouncing "ghastly mechanical civilization" in what Dali referred to as the "empire of the premonitory".
"The Velocipede Horse" A Green Pâte-de-Cristal and Bronze Sculpture, no. 3098
From a sold-out limited edition of 850
15-3/8 inches (39.1 cm) high
This sculpture, inspired by Dali's 1938 painting bearing the same name, belongs to the series of figural works Dali created to symbolize various emotions and ideals through transmutation. This sculpture, in which the blind horse seems to start its transmutation into a bicycle or car, becomes a
phantasmagorical allegory denouncing "ghastly mechanical civilization" in what Dali referred to as the "empire of the premonitory".
Art Glass
PAUL-ARMAND GETTE FOR DAUM
"Nymphéa" A Glacier Blue and Rose Pâte-de-Cristal Vase, no. 3382
The final remaining from an edition of 8
16-1/4 inches (41.1 cm) high
The Nymph is a voluptuous creature in symbiosis with Nature. Trained as a botanist, Paul Armand Gette associates women and nature in much of his work.
"Nymphéa" A Glacier Blue and Rose Pâte-de-Cristal Vase, no. 3382
The final remaining from an edition of 8
16-1/4 inches (41.1 cm) high
The Nymph is a voluptuous creature in symbiosis with Nature. Trained as a botanist, Paul Armand Gette associates women and nature in much of his work.
RICHARD TEXIER FOR DAUM
"The Spirit of Time" An Amber and Sea Green Crystal and Bronze Sculpture, no. 3232
From a limited edition of 125
17-3/4 inches (45.0 cm) high
In expolration of the passage of time, this work plays with the disconcerting relationship between a fantastic beast, half-fish and half-elephant, and a fossil. The fossil represents the stopping of time forever, even as it takes on new life through the transparent substance of the pâte-de-cristal, the light and the ever changing effects of a subtle range of color.
"The Spirit of Time" An Amber and Sea Green Crystal and Bronze Sculpture, no. 3232
From a limited edition of 125
17-3/4 inches (45.0 cm) high
In expolration of the passage of time, this work plays with the disconcerting relationship between a fantastic beast, half-fish and half-elephant, and a fossil. The fossil represents the stopping of time forever, even as it takes on new life through the transparent substance of the pâte-de-cristal, the light and the ever changing effects of a subtle range of color.
RICHARD TEXIER FOR DAUM
"Rhinostellation" A Blue Crystal and Silver Sculpture, no. 3234
The final remaining from an edition of 8
11-3/4 inches (30.0 cm) high
The earth and the heavens, symbolized here by a powerful rhinoceros and a constellation, are central to the thinking of Richard Texier, who is facinated by astronomy. The rhinoceros proudly bears the earth on its back, while the stars suggest the five senses.
"Rhinostellation" A Blue Crystal and Silver Sculpture, no. 3234
The final remaining from an edition of 8
11-3/4 inches (30.0 cm) high
The earth and the heavens, symbolized here by a powerful rhinoceros and a constellation, are central to the thinking of Richard Texier, who is facinated by astronomy. The rhinoceros proudly bears the earth on its back, while the stars suggest the five senses.
RICHARD TEXIER FOR DAUM
"God of Harvest" An Amber and Pastel Blue Crystal and Silver Sculpture, no. 3676
The final remaining from an edition of 8
13-1/4 inches (33.5 cm) high
Richard Texier likes to give his animals a very human personality. This surreal creature, delicately poised on buds about to burst open on top of a prayer bell, pays homage to the bounty of life and nature.
"God of Harvest" An Amber and Pastel Blue Crystal and Silver Sculpture, no. 3676
The final remaining from an edition of 8
13-1/4 inches (33.5 cm) high
Richard Texier likes to give his animals a very human personality. This surreal creature, delicately poised on buds about to burst open on top of a prayer bell, pays homage to the bounty of life and nature.
GEORGES BRAQUE FOR DAUM
"Char de Médée" A Blue Pâte-de-Cristal and Gilt Bronze Sculpture, no. 3621
The final remaining from an edition of 8
19-5/8 inches (50.0 cm) long
The Ancient Greek chariot is a popular subject for Braque. Abandoned by her husband, Jason, Medea slit her children's throats to take revenge. She committed many more crimes before fleeing on a winged chariot to marry King Aegeas in Athens.
"Char de Médée" A Blue Pâte-de-Cristal and Gilt Bronze Sculpture, no. 3621
The final remaining from an edition of 8
19-5/8 inches (50.0 cm) long
The Ancient Greek chariot is a popular subject for Braque. Abandoned by her husband, Jason, Medea slit her children's throats to take revenge. She committed many more crimes before fleeing on a winged chariot to marry King Aegeas in Athens.
RICHARD TEXIER FOR DAUM
"Mimesis Deus" A Crystal and Bronze Sculpture, no. 3631
Ed. 8
28-3/8 inches (72.0 cm) long
Here Texier contrasts two mythological animals - a stylized ram symbolizing power, vitality, and courage, and an ox representing goodness, calm, and peaceful strength - in allusion to the dualities and contradictions within the human spirit.
"Mimesis Deus" A Crystal and Bronze Sculpture, no. 3631
Ed. 8
28-3/8 inches (72.0 cm) long
Here Texier contrasts two mythological animals - a stylized ram symbolizing power, vitality, and courage, and an ox representing goodness, calm, and peaceful strength - in allusion to the dualities and contradictions within the human spirit.
DAUM AFRIC'ART COLLECTION
"Mali Helmet Mask" An Amber and Green Crystal and Gold-Leafed Malagasy Sculpture, no. 3809
The final remaining from an edition of 8
35-3/8 inches (90.0 cm) high
Inspired by a zoomorphic ceremonial dance mask originally worn atop a war helmet for purposes of intimidation and status.
"Mali Helmet Mask" An Amber and Green Crystal and Gold-Leafed Malagasy Sculpture, no. 3809
The final remaining from an edition of 8
35-3/8 inches (90.0 cm) high
Inspired by a zoomorphic ceremonial dance mask originally worn atop a war helmet for purposes of intimidation and status.
DAUM AFRIC'ART COLLECTION
"Petrol Head" A Black Crystal and Silver Sculpture, no. 3776
The final remaining from an edition of 8
13-3/4 inches (34.9 cm) high
The choice of symbolic black denounces the trafficking of petroleum in Africa. The little shell from Africa's beaches is mounted in a silver plinth within matte nickel plated steel.
"Petrol Head" A Black Crystal and Silver Sculpture, no. 3776
The final remaining from an edition of 8
13-3/4 inches (34.9 cm) high
The choice of symbolic black denounces the trafficking of petroleum in Africa. The little shell from Africa's beaches is mounted in a silver plinth within matte nickel plated steel.
DAUM AFRIC'ART COLLECTION
"No More War" An Amber and Gray Crystal and Bronze Sculpture, no. 3808
The final remaining from an edition of 8
19-5/8 inches (49.8 cm) high
This man is symbolically composed of weapons representing recent African conflict. He is the witness to war and sends out an unmistakeable message of peace.
"No More War" An Amber and Gray Crystal and Bronze Sculpture, no. 3808
The final remaining from an edition of 8
19-5/8 inches (49.8 cm) high
This man is symbolically composed of weapons representing recent African conflict. He is the witness to war and sends out an unmistakeable message of peace.
Copyright © 1999-2026 Heritage Capital Corporation
Mailing Address:
PO Box 619999
Dallas, TX 75261-6199
Street Address:
2801 W. Airport Freeway
Dallas, Texas 75261-4127
(Northwest corner of W. Airport Freeway & Valley View Lane)
All Rights Reserved
1-800-872-6467 / (214) 528-3500 / Fax: (214) 443-842
Mailing Address:
PO Box 619999
Dallas, TX 75261-6199
Street Address:
2801 W. Airport Freeway
Dallas, Texas 75261-4127
(Northwest corner of W. Airport Freeway & Valley View Lane)
All Rights Reserved
1-800-872-6467 / (214) 528-3500 / Fax: (214) 443-842