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Master Works Winter Antiques Show Jan. 24 - Feb. 2, 2014


Abel Landry Clock (S-15574) “Strolling the Tuilieries Gardens”; This silvered bronze clock by Abel Landry (originally retailed by La Maison Moderne) displays many of the most recognized themes of 1900 Paris: an elegant lady sports the latest fashions of dress and beckons the viewer to take a closer look at ombelle and bell flower blossoms, all framed by the whiplash for French Art Nouveau is so famous, also reflected in the movement of her windblown scarf. The entire composition is elegantly enhanced by the use of blue enamel. Pictured in: Alastair Duncan, "The Paris Salon, objects and metalware", Antique Collector's Club, England, page 161; and in Victor Arwas, "Art Nouveau: The French Aesthetic", London: Andreas Papadakis, 2002, p. 333. Circa 1900. Signed: ''A. Landry''. Dimensions: 14½'' high x 7'' wide x 5'' deep.


Portrait of Sarah Bernhardt by Paul François Berthoud (S-16040) A French Art Nouveau gilt and patinated bronze portrait of Sarah Bernhardt by Paul François Berthoud. Sarah Bernhardt was the most important dramatic actress of the 19th Century. She is portrayed here with a jeweled sash and flowing hair, no doubt a reference to her role as Gismonda in the play by Victorien Sardou. A sculpture belonging to this series is in the collection of the French National Museum. Circa 1900. Signed, ''PF Berthoud” and stamped with Louchet foundry mark''. Dimensions: 15½'' high x 13½'' wide x 9'' deep.


“La Danse” by Clement Massier (C-15795) Loie Fuller employed smoke, billowing fabrics and dramatic lighting in her choreography, creating an ethereal, otherworldly effect, the likes of which the world had never seen. Clement Massier drew inspiration from her for this iridescent glazed ceramic charger, where Fuller seems to be floating in a sea of the unknown. The feathered decoration in the glaze merges with her swirling draperies, further accented by iridescent green and purple highlights against a golden ground. The inspiration for the subject matter of the plate was undoubtedly the dancer, Loie Fuller, whose dances with swirling silks and experimental lighting made her a legend. Circa 1900. Signed, ''Clement Massier - Golfe Juan-AM''. Dimensions: 19¼'' diameter x 2¼'' deep.


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Tiffany "Tulip Tree” Candlesticks (T-16067) A pair of Tiffany Studios “Tulip Tree” bronze candlesticks. The bases are comprised of three overlapping leaves supporting a slender stem extending upward to a blooming tulip flower and are finished in a rich brown patina with green highlights. The candlesticks are pictured in the book "Tiffany Lamps and Metalware: An illustrated reference to over 2,000 models", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors’ Club, 2007, pg. 389, illus. 1588 and also pg. 384, illus. 1566, which is a reprint of an early Tiffany catalog photograph. Circa 1900. Signed, ''Tiffany Studios New York 11486''. Dimensions: 7'' diameter x 18'' high.


Tiffany "Sunset Turtleback" Chandelier (L-16042) Louis Comfort Tiffany selected turtleback chandeliers such as this one for his living room at Laurelton Hall, his famed country residence. In many ways the aesthetic opposite of his flowered lamps, these hanging lights exude a simple, strong, masculine energy. This light is comprised of 20 large turtleback tiles in sunset tones of gold and yellow, and is accented by a beaded trim and oversize cap and chain to complete the design. Reference: "The Lost Treasures of Louis Comfort Tiffany", by Hugh F. McKean, page 124. Circa 1900. Dimensions: 22'' diameter x 54" high (adjustable).


Bronze Bombé Vitrine by Majorelle (F-15799) A French Art Nouveau carved mahogany and gilt-bronze bombé vitrine “Aux Orchidées” with original fabric upholstery by Louis Majorelle. The Orchid was part of the local flora in the Lorraine province and Majorelle spent many hours researching exotic and previously undiscovered varieties of this most unusual flower. It was his presentation of his Orchidée designs at the Paris Exposition 1900 that would catapult him to extraordinary success. This particular vitrine was first exhibited by Majorelle in the Exposition Internationale de Nancy in 1900 and later by the Société des Artists Décorateurs, Paris, 1906. It is pictured in the Majorelle sales catalogue, 1906; in "Louis Majorelle: Master of Art Nouveau Design" by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, page 67 and a similar vitrine in "Majorelle: Une Avemture Moderne" by Roselyne Bouvier, Paris: La Bibliotheque des Arts, 1991, 108. However, the vitrine pictured here is a markedly more refined model. Its narrow, bombé structure lend it added elegance and the gilt bronze mounts, integral to the architecture of the piece, contribute to its impressive sense of vertical momentum. Majorelle’s Orchidée motif in gilt-bronze is characterized by the use of the abstracted floral design, which shoots upwards from a firmly rooted and elaborately carved sabot and culminates in the dramatic flowering of the orchid. This particular vitrine displays two Orchid blossoms along its vertical edges, as opposed to one, making it more desirable than most models. The artist’s juxtaposition of dark veneers with the richness of gilt bronze endows the work with sculptural qualities and the languorous lines of the unfurling Orchid blossoms imbue the piece with profound sensuality. Circa 1900. Dimensions: 86'' high x 53'' wide x 20¾'' deep.


Emile Gallé “Dragonfly” Table (F-15979) A French Art Nouveau “libellules” two-tiered, three-legged table with carved and marquetry decoration by Emile Gallé. Each of the three legs of the table is in the form of a dragonfly with extended wings. Each tier of the table is decorated with marquetry depictions of wetlands scenery. The upper tier is also decorated with a single dragonfly in flight. Originally exhibited at the Paris Exposition Universelle of 1900, this table elicited very strong reactions from critics of the day, with many praising the exaggerated scale of the dragonflies, which serve as the three supports of the table. Only Emile Gallé was imaginative enough to dream up such a piece; only his craftsmen were skilled enough to bring it to fruition. A similar table is pictured in: "Meubles et Ensembles Style 1900", by Édith Mannoni, p. 9; "The Paris Salons Volume III 1895-1914: Furniture, by Alastair Duncan, p. 225; "Gallé Furniture", by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors’ Club, 2012, p. 206, plate 192. Circa 1900. Signed, ''Gallé''. Dimensions: 30” high x 24” diameter.


Tiffany “Clematis” Lamp (L-16116) A Tiffany Studios New York glass and bronze “Clematis” table lamp, featuring a leaded glass shade in hues of rich blue, lavender and purple, against a mottled green and amber ground with a green mottled glass border at the top and bottom of the shade. The shade rests atop a patinated bronze base which features jeweled accouterment above a circular ribbed foot. This is one of the most vibrantly colored lamps we have ever owned. One can truly sense the clematis as a climbing vine, circling the shade in sinuous tones of purple and blue, all enhanced by a border of glimmering chartreuse. The slender-stemmed bronze base complements the shade, making a light and airy composition of this stunning lamp. A similar shade is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors’ Club, 1988, p. 147, plate 613; and in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 142, plate 142. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors’ Club, 1988, p. 75, plate 289. Circa 1900. Shade signed: ''Tiffany Studios New York''. Base signed: ''Tiffany Studios New York 4526''. Dimensions: 18'' diameter x 23¾'' high.



2014 Master Works