Posts Tagged ‘art deco palissy dinnerware’

French Art Nouveau Furniture: DISPLAY CASE, TWO-TIER TABLE, TABLE LAMPS, ROSEWOOD AND WALNUT VITRINE.

FRANCE: THE NANCY SCHOOL
MANY OF THE FINEST WORKS of French
Art Nouveau were created at the Alliance Provincale des Industries d’Art, or Ecole de Nancy, in the province of Lorraine. It was founded in 1901 by the innovative furniture and glass designer Emile Galle, and was based on the example set by the English Arts and Crafts guilds. A design school and workshop that was profoundly influenced by the Symbolist movement in art and literature, the goal of the enterprise was to modernize technical training in both the decorative and applied arts.
The natural world inspired and informed the artists and craftsmen
who gathered around the brilliant Galle at the Ecole de Nancy, and the school gave a coherent identity to the diverse craftsmen working there.
Among those who ran the Nancy school with Galle were some of the finest craftsmen and designers of the day, including Louis Majorelle, Eugene Vallin, Victor Prouve, and the Daum brothers, Auguste and Antonin.
BOTANICAL INSPIRATION
In addition to history of art and Symbolist poetry and literature, Galle’s rich influences included the study of local flora and fauna — cow parsley, thistles, insects, and so on — which
was to furnish him with creative inspiration for shapes as well as decoration. His romantic vision of nature, a delight in plants, animals, and other living creatures, and a passionate faith in the mystery of creation lay at the heart of his most inspired designs.
FURNITURE STYLES
Galle’s emotional connection with the vitality of nature and his love of symbolism resulted in highly original, imaginative furniture that seemed to breathe with life.
Tables and cabinets were made
from richly coloured or exotic woods,
including rosewood, maple, walnut, or fruitwoods such as apple or pear. The pieces stood on carved supports in the shape of dragonfly wings, or boasted cornices featuring carved
creatures such as snails, moths, and bats. Decorative bronze mounts resembled insects, and fruitwood inlays in extravagant compositions depicted natural motifs, including flower blossoms, leaves, fruit, cars of corn, snails, and butterflies.

Many of Galles pieces were unique, and were signed and frequently engraved with verses by Victor Hugo, Paul Verlaine, or Charles Baudelaire.
LOUIS MAJORELLE
The other great furniture designer working at Nancy – Louis Majorelle –turned his back on the Louis XV taste, which had been the staple of many established workshops, and created some of the finest pieces of Art
Giltwood Aubepine table by Louis Majorelle This occasional table has a circular marble top above a moulded gilt frieze. The tapering moulded legs are decorated with foliate carving.
Nouveau furniture. Although his desks, tables, chairs, and bedroom suites lack the symbolic poetry found in the works of Galle, his finely crafted furniture is beautiful in its own right.
Majorelle established several workshops so that he could increase his output. He was a trained cabinetmaker, and although much of his furniture incorporated some machine-made parts, the quality was superb. Majorelle’s furniture was usually made
of dark hardwoods such as mahogany and rosewood, with fluid outlines and massive, sculptural gilt-bronze mounts shaped as orchids or water lilies,
alongside delicately carved, inlaid, or marquetry decoration in fruitwoods, pewter, or mother-of-pearl. He also collaborated with the Daum brothers, who were famous for their glassware, to produce a wide variety of decorative lamps with glass shades and elegant bronze or iron mounts.

ROSEWOOD AND WALNUT VITRINE
This rosewood and walnut vitrine by Emile Gallo is inspired by organic motifs. The upper section has glazed doors with carved foliage surrounds extending to a central support to form a heart motif. The back is decorated with fruitwood leaf-form marquetry. 1900.
ARMCHAIRS
These mahogany chairs by Louis Majorelle have rectangular padded splats, stuff-over arms on unusual, sweeping, reverse-curved supports, and stuff-over seats on moulded legs. This is a graceful variation on the traditional chair style with gently curving lines. c.1900.
This is an unusual pair of glass and bronze lamps made in Nancy by Daum Freres and Louis Majorelle. The tapering, gilded, bronze shaft has a flower motif in high relief and three raised supports for the domed, mushroom-shaped shades. The lamp shades are made of clear flashed glass with powder inclusions in rose, greenish-yellow, and dark violet. They are signed “Daum Nancy” and have a Cross of Lorraine on the rim of the shade. c. 1904.
TABLE LAMPS

Made rom mahogany and makasar, this display case by Louis Majorelle rests on curved diagonal legs. The doors have distinctive blossom ornaments. c.1920.
This rosewood occasional table by Emile GaIle has three out-splayed supports and scroll legs with carved hoof feet. The table is decorated with floral marquetry. c.1900.
This sumptuous, blonde mahogany, goose-design cabinet by Louis Majorelle is decorated with marquetry, pierced wood, and exotic timbers. The piece has pierced side panels, a frieze drawer with bronze goose-head drawer
DISPLAY CASE
NEST OF TABLES
These Emile Galle tables Aux Magnolias are made of fruit- and rootwoods and decorated with magnolia and butterfly design inlays, and carved branch patterns on the legs of the largest tables. c.1900.
TWO-TIER TABLE
ARMCHAIRS
This pair of Marrons d’Inde armchairs by Louis Majorelle have splats with exotic wood marquetry, bent and curved arms, tapering legs, and stuff-over upholstered seats. 1905-10.
Pierced side panels
are decorated
with repeated scrolling motifs.
Bronze drawer pulls are in the shape of goose heads.
The goose motif is continued on the front doors.
GOOSE DESIGN CABINET
pulls, and cupboards inlaid witn exotic wood showing a gaggle of geese. A superb designer and highly skilled technician, Majorelle created flamboyantly luxurious pieces of unrivalled
quality. c.1900.

Early 19th Century Desks: CANADIAN DROP-FRONT DESK, GERMAN PEDESTAL DESK, FRENCH CLERK’S DESK, BIEDERMEIER CYLINDER BUREAU, FRENCH DIRECTOIRE CYLINDER DESK, AMERICAN FEDERAL DESK

DESKS GENERALLY TENDED TO BE Of two
forms: flat- or slant-topped. Neither of these types were new in the early 19th century. Of the former, which were generally intended for a library, several outstanding examples survive. The Jacob brothers of France provided Napoleon with a flat-topped desk for his study at the Tuileries, which is now at Malmaison. A type of mechanical bureau plat, the box-like top slides back to expose the working surface. It is supported on side pylons formed from paired lion monopodia painted and gilded to simulate bronze.
A late Empire “Ferdinandino” style desk in mahogany survives in the Spanish Royal Palace in Madrid. With a leather top, which is typical of flat-topped desks of the period, it is supported on gilt swans linked by a platform stretcher. Chippendale the Younger’s desk for Sir Richard Colt Hoare at Stourhead demonstrates a British variation of this type. Unusually,
the top of the desk is rounded and has Egyptian mask pilasters running around all sides.
Slant-fronted bureaux were still produced, particularly in provincial centres in Britain and the United States. The cylinder bureau, which had a rounded fall that pushed upwards into the carcase of the piece remained popular on the Continent, particularly in the north. The cliatol in Denmark was a variation with a cabinet above it. Similar bureau-cabinets were produced in Britain, as was a much smaller desk called the Davenport. In some instances the slant provided the actual writing surface rather than covering it, while others were made with a piano-top style. They are thought to be named after a version made by Gillows for a Captain Davenport. Other small desks, , were in vogue on both sides of the channel. The secretaire a abottant continued to be popular, especially in France.

The ebony inlay takes the form of leaf sprays and geometric motifs.
Each side panel hasa lion’s head brass ring pull.
The frieze has three drawers.
Arched bracket lion’s paw foot.
ENGLISH REGENCY DESK
This shaped rectangular pedestal desk has a black gilt-tooled leather writing surface and is decorated around the edges with ebony inlay depicting sprays of leaves and geometric motifs. The frieze has three drawers to the front above
a kneehole, flanked on either side by a door enclosing three drawers. The reverse of the desk has three conforming frieze drawers and cupboard doors enclosing a shelf. The case stands on eight arched bracket lion’s-paw feet.
c.1820.

AMERICAN SLANT-FRONT DESK
This Federal maple and tiger-maple slant-front desk from New England has a moulded slope front with a fitted interior and four long graduated drawers. There is a moulded base and the case sits on French feet. The secondary wood is white pine. c.1800.

FRENCH DIRECTOIRE CYLINDER DESK
This roll-top desk has a white marbled galleried top above three frieze drawers. The panelled fall opens to reveal a fitted interior with small drawers and a leather-inset brushing slide. The desk is raised on turned, tapered legs, ending in toupie feet. c.1800.
ITALIAN LIFT-TOP DESK
This desk has a lift-top with iron strap hinges and lock that folds back to reveal a fitted interior. The desk is supported on canted, scrolled ends with carved supports. Early 19th century.

AMERICAN FEDERAL DESK
The slant front of this Federal cherry-wood clerk’s desk encloses a fitted interior of four drawers and valanced compartments on both sides of a central, shell-carved, prospect door flanked by two document drawers. Below is a single long drawer. Early 19th century.
SWEDISH PAINTED DESK
This is a late Gustavian painted desk, with a wide overhanging rectangular writing surface above three reeded frieze drawers. Each pedestal has three graduated short drawers, again reeded, and is raised on a narrow
plinth with block feet. 1800-20.
BIEDERMEIER CYLINDER BUREAU
FRENCH CLERK’S DESK
This German walnut-veneered cylinder desk has a frieze drawer above the roll-top and two long drawers below. The front opens to reveal a fitted interior with six small drawers and compartments. The case is supported on square-section tapering legs. c.1820.
This mahogany desk has a three-quarter gilt-metal gallery and a leather inset slope. There is a gilt-metal mounted frieze with a drawer above a grille door and sides with folio divisions, flanked by turned columns. The desk is raised above a platform with square supports on bun feet.

GERMAN PEDESTAL DESK
This pedestal writing table is covered with cherry wood veneer. The rectangular top has a higher, moulded edge to the back and sits above one long and two short frieze drawers with locks. Either side of the kneehole, the
deep, rectilinear pedestals have unusual tapered doors with applied moulding above, which give the piece an architectural feel. The interiors of the pedestals are fitted with shelving. The whole piece is supported on a plinth base. c.1825.
CANADIAN DROP-FRONT DESK
This rare Quebec pine desk has a fall front, which opens to reveal a fitted interior. On either side of a central cubbyhole are three wide, graduated drawers, and above it is a series of pigeonholes. The case has three long
drawers and is supported on a moulded plinth. The exterior of the desk has been stripped, but still bears traces of its original paint finish. c.1820

Art Deco Table Wares
Companies engaged in manufacturing products for preparing and serving food found it necessary to accommodate the new trends in modern design. Streamlined and angular shapes can be found not only in sets of china but in kitchen equipment as well. In this section, table wares are not confined to dishes but include other utilitarian and decorative pieces. Because of the great diversity of this category, it is possible to show only a sample of items, but the pieces illustrated should alert collectors to the many possibilities table wares offer. Photographs are arranged approximately in alphabetical order according to the function of the item, ranging from candle holders, centerpieces and crumbers, to pitchers and a toaster!
Table wares basically are made of pottery, glass or metal. Ceramics include earthenware or semi-china, stoneware and porcelain. Simplified decoration distinguishes Deco china from that produced during the Victorian years. Floral transfer patterns covering the entire surface of china gave way to colored line borders or abstract geometric patterns. Sometimes china was left undecorated with the shape or mold drawing attention to a modern image. Geometric shapes other than the usual circular form are seen here in the rectangular bowl and the triangular shaped cup and saucer.
Ceramic table wares can be found at all price levels. Pieces designed and handpainted by Clarice Cliff for the Royal Staffordshire Pottery during the late 1920’s and early 1930’s are highly regarded by advanced collectors. Price can reach several hundred to several thousand dollars for some examples, especially those with floral and landscape decor. “Bizarre,” “Geometric,” — and “Fantasque” were some of the pattern names. The English artist’s signature was included on most of her work. Pieces which do not have her name or signature as part of the mark are usually considerably lower in price. “The Biarritz” soup bowl shown here is one such example. Although the pattern is quite simple, it also merits consideration as a form of Deco table ware. Deco patterns by other English potters are also quite collectible. Many good examples in the moderate price ranges are surfacing. These may be found mixed in with other miscellaneous dishes by dealers who do not specialize in Art Deco.
“American Modern, ” designed by Russel Wright for the Ohio based Steubenville Pottery is also quite collec
tible and much lower in price. This line was made from about 1939 through the late 1950’s. Solid colored surfaces without other added decoration implied a modern concept. Many other European and American pottery and porcelain factories produced their own renditions of “modern” style. Japanese table ware companies used similar interpretations to reach the large American market. Deco patterned china made by the Noritake firm has been attracting many collectors during the last few years. Prices are still affordable but not inconsequential. Table china, however, is probably the largest source of Art Deco “sleepers” and possible bargains today.
Angular shapes or stylized designs cut or molded into glass table wares were made to grace the dining tables of the period. Art glass by French manufacturers is usually too expensive for moderate collectors. The large blue centerpiece bowl made by Daum and the smoke glass bowl by Verlys are two such examples. These would fall into the “investment” rather than the “fun” class of Deco collectibles. But, like ceramics, many types of inexpensive table glass were made during the 1930’s and 1940’s by American factories. Depression era glass collectors began to salvage pieces during the 1960’s. A number of the patterns have unmistakable Deco characteristics. “Manhattan,” a clear glass pattern made by Anchor Hocking is just one type finding its way into Deco collections. The ruby red, cobalt blue and deep green colored glass made by other American glass companies also qualifies as Deco. Quite a few pieces are very attractive, some are even elegant and others are just amusing.
Flatware, serving pieces and decorative table articles can be found in silver, brass, copper, chrome and plated metals. Chrome and plated metals are the least expensive. Nude or semi-nude figures were made into metal centerpieces or candle holders. Prices are competitive with other figural items and examples are just as much in demand. A number of metal Deco items were originally silverplated. Because the plating wears off, items become ugly and lose much of their value. Dealers have found it lucrative to have such objects stripped to the base metal which was usually copper or brass. The copper centerpiece with a pot metal nude is an example which was once silver plated. Do not automatically disregard badly worn plated pieces which have obvious Deco signs. It may be wise to have them stripped and polished by a commercial firm which specializes in that kind of work.