Macklowe Gallery presents "Seven Master Works" at the Winter Antiques Show

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Macklowe Gallery presents "Seven Master Works" at the Winter Antiques Show

Transcript of Macklowe Gallery presents "Seven Master Works" at the Winter Antiques Show

  • presents

    at theWinter Antiques ShowJan. 25 - Feb. 3, 2013

    SevenMaster

    Works

    presents

  • Lalique Night Moths Brooch (BO-15274)An exceptional French Art Nouveau 18 karat gold, diamond and plique--jour enamel Symbolist brooch by Ren Lalique featuring two night moths in flight. Night moths allude to the mysteries of night and the unconscious as well as to the transient atmosphere of newly industrialized fin-de-sicle Paris. Lalique most likely created this piece for the Salon des Artistes Franais in 1907 where he also presented a series of silk scarves embroidered with the same night moth motif. The piece is in its original box from the Place Vendme where Ren Lalique established his gallery in 1905. An original preparatory gouache by Lalique depicts the two night moths shown from a slightly different perspective as well as the body of a night moth in profile. In its day, the piece was offered to its original owner by her sister on the day of her wedding and remained within the family until 2012. Laliques Night Moths brooch is a true discovery and a special addition to the artists definitive oeuvre. Its extraordinary scale transports this piece beyond the realm of jewelry. This is the most significant work of art Macklowe Gallery has ever offered for sale.

    Dimensions: 6 long x 4 high

    A similar model depicting three night moths also dated 1907 is pictured in: La bijouterie Franaise au XIX sicle, Volume III, troisime rpublique, H. Floury editor, Paris 1908, Page 777. Varying preparatory designs for the piece are shown in Ren Lalique Schmuck und Objets dart by Sigrid Barten, Prestel, Munich, 1977-1989, p. 435, and p. 118.

  • Rose de France Vase by mile Gall (G-14964)A French Art Nouveau Rose de France vase by mile Gall. In 1870 France was full of sorrow after losing the Franco-Prussian war. mile Galls hometown of Nancy had been annexed by Germany. Gall chose to use the motif of the red rose, which only bloomed in the Mt. Saint-Quentin province of Lorraine as a symbol of his patriotism. In addition, the piece is visually oriented along cardinal directions, looking West towards France and away from Germany. In 1902 a vase from this series was presented to the Russian emperor as a prestigious gift from France. The vase shows Galls innovative technique of glass marquetry which involved the incorporation of glass fragments of various thickness, shapes and colors into the still malleable glass. The multi-layering of glass and the use of metallic foils behind the glass, make the Rose de France simply the best piece of French art glass we have ever owned. Circa 1900. Signed, ''Gall ''.

    Dimensions: 4'' high x 6'' wide x 4'' deep.

    A similar vase is pictured in: Gall, catalogue for the exhibition at le Muse du Luxembourg, Paris, November 1985-February 1986, Paris: ditions de la Runion des Muses Nationaux, 1985, p. 149.

  • Daum & Majorelle Magnolia Lamp (EL-14628)A French Art Nouveau gilt bronze and glass Magnolia lamp by Daum & Majorelle. Louis Majorelle, a leading member of the cole de Nancy and proponent of the Art Nouveau style, forged an important collaboration in the early 1890s with Daum glassworks to produce lighting fixtures after botanical motifs. This artistic venture, which ultimately spanned the course of three decades, resulted in some of the most spectacular and definitive expressions of the Art Nouveau style. The inspiration for Majorelles lamp designs came from numerous indigenous plants. The bases, composed of bronze or wrought-iron, were naturalistically sculpted in the form of slender stems or branches to support a variety of floriform glass shades. Electric wires could easily be concealed within the hollow-cast bases to avoid any interruption of the naturalistic designs. An illustration in the firms sales catalogue promotes electric table lamps fitted with different floriform glass shades supplied by Daum, including water lily, dandelion, and magnolia models. Majorelle exhibited these lamps as both individual statements alongside furniture at the salons, and as integral elements within room ensembles unified by botanical themes. Today, the Magnolia lamp, one of Majorelles most successful lighting designs, has become a celebrated icon of the Art Nouveau movement. The impressive model was designed for the Exposition de lcole de Nancy in 1902, and appears in numerous interiors featured in the firms sales catalogues. Two versions of this lamp are in the permanent collection of le Muse de lcole de Nancy.

    Dimensions: 31 high x 16 wide x 10 deep.

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  • Ti any Lava Favrile Vase (T-15299)An abstract figural Lava Favrile vase by Louis Comfort Tiffany. The cone shaped cylindrical vase features an upward spiral in gold metallic glass in high relief against a purplish-blue lava ground. Signed, ''LC Tiffany-Favrile 2334 C''. Circa 1908. Tiffanys Lava glass was inspired by a trip to the Eastern Mediterranean, during which Tiffany visited Mount Etna in Sicily. The transformation of glass into volcanic Lava was achieved in the following manner: lustered glass was gathered on a blow pipe, rolled with chemical particles, and then worked in the flame. The heat from the fire generated a reaction in which miniature basaltic-type craters and pitting formed on the surface of the glass, which was then coated with metallic lustered glass to create the purplish-blue ground imitative of lava. Next, free-form trails of glass were applied, each piece worked in a reduction flame (one starved of oxygen), and finally sprayed with a metallic oxide. When a silvered finish fully developed it was sprayed with tin oxide and, depending on the artist, finished in blue, mauve, or gold tones. The production of Lava glass was the most risky of any Tiffany technique because it incorporated metallic oxides with different coefficients of expansion. When these were blended together during numerous high-temperature firings they created hazards for the annealing process that often flawed the pieces in their final moment of creation. The powerful form of the vase and the clean articulation of the different metallic finishes make this piece incredibly rare.

    Dimensions: 9'' high x 4'' diameter.

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  • Ti any Tobacco Box (T-15023)A Tiffany Studios New York carved wood, Favrile glass and bronze tobacco box by Louis Comfort Tiffany. This rare and meticulously crafted tobacco box is one of the designs included in Tiffany Studios elite line of wooden Fancy Goods. The output of these carved wooden humidors, cigarette boxes and card cases was limited to a small number and they were produced for only a short period of time. First offered through Tiffany and Company, this stunningly naturalistic humidor, which is believed to have been carved from a single piece of wood by Joseph Briggs, was featured in Tiffany & Companys Blue Books from 1906 to 1912. The two Favrile glass scarabs reflect a fascination with Ancient Egypt that began in the 1860s with the first archaeological explorations and continued through the Art Nouveau and Art Deco periods. The scarab represented the Egyptian sun god Khepri and was a symbol of resurrection. The ancient Egyptians placed scarabs on mummies for good luck and protection against evil as they made their journey to the next world. This box is one of seven known signed examples, three of which are in the collections of The Metropolitan Museum of Art, New York, New York, the Virginia Museum of Fine Art, Richmond, Virginia, and the Louis C. Tiffany Garden Museum, Japan.

    Dimensions: 4'' high x 5'' wide x 3'' deep.

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  • Charpentier Clock (F-14906)A French Art Nouveau clock titled La Fuite de lHeure by Alexandre Charpentier in collaboration with Tony Selmersheim. This object is an exciting recent discovery and an important addition to Charpentiers oeuvre. The clock features three gilt bronze reliefs, depicting the three Muses of Time. In one plate Clotho measures out the thread of a mans life, in another Lachsis spins it, and in the third plate Atropos cuts it. Charpentier envisioned the plaques not as references to antiquity but to modern French women. He chose sinuous models, typical of the day. In fact, Atropos, portrayed with modern scissors, resembles an early 20th century French seamstress. The enamel clock face depicts a swarm of bees flying towards the sun. Bees have long been associated with fertility and the feminine divine. Napoleon used the bee on his coat of arms as a symbol of immortality. Today, bees continue to represent industriousness and social organization. In this masterwork, the bees swarming toward the sun echo the themes of mortality explored in Charpentiers bronze panels and allude to the modern working woman of Fin de Sicle Paris. Both the gilt bronze plates and the clock face are set within a wooden frame ornamented with carved floral decoration. Circa 1900. Signed, ''62554 Clockwork by J. Auricoste Paris 6409 77''

    Dimensions: 15 high x 9 wide x 5 deep.

    Similar clock pictured in Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, published by the Muse dOrsay, 2008, pp. 114-116.

  • Ti any Dragon y Lamp (L-15315)A Tiffany Studios New York leaded glass and patinated bronze "Dragonfly" table lamp. The shade features a band of dragonflies with blue bodies, red eyes and wings in shades of blue, mauve and ecru. The veined detailing on the wings is executed in wire mesh. The watery ground against which the dragonflies are displayed is comprised of opalescent blue and green rippled glass.The shade is further decorated with translucent blue and green and white opalescent jewels as well as upper and lower green yellow and orange brick borders. There is also a band of alternating translucent blue and green ripple