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C O L L E C T O R ’ S G U I D E S ART NOUVEAU Loetz iridescent vasewith turquoise and gold streaks,held within a sinuous twin-handled silvered metal mount.26cm (10in) high £4,000–6,000 Soth C O L L E C T O R ’ S G U I D E S ART NOUVEAU J U D I T H M I L L E R with Jill Bace, David Rago, and Suzanne Perrault Photography by Graham Rae with John McKenzie and Bruce Boyajian A Dorling Kindersley Book Contents 49 Liberty & Co. 50 British Furniture How to use this book 6 52 Gustav Stickley LONDON, NEW YORK, MELBOURNE, MUNICH, DELHI 56 Limbert Foreword 7 58 American Furniture A joint production from DKand THE PRICE GUIDE COMPANY Introduction 8 Textiles 60 DORLING KINDERSLEY LIMITED Senior Editor Paula Regan Project Art Editor Kelly Meyer 64 European Textiles Editorial Assistant Kathryn Wilkinson Design Assistant Anna Plucinska Managing Editor Julie Oughton Glass 68 Managing Art Editor Heather McCarry Art Director Carole Ash Category Publisher Jackie Douglas 74 Emile Gallé Production Rita Sinha, Luca Frassinetti 78 Daum Frères DTP Designer Mike Grigoletti Picture Research Sarah Duncan 80 Müller Frères 82 Auguste Legras Sands Publishing Solutions Editors David & Sylvia Tombesi-Walton 83 D’Argental Art Editor Simon Murrell 84 French and Belgian Glass THE PRICE GUIDE COMPANY LIMITED 86 Loetz Publishing Manager Julie Brooke 88 Bohemian Glass Managing Editor Claire Smith Editorial Assistants Jessica Bishop, Dan Dunlavey 92 Webb & Sons Consultant Keith Baker 93 Stevens & Williams Contributors John Wainwright, Nicholas Lowry (Swann Galleries, New York), 94 Powell & Whitefriars John Mackie (Lyon & Turnbull) 96 Tiffany Studios While every care has been taken in the 98 Steuben Glass Works compilation of this guide, neither the authors 99 Quezal nor the publishers accept any liability for any financial or other loss incurred by reliance 100 Handel Co. placed on the information contained in DK 101 Pairpoint Corp. Collector’s Guides: Art Nouveau. 102 American Glass First published in 2004 by Dorling Kindersley Limited 80 Strand, London WC2R 0RL A Penguin Company The Price Guide Company (UK) Ltd Emile Gallé walnut vitrine,p.26 [email protected] Furniture 20 2 4 6 8 10 9 7 5 3 1 Copyright © Judith Miller and Dorling Kindersley Limited 2004 26 Emile Gallé 28 Louis Majorelle All rights reserved. No part of this publication may be reproduced, stored in a retrieval 30 Henry van de Velde system, or transmitted in any form or by any 32 French and Belgian Furniture means, electronic, mechanical, photocopying, recording, or otherwise, without the prior 34 Carlo Bugatti written permission of the copyright owner. 36 Josef Hoffmann A CIP catalogue record for this book is 37 Koloman Moser available from the British Library. 38 Thonet ISBN 1 4053 0251 8 39 Richard Riemerschmid 40 German and Austrian Colour reproduction by GRB, Italy Printed and bound by L.E.G.O., Italy Furniture 44 Charles Rennie Mackintosh Discover more at www.dk.com 48 C.F.A.Voysey Tiffany floriform vase,p.97 138 Grueby Faience Co. Liberty enamelled silver 139 Van Briggle necklace,p.158 140 American Ceramics Jewellery 142 148 René Lalique 149 Georges Fouquet 150 French Jewellery 152 Georg Jensen 154 Kerr & Co. 155 Unger Bros. 156 American Jewellery 158 Liberty & Co. 160 Murrle Bennett 162 British,German,and Austrian Jewellery Silver and Metalware 164 170 W.M.F. 174 Josef Hoffman 176 German and Austrian Silver and Metalware Ceramics 104 178 Georg Jensen Alphonse Mucha lithographic poster,p.214 180 French and Belgian Silver 110 Sèvres and Metalware Posters and 112 Massier 182 Liberty & Co. Graphics 206 114 Rozenburg 184 Guild of Handicraft 116 European Ceramics 186 British Silver and Metalware 118 Meissen 212 Alphonse Mucha 119 K.P.M. 216 Jules Chéret 120 Goldscheider 217 Eugène Grasset 121 Royal Dux 218 European Posters 122 Amphora Ware 222 Louis John Rhead Edith and Nelson Dawson silver bookmark,p.186 123 Zsolnay 224 British and American Posters 124 German and Austrian 188 Tiffany Ceramics 190 Roycrofters Appendices 126 Moorcroft 192 American Silver and Metalware and Index 226 128 Minton & Co. 129 Doulton Sculpture 194 130 Martin Brothers 226 Glossary 132 British Ceramics 198 Raoul Larche 230 Key to Source Codes 134 Rookwood 199 Maurice Bouval 233 Directory ofother Dealers, 135 Newcomb College 200 French and Belgian Sculpture Auction Houses,and Museums 136 George Ohr 204 German and Austrian 236 Index 137 Clifton Sculpture 240 Acknowledgements How to use this book DK Collector’s Guides: Art Nouveau is divided into eight chapters:furniture,textiles,glass,ceramics, jewellery,silver and metalware,sculpture,and posters and graphics.Each section opens with an introductory overview that discusses the historical background to the medium,and its place in Art Nouveau.This is followed by profiles of the most important Art Nouveau designers and factories from Britain, Europe, and the United States, and examples of their work. Highlighted sidebars provide an at-a-glance list of the key features for each designer or factory,and cornerstone pieces are expertly selected and carefully annotated to show what makes them icons of Art Nouveau design. Every item is briefly and concisely described,given an up-to-date price,and,where possible,dated. Cornerstone Pieces Key Features Selects,annotates,and highlights the Lists the particular characteristics,influences, features that make the piece stand motifs,and marks for each designer and factory. out as an icon of Art Nouveau style. GLASS TIFFANY STUDIOS KEY FEATURES Tiffany Studios CORNERSTONE PIECE Naturalistic form and decoration with designs incorporating flowers, Rare “Nasturtium trelllis”pattern hanging lampof aRhMiEnapaAsanrpGenldeycOy- Mt d’sspStIe,iSu ecTpSdcoElieIarXoNasnT tG ?pteisn idT,elsyEctc rXehreTisaeb n ses-d,dc- -auUmwnlpSidattEhu df reolDai,nsAl seaViinsnlI sDdof LAedoferftute eNicsrtom sCu ioovnemfa astfiuuoo nrnitnl iTtg oAihf fmtea xwnepyreil croweara e.es xh Hctihisese e c idnrmaetefodtrs eiotn sni tmal yilnp lb oanyrv atahatiiunlsarte be laexpn modn etedhnieat ,of ofgbptt7lriroguaii1eemwhtccecstkmement garas es rnln (oe do2dedua fi8x wn vnieceindigncotst. h)uan qT atcfwhubeenteaird.tddot l iiec ni tsngoyzt. elme£arT emhs6bpdse0eos,. a s,gTaa0idhltml0aisleo s.0bs nsAle–eo lt7arswl , hla0oesaag,ofrn0 ad tdr0iiehinnm 0 elcsfa eotvgo arJealfpaDt n utosbJdhrsrleeeau spr te,se a-nhasgnaan renesddlutyse umm raitseoiru ertotm luesd Tbtahhnrroeden eosz reuhig pamipnnoogauriln tnpsgt i eacar hncsacoeihdcnokserst verse from leading Symbolist poets The thistle,the symbol of Gallé’s Born in 1848,initially trained as a painter,he hundreds offorms and thousands ofcolor native province of Lorraine,often studied glass under Andrea Baldini,a noted glass combinations.The majority ofimportant pieces incorporated into designs blower.Tiffany made his first glass pieces in centered on vases,ranging from flower forms, Dramatic relief decorationscreated 1872.In 1878 he formed Louis Comfort Tiffany goose necks,miniatures,and even floor vases. using marquetrie de verreprocess and Associated Artists,first in Brooklyn,New Such ware could be ofa single hue,such as gold Multicoloured layers of glass York and later in Corona,New York. or blue,or a mixture ofnumerous colors.Red is The lower rim of the shade is trimmed with cnaartvueradl iostri ca cdiedc-eotrcahtievde wfeiathtures offeArned i nfoqru issailteiv hei sp eerafrelcietsiot nexisatm,Tpilfefas noyf’sf rfeine ablllyown tthhee srea arerest d aencdo rmatoesdt wvaitluha bblloew cno-loinr. flTohrael best of Hpsiuaglnrleped dd fe“eLsaCktT hl”eaarm ngpdla wsthsite hs bhbaardsoeen .ziesTh sbeiag ssnheea dad n“eTd iifsfany An intricate composition of subtle bmthroeou npnzaet s absnaedga edc ihonafg i tnwimsh eoic fth ht heee cb hueopaepdsei nrt hgre imh ba.rsOonvezre MoSfy amvnebyrs opelii seftrc opemos eiltensascdrinibge dwith lines glass inc o1n8t9i2na,ureae n au manrotti nll ig1n 9et2h h8ee. m wSouascst hto pieces dlaemcTopirsfaf,athinooynw’s.e ivse mr.oDsot mreemde smhabdeeres dc ofomr phriiss eleda odfeda S3£4t1u.,5d2cio0ms0 (–N11e3,w18⁄2 iY0no)0 rhki g4h19.5-66640” JDJ clmeoaolovtteulsera,dta ibonlndu eisn-tg ewrmehysi c gahrr oenu asnsedttu. artgiuaminss,t a ddeavrke lroepdeddis ahn-b aroewstnh eptaictianlalyt ipolne.asing,rich, precious examples of rainbow ofhis rich,poured glass,these can be as Art Nouveau in simple as a geometric pattern in a single color to America. a Laburnum lamp with dripping blossoms under It is a confetti ground. difficult to Tiffany also introduced a broad range oftable categorize pieces.These were usually a single color,most tbheecsaeu psieeces oinftcelund gionlgd p.lTatheesr,es hweerrbee tnsu,smaletrso,ugos bfolertms,sa anvdailable Fbdooisodptylea adyns f dlpo urrulilffefolder mdfe tavoatphs.eeTrh wdeiet hec oxatre abrtiiuoolrnb.ous tphreoyd wuceerde bowTlisf.fany assiduously marked nearly every piece, TwShihgeinc iehnd tie sor ianol rst hofie na ibsphap sliiese :d ir“ iLtdoCe tsThcifeef anfnot yog toI.nldc. in an etched designation which often read only LCT. F1a2vcrmill e( 413⁄45in2)9 h-i4g3h37M” £2,000–2,500 JDJ TIFFANY LAMPS The name ofTiffany to many people is either synonomous with breakfast or more importantly,stunning lamps with leaded glass shades. g“Plaosisn ssehtatdiae” otfa mbloet tllaemd ppawleit hg raeen TChoem wfoidrte lTyi fafvaaniyla tbol eb seo autr tchee o cfuptotiwnger e tdhgaet oefleicntnriocvitayt ioofnfe wrehde enn iatb claemd eL otou itshese background panels,leaves and wonderful creations.Take his multi-branched Lily lamps with their dangling sgaThtrmeeemeb bnes,rr o,ianngn rzdaee e dfbnloaa,wrsakeene rdrhi,s ev biaamludriepes rghieanistg serheedlddig hwwtiistthh. bcfiaeliblglo-rsecheha ompneesdt oa glr l aatphsspe blpiclooapotipmoyns s sah.sa sdheasd,tehs,eitrh eb ldoroamgosn efmlyp lahmaspisse dap wpiltiehd t hwei tahd jdeiwtieoln-l iokfe s“6£Tt63yiflc5fiazm,e0n dy0( 20Sb6–utui4dnds0)i o,ah0sni0 gdN0h es w t e JYmDoJsrk. S1i5gn5e8d”. Al apamnudprc ssh uwapseeprreo crcotreeudald toe dnch aaos ob asr oew nahz soeul esitt,eawmbilte hs ib mfaosure l iafnrtisontmagn bacae wm biadbmeo osbe ooleorc tltheioaevn ie nwst orhinicla sttth eseloy smheade Ovoid-bodied and footed glass vasewith an Small iridescent gold vasewith blue and Bulbous stick vaseof double-gourd shape Tulip-shaped vase of exceptional quality.The Blue iridescent glass candle lampthe top of the iridescent blue finish and vine leaf motifs in amethyst highlights and eight stylized with an elongated neck and iridescent finish. gold iridescent foot has five leaves and the shade has purple colouration graduating to butterfly shades of green.The underside of the base flowerheads with elongated stems.Signed In good-to-excellent condition and signed on stem and bowl have a pulled flower and leaf blue around the rim.The swirl-ribbed base is of similar is signed “LC Tiffany Favrille.244G”. on the base “LCT M5649”. the base “LC Tiffany-Favrille 9000G”. design.Signed “LCT M3446” £iSrii3dg,en3se0cd0e “n–Lc4Ce,T0 w50i-0t6h 6 aJ6D w3Jh9i”te 3a0n.d5 cgmre e(n1 2p1u⁄2ilnle)d h fiegahther riser. 1£72.,52c0m0 (–72in,7) 0hi0gh JDJ 1£04c0m0 –(45in0)0 high JDJ 3£02c,m00 (01–123⁄4i,n4)0 h0ig0h JDJ 4£42.55,c0m0 (01–731⁄20in,)0 h0ig0h JD 2 Har33p desk lampwith bronze base and pulled feather glass shade.The shade is signed “LCT”and the base is signed “Tiffany The Caption Designer Information Studios New York 419.5-66640” Describes the piece in detail,including Gives a fascinating insight into the the materials used,the date it was 34.5cm (131⁄2in) high career and history of the Art Nouveau made,and its length,height,or width. £1,200–1,800 JDJ designer or factory.Also highlights the particular characteristics of their work, and offers advice on what to look out The Source Code for when collecting. The Price Guide With the exception of museum pieces,most All prices are shown in ranges to give you a ball- items in the book were specially photographed park figure.If the piece is in a museum or has not at an auction house,dealer,antiques market, been seen on the market for some time and no or private collection.Each source is credited price is available,the letters NPA will be used. here.See pp.230–232 for full listings. 66 Foreword From the first time I visited the Willow Tea Rooms in Glasgow and saw the uniquely contrasting “light feminine” and “dark masculine”themes of the interior,I was fascinated by how Charles Rennie Mackintosh’s design theory fitted with the organic,sinuous,and asymmetric Art Nouveau that had sprung up at the same time in France.Then,on a visit to Paris,I caughtsight of Hector Guimard’s majestic cast-iron Métro entrances and visited the Musée Carnavalet to see the atmospheric interior ofthe Café de Paris by Henri Sauvage.More recently,in 1986,the opening of the Musée d’Orsay in the city brought some of the best work by craftsmen such as Emile Gallé,Victor Horta,and Louis Majorelle to mass attention. In the United States,the glorious Art Nouveau interiors Louis Comfort Tiffany created for the Mark Twain house in Hartford,Connecticut,showed me how American designers had taken the “New Art”and made it their own. What impressed me most was the diversity of the Art Nouveau style,and the variety of beautiful pieces available to collectors.Too often thought of as purely inspired by nature,it was in fact a complex reaction to the previous decades’heavy and overly ornate styles.Art Nouveau came about when a group of disparate artists,designers,and craftsmen felt the need to dictate a new design rationale,as the 20th century dawned,rather than simply rework the designs of the past.It encompassed the organically inspired Emile Gallé,René Lalique,and Louis Comfort Tiffany,and also the rectilinear and geometric styles of Josef Hoffmann,Charles Rennie Mackintosh,and Gustav Stickley. While many pieces by the masters ofthe genre are out ofalmost everyone’s reach,it is still possible to collect contemporary pieces by factories such as W.M.F.and Moorcroft on a modest budget.So,while you may fall in love with a Majorelle cabinet,like me you can probably only dream of owning one.However,don’t despair.The style can be achieved by getting your “eye in”and searching for the many beautiful pieces copied from,or based on,the works of the masters. W.M.F.pewter vase,p.171 7 What is Art Nouveau? The style known as Art Nouveau,which emerged around 1890 and lasted until about 1914,completely transformed the decorative arts.Genuinely international,it had a profound influence on an astonishing variety of art forms in many different countries.At the heart ofthis dramatic change lay the desire to be rid ofthe stifling historicism and confusion of period styles that defined late 19th-century Emile Gallé cameo glass hanging lamp. interiors.Art Nouveau presented a refreshing,modern solution that Thepinkish body is overlaid with brown acid- etchedfoliage.c.1910.38cm (15in) high broke the stranglehold of established traditions and £3,000–5,000 Soth offered exciting new forms of expression. No single artist or designer personifiedthe Art Nouveau style. Across Europe,the movement was interpreted in many different ways,reflecting the individual character of each country,and hence it was known by various names:Le Style Métro in France;Jugendstil in Germany;Secession in Austria;La Stile Libertyin Italy;and Modernistain Spain.What united them was W.M.F.pair of pewter candlesticks. the desire to break free from the past in order to forge a new artistic identity. Decoratedwith foliate oval panels at the sconces and near the spreading square The Industrial Revolution and the growing dependence on the machine were bases.The design is attributed to Albin Muller. c.1905.23cm (9in) high £700–800 TO catalysts for this radical change.The mass production ofeverything,from furniture to textiles,in order to meet growing demands was blamed by artist-craftsmen for sustaining the taste for revivalism,as well as for the decline in the quality offurnishings. It was William Morris in England who first challenged the decline in values brought about by the proliferation of shabby,mass-produced wares.His condemnation of the machine and his efforts to bring about reform gave birth to a movement that celebrated the art of the medieval craftsman.His innovative designs drew Emile Gallé “La Libellule”marqueterie-sur- on a decorative vocabulary rooted in the natural world,and his veneration of verrecoupe,with carved detail of a dragonfly in flight.c.1904.14.5cm (53⁄4in) high £200,000–250,000 CHR hand-craftsmanship paved the way for the evolution of Art Nouveau. 8 W H A T I S A R T N O U V E A U ? Lalique “Dragonfly Woman”corsage ornament in gold with coloured champlevé and plique-à-jour enamels,and with a carved chrysoprase body.Signed “LALIQUE”.1897–98.23cm (9in) high NPA Gul In the hands of master craftsmen in France,such as Emile Gallé,René Lalique, and Louis Majorelle,the decorative arts achieved an astonishing standard of near- perfection.Technical expertise and high quality of craftsmanship were matched only by extraordinary imagination,creativity,and vision.But sustaining this high level of artistic integrity proved difficult,and what had begun as a revolutionary, dynamic,modern movement began to lose its way after a mere 15 years. What drove the success of the Art Nouveau movement was also ultimately responsible for its relatively brief life and subsequent decline.For it was a style fuelled by the independent achievements of a number of brilliant,individual artists, rather than by a cohesive philosophy based on a canon of stylistic continuity.The fundamental principle of good design – that the decoration of an object should be second to function – and the fresh naturalistic motifs that had once captivated the public’s imagination gradually gave way to repetition and clichéd images. 9 I N T R O D U C T I O N A diverse movement During its brief lifespan,Art Nouveau left its mark on architecture,furniture,ceramics, textiles,posters,glass,and jewellery.It can be seen in the sinuous contours of Victor Horta’s houses in Brussels,in the dazzling glasswork of Tiffany,Loetz,and Daum,and in Hector Guimard’s swirling cast-iron entranceways for Paris métro stations.A more angular version of it is apparent in the geometric designs of the Wiener Werkstätte and Charles Rennie Mackintosh.The rectilinear footprint of the “New Art”was expressed Charles Rennie Mackintosh mahogany armchairfor Basset-Locke’s business friend Horstmann,based on “Derngate”originals. in the United States by the work of the Stickleys,Limbert,and the Roycrofters. 1917.103.5cm (403⁄4in) high NPA V&A Hector Guimard cast-iron entranceto the Paris métro,organically conceived and incorporating bud-like lamps,with background Paris street scene.c.1900
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