text:
Authors:

Victoria Charles

With the collaboration of Eugénie Vaysse

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Library of Congress Cataloging-in-Publication Data

Jacquemart, Albert, 1808-1875, author.

[Histoire du mobilier. English]

1000 masterpieces of decorative art / author, Victoria Charles ; with the collaboration of Eugenie Vaysse.

pages cm

Summary: "From ancient Sumerian pottery to Tiffany stained glass, decorative art had been a fundamental part of the human experience for generations. While fine art is confined to galleries and museums, decorative art is the art of the every day, combining beauty with functionality in objects ranging from the prosaic to the fantastical. In this work, authors Albert Jacquemart and Émile Bayard celebrate the beauty and artistic potential behind even the most quotidian object. Readers will walk away from this text with a newfound appreciation for the subtle artistry of the manufactured world"-- Provided by publisher.

1. Furniture--History. 2. Decorative arts--History. I. Bayard, Emile, 1868-1937, author. II. Charles, Victoria, editor. III. Title. IV. Title: One thousand masterpieces of decorative art.

NK600.J3513 2014

745.09--dc23

2014006508

©Confidential Concepts, worldwide, USA

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ISBN: 978-1-78310-953-1
**1000**
**Masterpieces of**

**Decorative Art**

**Table of Contents**

Introduction

Antiquity

Middle Ages

Renaissance

Baroque

Modern Period

Glossary

List Of Illustrations

### Introduction

Decorative and industrial arts, like all forms of art, are an expression of life itself: they evolve with the times and with moral or material demands to which they must respond. Their agenda and means are modern, ever-changing, and aided by technological progress. It is the agenda that determines the shapes; hence technology is also part of it: sometimes they are limited by its imperfections, sometimes it develops them by way of its resources, and sometimes they form themselves. Weaving was initially invented because of the need to clothe the body. Its development has been crucial to that of textile arts. Today, market competition has created the need for advertising: the poster is a resulting development and the chromolithograph turned it into an art form. Railways could not have existed without the progress of metallurgy, which in turn paved the way for a new style of architecture.

There is a clear parallel between human needs and the technology that caters to them. Art is no different. The shapes it creates are determined by those needs and new technologies; hence, they can only be modern. The more logical they are, the more likely they are to be beautiful. If art wants to assume eccentric shapes for no reason, it will be nothing more than a fad because there is no meaning behind it. Sources of inspiration alone do not constitute modernism. However numerous they are, there is not an inexhaustive supply of them: it is not the first time that artists have dared to use geometry, nor is it the first time that they have drawn inspiration from the vegetable kingdom. Roman goldsmiths, sculptors from the reign of Louis XIV, and Japanese embroiderers all perhaps reproduced the flower motif more accurately than in 1900. Some 'modern' pottery works are similar to the primitive works of the Chinese or the Greeks. Perhaps it is not paradoxical to claim that the new forms of decoration are only ancient forms long gone from our collective memory. An overactive imagination, an over-use of complicated curves, and excessive use of the vegetable motif – these have been, over the centuries, the criticisms ascribed to the fantasies of their predecessors by restorers of straight lines, lines that Eugène Delacroix qualified as monstrous to his romantic vision. What's more, in the same way that there has always been a right wing and a left wing in every political spectrum, ancient and modern artists (in age and artistic tendencies) have always existed side-by-side. Their squabbles seem so much more futile, as with a little hindsight, we can see the similarities in the themes of their creations, which define their styles.

The style of an era is marked on all works that are attributed to it, and an artist's individualism does not exempt his works from it. It would be excessive to say that art must be limited to current visions in order to be modern. It is, however, also true that the representation of contemporary customs and fashion was, at all times, one of the elements of modernism. The style of a Corinthian crater comes from its shape, a thin-walled pottery vessel inspired by the custom of mixing water and wine before serving them. But its style also results from its decoration: the scenes painted on it depicted contemporary life or mythological scenes.

Those who think that the Jacquard loom, the lace-making machine, the great metalworking industry, and gas lighting all date from the beginning of the 19th century would be interested to learn that they were not pioneering technologies; they were only used to copy ancient silks, needle-points, or spindle laces to create imitation stone walls and light porcelain candles. Hence, it is necessary to admire those who dared to use cast and rolled iron in construction. They were the first to revive the tradition of modernism in architecture; they are the true descendants of French cathedral builders. Therefore, Antoine-Rémy Polonceau, Henri Labrouste, and Gustave Eiffel are perhaps the fathers of the 19th-century Renaissance, rather than the charming decorators who, following John Ruskin, tried to break with the pastiche and create, first and foremost, a new style using nature as a starting point.

The vision of nature, literally paraphrased and translated in the works of Émile Gallé, was not compatible with the demands of the design and the material. "A marrow", wrote Robert de Sizeranne, "can become a library; a thistle, an office; a water lily, a ballroom. A sideboard is a synthesis; a curtain tassle, an analysis; a pair of tweezers, a symbol." The research of something new borrowed from the poetry of nature, in breaking voluntarily with the laws of construction and past traditions, must have offended both common sense and good taste. To transpose nature into its fantasies rather than studying its laws was a mistake as grave as imitating past styles without trying to understand what they applied to. This was just the fashion of the time, but being fashionable does not constitute modernism.

Reviving tradition in all its logic, but finding a new expression in the purpose of the objects and in the technical means to achieve them, which is neither in contradiction nor an imitation of former shapes, but which follows on naturally; this was the 'modern' ideal of the 20th century. This ideal was subject to a new influence: science. How could it be that artists would remain oblivious to the latent, familiar, and universal presence of this neo-mechanisation, this vehicle for exchanges between men: steamers, engines, and planes, which ensure the domination of the continents and the seas, antennas and receivers which capture the human voice across the surface of the globe, cables which mark out roads awakened to a new life, visions of the whole world projected at high speed on cinema screens? Machines have renewed all forms of work: forests of cylinders, networks of drains, regular movements of engines. How could all this confused boiling of universal life not affect the brains of the decorators?

Thus, from all sides, it was an era metamorphosed by scientific progress and economic evolution, turned upside down politically and socially by the war, liberated from both anachronistic pastiche and illogical imaginings. Whilst the artist's invention reclaimed its rightful place, machines, no longer a factor in intellectual decline through its making or distributing of counterfeit copies of beautiful materials, would permeate aesthetically original and rational creations everywhere. This world movement, however, was lacking the effective support and clear understanding of the public. Only these accolades would merit an exhibition. But rather than a bazaar intended to show the power of the respective production of the nations, it would have to be a presentation of excellence turned towards the future.

When the Exposition internationale des Arts décoratifs et industriels modernes, or International Exhibition of Modern Decorative and Industrial Arts – originally planned for 1916, but adjourned because of the war – was re-envisaged in 1919 by public authorities, modifications were imperative. The 1911 classification project contains only three groups: architecture, furniture, and finery. The arts of the theatre, of the streets and the gardens, which were special sections, naturally required a new group. In its title, the new project also comprised a significant addition. The Exhibition was to be devoted to decorative and 'industrial' arts; it would affirm the willingness of a close co-operation between aesthetic creation and its distribution through the powerful means of industry. Besides the manufacturers, the material suppliers were also to be given a large space, thanks to the design which inspired the presentations of 1925. 'Modern' decorative art was to be presented in its entirety like an existing reality, completely suited to contemporary aesthetic and material needs. Ceramic tiles, hanging fabric wall coverings, and wallpaper – each has their reason for adorning particular spaces. The ideal mode of presentation was thus the meeting of a certain number of 'modern' buildings, decorated entirely inside and out, which would be placed next to stores, post offices, and school rooms, constituting a kind of miniature city or village.

Moreover, these designs had to inspire the materials they had to work with, adopted for the use of the location granted and the distribution of the works which were thoughtfully placed in their midst. That is how four principal modes of presentation were determined: in isolated pavilions, in shops, in galleries of the Esplanade des Invalides, and in the halls of the Grand Palais. The isolated pavilions, reserved for associations of artists, craftsmen, and manufacturers had to represent village and countryside homes, hotel businesses, schools, and even churches and town halls. In short, all the framework of contemporary life could be found here. Shops marked the importance attached to urban art and offered the possibility of presenting window-dressings, as well as displays, spanning one or more units. The galleries, particularly for architecture and furniture, allowed compositions connected to the Court of Trades, which were managed by the theatre and the library. They were meant to constitute the largest part of the Exhibition. At last, the interior installations of the Grand Palais were systematically categorised.

The Exhibition aroused new activity long in advance, as a consequence of the emulation it caused among artists and manufacturers. The creator's efforts were significantly encouraged by groups of 'modern' minds, which grew in number and made engaging and effective propaganda. Foreign exhibitors attach no less importance than the hosts to an opportunity that would allow most countries to compare their efforts and enrich their designs. Thus, the frame of mind of the exhibition was not a centralising narrow-mindedness, a formal modernism of the time. Far from imposing rigid and concrete specifications of style, the Exhibition of 1925 became apparent as an overview intended to reveal the tendencies in contemporary art, and to showcase their first achievements. The only stipulation was for it to be an 'original production', appropriate to the needs, universal or local, of the time. This phrase could be used to refer to any previous century, which may have only been said to be great because it was thought to be innovatory.

1. **Anonymous.** Bee-shaped pendant,

Royal Necropolis, Malia, 1700-1600 BCE.

Gold. Heraklion Archaeological Museum,

Heraklion (Crete). Greek Antiquity.

### Antiquity

It is widely accepted that the first traces of civilisation and, by extension, the first features of characteristic styles, are to be found in Egypt. The day when man determined that one substance was more precious than another, he worked on it as on a labour of love and devoted it to the embellishment of temples which he reared to his gods, or the adornment of his own person. All written records unite in proving this, Holy Scripture, Homeric poems, and even the oldest narratives of the Far East. Museums have also confirmed the fact and bear authentic testimony to this innate sentiment of luxury inherent in all people of the earth. Who has not stood astonished before the perfection of the Greek jewels displayed in the Louvre or before the first attempts of unknown people of the Americas, as barbaric and almost similar to those of Asia Minor? Is it not well-known that, among ourselves the artistic forms given to the precious metals were but a provisional garb intended to impart an agreeable appearance to the portable wealth of our ancestors? Capital accumulated in this shape was readily moveable, and, alas still more readily alienable. War, emigration, casual wants, all brought gold and silver to the smelting-pot, which had erewhile been proudly displayed in vases, furniture, and jewellery. Nor is it simply ancient times which had to undergo such vicissitudes of which we have spoken. There is not an epoch in history which has not had its hecatombs of works of art whenever the pressure of public requirements made itself sensibly felt.

Styles emerge from a mix of ideas and take on the universal cloak of timeless beauty. Whether they are cheerful or solemn depends on contemporary fashions and events as the style will pick and choose from preceding styles to satisfy current whims. Vanity, the early signs of which we discussed when describing the prehistoric cavewoman in her necklaces of coloured stones, animal teeth, and perforated shells, will now come into its own as not only the Egyptians and Assyrians, but the Hebrews and peoples throughout Asia perfected the goldsmith's arts. Egyptian tombs have yielded perfectly-chased pectorals, scarab necklaces, symbolic fish, lotus flowers, and so on. However, these cannot compete with Greek jewellery.

The goldsmith's trade was a school which produced masters. Lysippos hammered metal before he became sculptor; Alexander, third son of Perseus, king of Macedon, did not think it disparaging to make chasings in gold and silver. The large votive vase in the temple of Minerva has immortalised the name of Aristotle of Hiton. Calumis, sculptor as he was, used to embellish silver vases with bas-reliefs, which, in the days of Nero, were, at Rome and among the Gauls, an article of luxury for the rich and a subject of emulation for artists. However, magnificent works, crowns, vases, and jewellery, have honoured our museums and suffice to prove that the songs of Homer and the descriptions of Pliny were not exaggerated.

The Greeks excelled in the working of metal, which they decorated with repoussé work and did not solder, while the Egyptians were the masters of pictorial representation in jewellery.

However, we are more familiar with Roman and Etruscan gold work thanks to the excavations of the necropolis of Etruria and particularly those carried out in the ruins of Herculaneum and Pompeii. Amongst other objects, the clips, earrings, hooks, mirrors, and brooches recovered there are admirable for their shape, taste, and beauty. The Romans, in fact, loved gold and precious stones and brought a delicate good taste to their jewellery which Eastern peoples, who were more preoccupied with originality than with the aesthetic aspects of their art, lacked. The Byzantine emperors, too, would further emphasise luxury and their strange heavy jewellery is often accused of lacking taste. However, Byzantium at least has the excuse of achieving real luxury and the magnificent abundance it expresses perhaps makes amends for other deficiencies. It is "a dazzling jumble of enamels, cameos, niellos, pearls, garnets, sapphires, and gold and silver indented work". (Théophile Gautier.) The Gauls and Franks seem to have been fond of the necklaces and rings made of precious metals of which so many examples have been found in their tombs. Gallo-Roman gold and silver smiths have left us many examples of bracelets and armbands in the shape of coiled snakes, necklaces, badges, brooches, and so on. Generally speaking, the style of these pieces is closely aligned with the building style and decoration of the period. We suggested earlier that a piece of furniture is a miniature architectural monument. Similarly, a piece of jewellery is a miniature monument in gold or silver. We will recognise the designs used from the pediments of temples or the columns of the time and the shape from one or other detail of a building or the curve of a typical amphora.

The list of Egyptian furniture includes chests, pedestal tables, armchairs, stools and tables which are relatively similar in shape to our own. They are decorated with metals, ivory, mother-of-pearl, and precious woods. They have brightly-coloured coverings and there are cushions on the armchairs and stools. The beds have a kind of bed base made of strips of fibres or leather which show that comfort was a consideration. The chests take the form of miniature dwellings or temples. In summary, the Egyptian style is characterised by the hieratical, monumental nature of its statuary, by its columns and capitals (palm tree or lotus), by its sphinx, by the colossi with the heads of the pharaohs and its animal-headed gods, by its obelisk and by its pyramids, by its decoratively-deployed hieroglyphs, and finally by the huge size of its buildings. Furthermore, the widely-used decorative sacred scarab motif should not be forgotten.

The weaving of textiles dates from the earliest ages of the world, and even now we are struck with amazement at the perfection of the works produced by the hands of the ancient Egyptian craftsmen. With the primitive looms and materials spun by hand, they obtained wonderful fabrics. We learn, from the description of yarn found in the Louvre, about the fine long pile and fringed material, called _fimbria_ and the transparent fabric styled by the Latins, _nebula linea_ , which we will again meet with in the East at Mossoul, whence it reaches us under the name of muslin.

Whether from a civil or religious point of view, the most ancient decoration of buildings and interiors consists of hangings, the accompaniment of statues, paintings, and mosaics. However far we go back into antiquity, we can trace their use; from the heroic ages, the Phrygian and Grecian women succeeded in representing flowers and human figures, not only by means of embroidery, but in the elegant fabric itself. The young girls summoned to take part in the Panathenaic procession embroidered beforehand the veil or peplum of Minerva, an enormous hanging which was used to cover the roofless area in the temple of the goddess.

2. **Anonymous.** Armchair of Hetepheres,

Dynasty IV, 2575-2551 BCE.

Gilded wood, 79.5 x 71 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

3. **Anonymous.** Bracelets from the tomb of Djer,

Dynasty I, 2920-2770 BCE.

Gold, lapis lazuli, length: 10.2-15.6 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

4. **Anonymous.** Pendant, _Imdugud,_
_the Lion-Headed Eagle_ , Royal Palace of Mari,

c. 2650 BCE. Lapis lazuli, gold, bitumen,

and copper, 12.8 x 11.8 cm. National Museum

of Damascus, Damascus. Eastern Antiquity.

5. **Anonymous.** Decorative panel,
Dynasty III, 2630-2611 BCE.

Limestone and stoneware, 181 x 203 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

6. **Anonymous.** Labels for vases,
Dynasty I, 2920-2770 BCE. Ivory.

Egyptian Museum, Cairo. Egyptian Antiquity.

7. **Anonymous.** Inlaid panel of a soundboard
from a lyre, c. 2600 BCE. Seashell and bitumen,

31.1 x 11.3 cm. University of Pennsylvania

Museum of Archaeology and Anthropology,

Philadelphia. Eastern Antiquity.

8. **Anonymous.** _The Standard of Ur_ (double-sided),

c. 2600-2400 BCE. Wood, seashell,

red limestone, and lapis lazuli, 21.5 x 49.5 cm.

British Museum, London. Eastern Antiquity.

9. **Anonymous.** Litter belonging to Hetepheres,

Dynasty IV, 2575-2551 BCE.

Wood with gold leaf, height: 52 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

10. **Anonymous.** Bed belonging to Hetepheres,

Dynasty IV, 2575-2551 BCE.

Wood with gold leaf, 178 x 21.5 x 35.5 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

11. **Anonymous.** Bowls belonging to Hetepheres,

Dynasty IV, 2575-2551 BCE.

Wood with gold leaf, diameter: 8-8.5 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

12. **Anonymous.** Chains with amulets and clasp,

c. 2055-1650 BCE. Silver, lapis lazuli, glass,

feldspar, electrum, carnelian, amethyst, length: 47 cm.

British Museum, London. Egyptian Antiquity.

13. **Anonymous.** Earrings, Dynasty XVIII,

c. 1550-1295 BCE. Gold, diameter: 2.6 cm.

British Museum, London. Egyptian Antiquity.

14. **Anonymous.** Necklace with pectoral,

dedicated to Sesostris II, Dynasty XII, 1898-1881 BCE.

Gold and semi-precious stones, height: 4.9 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

15. **Anonymous.** Pendant in the shape of a
shell inscribed with the name of Ibshemuabi,

King of Byblos, 2000-1500 BCE. Gold,

semi-precious stones, 7.5 x 7 cm.

Directorate General of Antiquities,

Beirut. Eastern Antiquity.

16. **Anonymous.** Pendant belonging to Mereret,

Dynasty XII, 1881-1794 BCE.

Semi-precious stones, height: 4.6 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

17. **Anonymous.** Ceremonial hatchet of Ahmose,

Dynasty XVIII, 1550-1525 BCE. Wood, copper,

gold, and semi-precious stones, 47.5 x 6.7 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

18. **Anonymous.** Dagger belonging to Princess Ita,

Dynasty XII, 1929-1898 BCE. Gold, bronze,

semi-precious stones, length: 28 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

19. **Anonymous.** 'Octopus' Vase, Palekastro,

c. 1500 BCE. White fictile, height: 28 cm.

Heraklion Archaeological Museum,

Heraklion (Crete). Greek Antiquity.

20. **Anonymous.** Funeral mask, known as
'Mask of Agamemnon', Grave V, Mycenae,

c. 1600-1500 BCE. Gold, height: 31.5 cm.

National Archaeological Museum,

Athens. Greek Antiquity.

21. **Anonymous.** Pitcher belonging
to Hephaistos, c. 1800 BCE. Height: 27 cm.

Heraklion Archaeological Museum,

Heraklion (Crete). Greek Antiquity.

22. **Anonymous.** Golden Vaphio cup,

c. 1500-1400 BCE. Gold, height: 7.5 cm.

National Archaeological Museum,

Athens. Greek Antiquity.

23. **Anonymous.** Stele of Amenhotep,

Dynasty XVIII, c. 1400-1390 BCE.

Limestone, traces of paint, height: 89 cm.

British Museum, London. Egyptian Antiquity.

24. **Anonymous.** Drawing board,

Dynasty XVIII, c. 1475 BCE.

Wood, plaster, ink, 36.5 x 53.4 cm.

British Museum, London. Egyptian Antiquity.

25. **Anonymous.** Cylinder seal of Annipi,
King of Sidon and son of Addume, c. 13th century BCE.

Blue glass (cobalt), height: 2.7 cm.

Musée du Louvre, Paris. Egyptian Antiquity.

26. **Anonymous.** Vases on behalf of Yuya,

Dynasty XVIII, 1387-1350 BCE.

Painted limestone, height: 25 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

27. **Anonymous.** Perfume container,

Dynasty XVIII, 1333-1323 BCE. Alabaster,

gold, glass paste, stoneware, 70 x 36.8 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

28. **Anonymous.** Throne with footrest,

Dynasty XVIII, 1333-1323 BCE. Wood,

golden leaf, silver, glass paste, precious stones,

stoneware, height of throne: 102 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

29. **Anonymous.** Chair belonging to Princess Satamun,

Dynasty XVIII, 1387-1350 BCE. Stuccoed wood,

gold leaf, plant fibres, height: 77 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

30. **Anonymous.** Folding headrest,

Dynasty XVIII, c. 1390-1295 BCE.

Wood, 19.2 x 19.4 cm. British Museum,

London. Egyptian Antiquity.

31. **Anonymous.** Painted chest,

Dynasty XVIII, 1333-1323 BCE.

Stuccoed and painted wood, 61 x 43 cm.

Treasure belonging to Tutankhamun.

Egyptian Museum, Cairo. Egyptian Antiquity.

32. **Anonymous.** Jug, 14th-12th century BCE.

Bronze, height: 43.2 cm. British Museum,

London. Chinese Antiquity.

33. **Anonymous.** Jug for rituals, 12th century BCE.

Bronze, height: 20.3 cm.

British Museum, London. Chinese Antiquity.

34. **Anonymous.** Jug with bird feet,

12th-11th century BCE. Bronze, height: 20 cm.

Shanghai Museum, Shanghai. Chinese Antiquity.

35. **Anonymous.** Jug, 11th century BCE.

Bronze, height: 42 cm. British Museum,

London. Chinese Antiquity.

36. **Anonymous.** Chariot for worship,

Bisenzio, end of the 8th century BCE.

Bronze, wheels: 30 cm. Museo Nazionale

Etrusco di Villa Giulia, Rome. Etruscan Antiquity.

37. **Anonymous.** Bronze razor, 9th century BCE.

Bronze with engraved hunting scene and

geometric pattern. Museo archeologico e d'arte

della Maremma, Grosseto. Etruscan Antiquity.

38. **Anonymous.** Lower part of a quiver from
Lorestan (Iran), 1000-750 BCE. Bronze.

Musées royaux d'Art et d'Histoire,

Brussels. Eastern Antiquity.

39. **Anonymous.** Dipylon vase,
from a cemetery in Dipylon, 750-735 BCE.

Terracotta, diameter: 72.4 cm. The Metropolitan

Museum of Art, New York. Greek Antiquity.

40. **Anonymous.** Eleusis Amphora:
_The Blinding of the Cyclops Polyphemus_
_by Odysseus_ , c. 675-650 BCE. Terracotta,

height: 142.3 cm. Archaeological Museum

of Eleusis, Eleusis (Greece). Greek Antiquity.

41. **Anonymous.** Jug, c. 650 BCE.

Terracotta, 28 cm. Museo del Palazzo

dei Conservatori, Rome. Etruscan Antiquity.

42. **Anonymous.** Situla belonging
to Bakenranef, c. 700 BCE. Stoneware.

Museo Archeologico Nazionale Tarquiniese,

Tarquinia (Italy). Etruscan Antiquity.

43. **Anonymous.** Piece of a belt, probably from Ziwiye,

end of the 8th century BCE. Gold leaf, 16.5 cm.

British Museum, London. Eastern Antiquity.

44. **Anonymous.** Bowl from the tomb of Bernardini,

675 BCE. Gilded silver.Museo Nazionale

Etrusco di Villa Giulia, Rome. Etruscan Antiquity.

45. **Marsyas Painter,** _Peleus and Thetis,_
_Surrounded by Other Sea Nymphs_ , c. 340 BCE.

Red-figured storage jar, height: 43.3 cm.

British Museum, London. Greek Antiquity.

46. **Anonymous.** _Hercules Strangling_
_the_ _Nemean Lion,_ c. 525 BCE.

Attic black-figured amphora,

height: 45.5 cm. Museo Civico

dell'Étà Cristiana, Brescia. Greek Antiquity.

47. **Euphronios** , end of the 6th century
BCE-first half of the 5th century BCE, Greek.
_Hercules Wrestling Antaeus_ , 515-510 BCE.

Red-figured calix krater, height: 44.8; diameter: 55 cm.

Musée du Louvre, Paris. Greek Antiquity.

**Euphronios**

**(Athens, end of the 6** **th** **century BCE – first half of the 5** **th** **century BCE)**

As pottery maker and painter, Euphronios is one of the most well-known artists of his time, as the antiquated Greek pottery with black figures was replaced by innovative ceramics with red figures. As a forerunner in the new technique, Euphronios made several of his works recognisable through his style and his signature. He was inspired by mythological themes, by daily scenes, and by the heroic acts of Hercules, producing many large vases, amphorae, and kraters. Known for the precision of drawing naked and muscular figures, Euphronios sought opportunities to create versatile works of art, and added a hand-written note on his works.

---

48. **Douris** , 6th-5th century BCE, Greek.
_Memnon Pieta_ , c. 490-480 BCE. Interior from

an Attic red-figured cup, diameter: 26.7 cm.

Musée du Louvre, Paris. Greek Antiquity.

49. **Anonymous.** _Red-haired Demon_ , c. 350 BCE.

Red-figured kylix (bowl) from Vulci.

Museo Gregoriano Etrusco,

Vatican City. Etruscan Antiquity.

50. **Anonymous.** Mirror illustrating
_The Nursing of Hercules_ , c. 350 BCE.

Bronze. Museo Archeologico Nazionale,

Florence. Etruscan Antiquity.

51. **Anonymous.** Mirror from Tuscany,

350-300 BCE. Bronze, diameter: 12 cm.

Museo Archeologico Nazionale,

Florence. Etruscan Antiquity.

52. **Anonymous.** Mirror with eight protrusions,

206 BCE – 220 CE. Bronze, diameter: 21 cm.

National Palace Museum, Taipei. Chinese Antiquity.

53. **Anonymous.** Coins from Vetulonia, c. 250 BCE.

Bronze. Museo Archeologico Nazionale,

Florence. Etruscan Antiquity.

54. **Anonymous.** Mirror with a winged genius,

3rd century BCE. Bronze. Museo Nazionale

Etrusco di Villa Giulia, Rome. Etruscan Antiquity.

55. **Anonymous.** Embellishment on the
tomb of a woman from Waldalgesheim (Germany),

second half of the 4th century BCE. Bronze, height: 9.5 cm.

Rheinisches Landesmuseum Bonn, Bonn. Celtic Antiquity.

56. **Anonymous.** Chinese lacquered coffin decorated
with birds and dragons, 4th century BCE.

Wood, 184 x 46 cm. Hubei Museum,

Hubei (China). Chinese Antiquity.

57. **Anonymous.** Earring, c. 300 BCE.

Gold. Museo Nazionale Etrusco di

Villa Giulia, Rome. Etruscan Antiquity.

58. **Anonymous.** Bracelet, Ptolemaic period, 305 BCE.

Gold, diameter: 8 cm. Egyptian Museum,

Cairo. Egyptian Antiquity.

59. **Anonymous.** Signet ring, 4th-3rd century BCE.

Carnelian, diameter: 1.7 cm. The State

Hermitage Museum, St Petersburg. Persian Antiquity.

60. **Anonymous.** Bracelet with an agate stone,

Roman period, 117-138 CE.

Hammered gold leaf, agate, diameter: 9 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

61. **Anonymous.** Headpiece with a serapi figure,

Roman period, 117-138 CE. Gold, diameter: 22 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

62. **Anonymous.** Two adornments depicting immortals,

late Han dynasty, 2nd-3rd century CE.

Gold leaf and inlaid work, 2.5 x 4 cm.

Musée national des Arts asiatiques - Guimet,

Paris. Chinese Antiquity.

63. **Anonymous.** Incense burner in the shape
of a Lian house, late Han dynasty, 20-220 CE.

Ceramic with lead glaze, height: 15 cm. Musée national des

Arts asiatiques - Guimet, Paris. Chinese Antiquity.

64. **Anonymous.** Embellished vase,

Roman period, 2nd-3rd century CE.

Glass, bronze, and gold. Egyptian Museum,

Cairo. Egyptian Antiquity.

65. **Anonymous.** Cup belonging to Lycurgus,

4th century BCE. Gilded ruby, glass mixture, gold,

and silver with copper highlights, height: 16.5 cm.

British Museum, London. Roman Antiquity.

66. **Anonymous.** Lamp with the figure of the god Bes,

beginning of the 2nd century. Terracotta, height: 21.5 cm.

British Museum, London. Egyptian Antiquity.

67. **Anonymous.** _Adoration of the Magi_ , c. 200.

Fresco. Capella Greca, Catacomb of Priscilla,

Rome. Romanesque.

68. **Anonymous.** _The Good Shepherd_ , c. 250.

Fresco. Capella Greca, Catacomb of Priscilla,

Rome. Romanesque.

69. **Anonymous.** _King Hunting Rams,_

plate, 5th-6th century. Silver, mercury gilding,

niello inlay, diameter: 21.9 cm. The Metropolitan

Museum of Art, New York. Persian Antiquity.

70. **Anonymous.** The Missorium of Theodosius,

387-388. Silver, partially gilded, diameter: 74 cm.

Real Academia de la Historia, Madrid. Byzantine Antiquity.

71. **Anonymous.** Scipio's shield, end of

the 4th century or beginning of the 5th century.

Silver, partially gilded, diameter: 71 cm.

Cabinet des Médailles, Bibliothèque nationale

de France, Paris. Byzantine Antiquity.

72. **Anonymous.** Medal of Emperor

Constantine the Great, 315.

Silver, diameter: 2.4 cm.

Staatliche Münzsammlung München,

Munich. Romanesque.

73. **Anonymous.** Medal of Emperor Constantine

the Great and the sun god, Sol, 313.

Gold. Cabinet des Médailles, Bibliothèque nationale

de France, Paris. Romanesque.

74. **Anonymous.** Embellished bottle,

Roman period, 4th century.

Terracotta, height: 30.5 cm.

Egyptian Museum, Cairo. Egyptian Antiquity.

75. **Anonymous.** Bracelet, end of the 4th century

or beginning of the 5th century.

Gold and coloured stones, diameter: 7.5 cm.

Cabinet des Médailles, Bibliothèque nationale

de France, Paris. Byzantine Antiquity.

76. **Anonymous.** _Jason and Medea_ ,

end of the 4th century or beginning of the 5th century.

Tapestry in polychrome linen, diameter: 7 cm.

Musée de Cluny, Paris. Egyptian Antiquity.

77. **Anonymous.** Lustre, 5th-7th century.

Bronze (bobeches in modern glass),

height: 18 cm; diameter: 48.5 cm.

Musée du Louvre, Paris. Byzantine.

78. **Anonymous.** Sarcophagus, probably belonging to
Archbishop Theodor,end of the 5th century or

beginning of the 6th century. Marble. Basilica of

St Apollinaris in Classe, Ravenna (Italy). Byzantine.

### Middle Ages

Besides the Celtic monuments to which we have already referred (menhirs, dolmens, etc.) there is very little that is original in the style of the Gaulish period and from the Roman invasion onwards, any traces of the romantic, which were, in any case, more a result of the rudimentary nature of life at the time than of a feeling for art, are swallowed up by the culture of the victorious Romans. The bathhouses, theatres, and arenas are all attributed indiscriminately to the Gauls and the Romans, and Gaulish furniture is so similar to the furniture used in Rome as to be indistinguishable from it. Frankish style is similarly insignificant. The Franks were busy fighting and a more civilised period only begins to flourish when peace returns. The evidence of this civilisation is to be found in the Christian monasteries built beside the tombs of the saints. Clovis' reign was of no artistic importance but Dagobert had an abbey built at Saint-Denis and left us an armchair which bears his name, although there is very little to distinguish it from a curule chair! At the same time, gold and silver works with a peculiarly Byzantine flavour have been found dating from Charlemagne's reign onwards. It seems that chests attributed to the Carolingian period decorated with ivory plaques showing mythical animals and using inlaid ivory and marquetry with different coloured woods inspired the arrangements used by Italian ivory craftsmen. What we shall witness next is the arrival in the West of a new art under the auspices of new religious aspirations.

The catacombs where the early Christians took refuge from the persecution of the Roman Emperors were to be the birthplace of this Christian art, which would evolve little by little away from the old thinking. Hot wax paintings, richly-sculpted sarcophagi and a wealth of tools, receptacles and so on bear witness to the momentum of this new world view, which would be marked by a use of allegory and symbolism borrowed, in particular, from Pagan thought. However, one distinguishes in the rough execution of their work, which was of a much poorer quality than that of Rome's public buildings and imperial palaces, a thrust which was moving gradually away from those roots. When the vast Roman Empire tired of creating martyrs and inventing new forms of torture while its enemies expressed their faith through images of peace, happiness, unity, and hope, accepted the new faith, the images created in the catacombs began to decorate the walls of churches and basilicas. These images did not take on an identity entirely of their own until after the advent of Constantine when Christian art could safely develop inside these religious buildings.

At this point painting (sculpture was rather rare, found in the form of low reliefs on sarcophagi and was very similar in its themes to decorative painting) began to depict historical subjects, including Christ, the Virgin, the Apostles, Abraham and Moses, Jonah and Daniel, just as the artists of antiquity had depicted Perseus, Hercules and Theseus. It was not until basilicas had finally replaced profane buildings that Christians used images to celebrate their religion, through representations of their martyr's victory. Justinian, who had recourse to the Greek artists who imported a style of architecture which paid homage to Constantinople into the West, established the Byzantine style.

The Byzantine style is essentially an eastern style. It speaks of India, Persia, and Syria - of Asia, in fact, and celebrates the wealth of detail and the magnificence of their decoration. Although the profusion of decoration found in the Byzantine style is less than tasteful, it has great character. In painting, figures stand out against a golden background and mosaic work has never been more widely used than it was during this period. Rich fabrics from Asia were also typical. These were painted or embroidered, covered with gold or silver leaf, precious stones, cabochons and large pieces of chased metal. Favourite motifs were flowers, animals, and 'episodes from the life of Christ'. There might be up to six hundred figures on a tunic or cloak. Beds, seating, chests, vessels, and so on were made of delicately worked ebony, ivory, gold, silver, and bronze. This emphasis on luxury, seductive as it is, corrupted their taste and reflects the unusually free and pleasure-seeking manners of Byzantium. It was a time when wealth was a gateway to immorality and Byzantine art benefitted from the resulting splendour and pomp.

The Eastern peoples of antiquity were similar to modern Eastern peoples in the sense that they were content with a small range of furniture. Luxury was limited to the fine textiles that covered the frames provided with straps and webbing on which they slept. There were no chairs, tables or any of the other items of furniture we use today (except in royal palaces). Small chests and cabinets were used for all of these purposes. The lack of furniture can be ascribed to the fact that it was difficult to obtain suitable wood and to the fact that everyday life was simple as there was, at the time, very little middle ground between extravagant wealth and poverty. By contrast, at least as far as one can judge from remains and from frescoes and mosaics, the furnishings of the royal palaces were sumptuous. There were heavy solid thrones with cylindrical backs made up of a number of circles joined together, square seats with a cushion and heavy round legs and uprights. The decoration was hieratic and done in garish colours with alternating motifs. There were also mosaics and frescoes. There was an abundance of chandeliers, candelabras and worked bars. In summary, the Byzantine style was majestic. It used Greek ideas but rejected the Greek focus on simplicity and it is this difference that gives it its risky but captivating beauty. Its stylised decoration has the merit of imitating nature through routine and repetition and is an example of real beauty in an ornamental style.

The chest is an invention of the Middle Ages. Its shape, size, and the richness and quality of the decoration depend on the period when it was made. Chests may be made of wood or completely covered in painted fabric or leather. Along with the chest, the wardrobe is the other essential item of furniture, the only property that people of a certain status had. It was made of solid wood with metal fittings and its doors had a number of solid locks, giving the item the bleak appearance of a miniature fortress. Initially, joiners and carpenters made furniture. Later the task passed to wood carvers, who then became cabinet makers and did more detailed, finer woodwork. Furniture was always portable and still consisted of very few items: chest, stool, bed, and wardrobe. However, these could be used for a variety of purposes with the help of a few cushions. Non-portable furniture only began to appear in the 15th century. It was used to furnish palaces and castles, which had made do, up to that point, with chests, beds, benches, tables, and dressing tables with shelves which were transported by mule or on carts. The chests were used to store cushions and wall-hangings, painted canvases or tapestries, pieces of gold work to decorate the dressing tables and textiles which were used as floor coverings once scattering scented plants or straw on floors fell out of fashion.

To close this chapter, we should like to say something about jewellery. The invading barbarians were skilled in working precious metals. The Goths, in particular, made wonderful gold and silver work, primarily in Spain. However, in the Middle Ages, artists worked almost entirely for the church. Naturally, goldsmiths' work and jewellery in the Middle Ages, as during other periods, followed fashions in architecture and sculpture. Champlevé enamelling was used as were precious stones, but the metal setting was rounded (until the mid-13th century). Solid, heavy Romanesque art was obliged to resist the delicacy of jewellery but Gothic art would not have lived up to its reputation for elegance, delicate tracery and filigree work if it had not triumphed in the goldsmith's art as well as in architecture. We would be prepared to wager that, had more Gothic jewellery survived, we would have been able to distinguish High, Middle, and Late Gothic pieces just as we are able to recognise the equivalent architectural styles. In conclusion, let us simply remember that in the Middle Ages the jeweller's art was used primarily to embellish reliquaries, shrines, mitres, crosiers, crosses, that these objects were decorated with enamelling which is renowned to this day and that the common people were not entitled to wear jewellery. This last point, which may be aesthetically understandable, although it is certainly undemocratic, perhaps opened the way for the dreadful imitation jewellery which is so much in vogue today.

79. **Anonymous.** St Vitale Basilica, north wall:
two scenes from the life of Abraham, angels, Moses,
the prophet Jeremiah, St John, and St Luke, c. 527-548.

Mosaic. Basilica of St Vitale, Ravenna (Italy). Byzantine.

80. **Anonymous.** _Procession of Twenty-Six Martyrs_ , 493-526.

Mosaic. Basilica of St Apollinaris in Classe,

Ravenna (Italy). Byzantine.

81. **Anonymous.** Miniature illustration
of _Vergilius Vaticanus_ , beginning of

the 5th century. Illuminated manuscript,

21.9 x 19.6 cm. Biblioteca Apostolica Vaticana,

Vatican City. Roman Antiquity.

82. **Anonymous.** _The Good Shepherd_ (detail), 425-450.

Mosaic. Mausoleum of Galla Placidia,

Ravenna (Italy). Byzantine.

83. **Anonymous.** _Christ as a Warrior_ , c. 520.

Mosaic. Museo Arcivescovile,

Ravenna (Italy). Byzantine.

84. **Anonymous.** _The Parting of Lot_
_and Abraham_ , c. 432-440. Mosaic.

Papal Basilica of Santa Maria Maggiore,

Rome. Roman Antiquity.

85. **Anonymous.**
Locket of Empress Maria, Milan (?), 398-407.

Cameo of silver, gold, emerald, and rubies.

Musée du Louvre, Paris. High Middle Ages.

86. **Anonymous.** Patera from Cherchell,

Mt Chenoua, 6th century. Silver,

partially gilded, diameter: 16 cm.

Musée du Louvre, Paris. Byzantine.

87. **Anonymous.** Belt buckle,
Visigothic Kingdom, 6th century.

Bronze and garnet, 7.1 x 12.3 cm.

Musée de Cluny, Paris. High Middle Ages.

88. **Anonymous.** Missorium, _Hercules Strangling_
_the Nemean Lion_ , 6th century. Silver,

diameter: 40 cm. Cabinet des Médailles,

Bibliothèque nationale de France, Paris. Byzantine.

89. **Anonymous.** Diptych panel in five parts:
_The Emperor Triumphant (Justinian?)_ ,

Constantinople, first half of the 6th century.

Ivory, traces of inlay, 34.2 x 26.8 cm.

Musée du Louvre, Paris. Byzantine.

90. **Anonymous.** Throne of Maximilian,

546-554. Ivory. Museo Arcivescovile,

Ravenna (Italy). Byzantine.

91. **Anonymous.** _Ariadne, Maenad, Satyr,_
_and Eros_ , first half of the 6th century.

Ivory, 4 x 13.8 x 75 cm.

Musée de Cluny, Paris. Byzantine.

92. **Anonymous.** Vase from Emesa (or Homs, Syria),

end of the 6th century or beginning of the 7th century.

Hammered, chased, and engraved silver, height: 45 cm.

Musée du Louvre, Paris. Byzantine.

93. **Anonymous.** Ampulla with a cross, 6th century.

Clay, 7 x 5 cm. Directorate General

of Antiquities, Beirut. Eastern.

94. **Anonymous.** Adornments belonging to
Queen Arnegundem, Merovingian Gaul, 6th century.

Gold, garnet fragments, blue glass, silver, niello.

Musée du Louvre, Paris. High Middle Ages.

95. **Anonymous.** Necklace with cross and pendants,
Constantinople, 6th century. Gold, carved and engraved.

The State Hermitage Museum, St Petersburg. Byzantine.

96. **Anonymous.** Cross of Justin II (or _Crux Vaticana_ ),

c. 568-574. Gilded silver adorned with precious stones,

40.7 x 31.5 cm.From the treasury of St Peter,

Vatican City. Byzantine.

97. **Anonymous.** Medallion with _The Triumph_
_of the Emperor Qalaat al-Marqab_ , 6th-7th century.

Chased gold, medallion: length: 6 cm;

diameter: 5.4 cm. Musée du Louvre, Paris. Eastern.

98. **Anonymous.** Wedding belt, end of
the 6th century. Hammered, repoussé,

and smouldered gold, granulation, length: 74 cm.

Musée du Louvre, Paris. Byzantine.

99. **Anonymous.** Bracelet, end of the 6th century.

Gold and glass paste (partly missing), diameter: 6 cm.

Musée du Louvre, Paris. Byzantine.

100. **Anonymous.** Jug with the face of a goddess,

6th-7th century. Moulded silver, neck executed

separately and fixed onto the stomach, retouched with

a chisel and hollow punch, stabilising the handles

of the jug. Height: 14.5 cm; weight: 3.58 kg.

The State Hermitage Museum, St Petersburg. Persian.

101. **Anonymous.** Treasure of Guarrazar.
Votive crowns, crosses, pendants, and suspension chains,
Visigothic Spain, 7th century. Gold, sapphire, emeralds,

amethyst, pearls, quartz, mother-of-pearl, and jasper.

Musée de Cluny, Paris. High Middle Ages.

102. **Anonymous.** Belt, 7th century. Gold,

6.3 x 6.4 cm. Musée d'Archéologie nationale,

Saint-Germain-en-Laye. Byzantine.

103. **Anonymous.** Fragment of a sheath,

c. 6th-7th century. Wood, copper, gold,

niello, and stainless steel, 30 x 8 cm.

Musée de Cluny, Paris. Romanesque.

104. **Anonymous.** Signet ring, c. 6th-7th century.

Agate, 2.6 x 2.1 cm. The State

Hermitage Museum, St Petersburg. Persian.

105. **Anonymous.** Pitcher, 7th century.

Carnelian, height: 19 cm.

Musée du Louvre, Paris. Byzantine.

106. **Anonymous.** _Lion and Gazelle_ , 724-743.

Mosaic. Hisham's Palace (Khirbat al-Mafjar),

West Bank (Palestine). Eastern.

107. **Anonymous.** Quadriga, 9th century.

Patterned samite, polychrome silk, 75 x 72.5 cm.

From the treasury of the Aachen Cathedral.

Musée de Cluny, Paris. Byzantine.

108. **Anonymous.** _Leo VI in Proskynesis_
_before Christ Enthroned_ , 9th-10th century.

Mosaic. Hagia Sophia, Istanbul. Byzantine.

109. **Anonymous.** Treasury, 710-715.

Mosaic. Umayyad Mosque (or the Great

Mosque of Damascus), Damascus. Eastern.

110. **Anonymous.** Mirror with the twelve zodiac signs,
Sui dynasty, beginning of the 7th century.

Tinted bronze, diameter: 21.5 cm. Musée national

des Arts asiatiques - Guimet, Paris. Chinese.

111. **Anonymous.** Plate with a prince hunting lions,

c. 8th-9th century. Silver, diameter: 25.8 cm.

The State Hermitage Museum, St Petersburg. Eastern.

112. **Anonymous.** Mirror depicting
sea creatures, c. 7th-9th century.

Bronze, diameter: 17.7 cm.

National Palace Museum, Taipei. Chinese.

113. **Anonymous.** Belt in gold with precious stones,

8th century. Gold and precious stones, 4.8 x 3 cm.

Jilin Province Museum, Changchun (China). Chinese.

114. **Anonymous.** Medallion depicting a griffin,

8th-9th century. Gold, diameter: 4.2 cm.

Musée du Louvre, Paris. Byzantine.

115. **Anonymous.** Jug, decorated with a flute

player and a mythical creature, 8th-9th century.

Cast bronze, height: 43 cm. The State

Hermitage Museum, St Petersburg. Persian.

116. **Anonymous.** _The Crucifixion_ , beginning of

the 9th century. Cloisonné enamel. The Metropolitan

Museum of Art, New York. Byzantine.

117. **School of the Court of Charles the Bald** , France.
Jewelled upper cover of Lindau Gospels, c. 880.

Repoussé gold and precious stones, 35 x 27.5 cm.

The Morgan Library and Museum, New York. Romanesque.

118. **Anonymous.** _The Crucifixion_ ,

book cover (?). Bronze, 21 cm.

National Museum of Ireland, Dublin.

119. **Anonymous.** _Majesty of Sainte Foy_ , 9th-15th century.

Main piece of yew wood, gold leaf, silver, enamel,

and precious stones, height: 85 cm. Sainte-Foy

Abbey-Church, Conques (France). Romanesque.

120. **Anonymous.** Votive crown of Emperor Leo VI, 886-912.

Gold, cloisonné enamel, and pearls, diameter: 13 cm.

St Mark's Basilica, Venice. Byzantine.

121. **Anonymous.** Bronze-plated torque
with lapis lazuli, turquoise, and coral,

9th century. Bronze and precious stones.

Chris Hall Collection Trust, Hong Kong. Chinese.

122. **Anonymous.** Ring, 10th-12th century.

Gold, emerald, ruby, and diamonds,

diameter: 2.7 cm. Cham.

123. **Anonymous.** Ring, 10th-12th century.

Gold and red glass beads, diameter: 2.4 cm. Cham.

124. **Anonymous.** Drop earrings,

10th-12th century. Gold, height: 1.5 cm. Cham.

125. **Anonymous.** Earrings, 10th-12th century.

Gold and cast iron, length: 4.6 cm.Cham.

126. **Anonymous.** Earrings, 10th-12th century.

Gold, length: 4 cm. Cham.

127. **Anonymous.** Chest plate with mythological creatures:
_Playing Cherubs_ (detail), Constantinople, 10th century.

Ivory, 28.2 x 4.8 cm. Musée du Louvre, Paris. Byzantine.

128. **Anonymous.** Jug, 9th-12th century.

Silver, height: 12.5 cm; diameter: 13.5 cm.Cham.

129. **Anonymous.** Sword and sheath from the crowning
ceremonies of the French kings, 10th-14th century.

Gold, gilded silver, and precious stones, 83.8 x 22.6 cm.

From the treasury of the Basilica Cathedral of St Denis.

Musée du Louvre, Paris. High Middle Ages.

130. **Anonymous.** Chalice belonging Romanos II, 959-963.

Carnelian, height: 28.5 cm. From the treasury

of St Mark's Basilica, Venice. Byzantine.

131. **Anonymous.** Vessel, 10th-11th century.

Carnelian and enamelled gold, height: 24.6 cm.

Musée du Louvre, Paris. Byzantine.

132. **Anonymous.** Bowl with the figure of a
seated prince, 10th century. Ceramic, height: 10.8 cm;

diameter: 36.5 cm. Khalili Collection. Eastern.

133. **Anonymous.** Plate with the figure of a bird,

Iraq, 10th century. Ceramic. Private collection. Eastern.

134. **Anonymous.** Reliquary of the True Cross,

middle of the 10th century. Gold, silver,

and precious stones, height: 48 cm. From the

treasury of the Limburg Cathedral, Limburg. Byzantine.

135. **Anonymous.** Triptych, known as 'Harbaville Triptych':
_Deesis and Saints_ , middle of the 10th century.

Ivory and traces of polychrome, 28.2 x 24.2 cm.

Musée du Louvre, Paris. Byzantine.

136. **Anonymous.** Portable altar,
Fulda or Bamberg (Germany), 11th century.

Silver, partially gilded and engraved on wood,

porphyry, 25.6 x 23 cm. Musée de Cluny, Paris.

137. **Anonymous.** Chest, second half of

the 10th century. Frame of wood, gilded copper,

parchment paper, traces of gilding, 16 x 27 x 17.3 cm.

Musée du Louvre, Paris. Byzantine.

138. **Anonymous.** _Emperor Constantine IX and_
_Empress Zoe with Christ Enthroned_ , 11th century.

Mosaic. Hagia Sophia, Istanbul. Byzantine.

139. **Anonymous.** _Virgin Mary Holding the Infant Christ,_
_with Constantine and Justinian_ , 11th century.

Mosaic. Hagia Sophia, Istanbul. Byzantine.

140. **Anonymous.** _Shroud of St Germain,_

11th century. Silk, length: 236 cm.

Musée de l'abbaye Saint-Germain,

Auxerre. Byzantine.

141. **Anonymous.** _Eusebian Canons_ ,

gospel, 10th century. Parchment,

29.7 x 22.5 cm. Tours. Romanesque.

142. **Anonymous.** _Shroud of St Lazarus of Autun,_

Andalusia, beginning of the 11th century.

Silk, silk threads, and gold, 55 x 30 cm.

Musée de Cluny, Paris.

143. **Anonymous.**
_Healing the Bleeding Woman_ , c. 980.

Mural. St George in Reichenau-Oberzell,

Reichenau. Romanesque.

144. **Anonymous.** West gate, 1010-1033.

Bronze. St Michael's Church,

Hildesheim. Romanesque.

145. **Anonymous.** Book cover: _The Crucifixion_
_and Symbols of the Evangelists,_ 11th century.

Gold, cloisonné enamel, cabochons, and niello over wood,

32.2 cm. Musée du Louvre, Paris. Ottonian Renaissance.

146. **Anonymous.** _The Archangel St Michael,_

11th century. Icon. From the treasury of

St Mark's Basilica, Venice. Byzantine.

147. **Anonymous.** Reliquary case of the True Cross,
with sliding lid, Byzantium, 11th century.

Gilded silver, champlevé enamel, gems, and leather

on gilded copper. Musée du Louvre, Paris. Byzantine.

148. **Anonymous.** Chest: _The Victory Parade of_
_Two Emperors_ (lid), _The Lion Hunt_ (sides),

first half of the 11th century. Ivory, 26.4 x 13.4 x 13 cm.

From the treasury of Troyes Cathedral, Troyes (France). Byzantine.

149. **Anonymous.** Ivory chest, 11th century.

Ivory. Museo Nacional del Prado, Madrid. Eastern.

150. **Anonymous.** Earrings, 10th-11th century.

Gold, 4.2 x 3.8 x 1.5 cm and 4.3 x 4 x 1.7 cm.

Victoria and Albert Museum, London. Eastern.

151. **Anonymous.** Astrolabe, 1029-1030.

Bronze. Staatsbibliothek zu Berlin, Berlin. Eastern.

152. **Anonymous.** St Demetius' cameo, 11th century.

Jasper and chalcedony, height: 3.25 cm.

Bibliothèque nationale de France, Paris. Byzantine.

153. **Anonymous.**
Paten, with Christ blessing, 11th century.

Alabaster, gold, silver, diameter: 34 cm.

St Mark's Basilica, Venice. Byzantine.

154. **Anonymous.** Medallion: _St Demetrius_ ,

end of the 11th century-beginning of

the 12th century. Gold and cloisonné enamel.

Musée du Louvre, Paris. Byzantine.

155. **Anonymous.** Reliquary in an 'A'- shape,
from Charlemagne, end of the 11th century.

Wood and silver. Abbey Treasury,

Conques. Romanesque.

156. **Anonymous.** _Battle of Motte and Bailey Castle_ (top),
_Harold Pledges to Support William_ _'_ _s Claim to_
_the Throne_ (bottom), 1077-1082. Silk embroidery on linen,

height: 50 cm; length: 70 cm. Bayeux Tapestry.

Musée de la Tapisserie de Bayeux (with special permission

of the city of Bayeux), Bayeux. Romanesque.

157. **Anonymous.** Banner for the Caliph Al-Mustali,
known as the _Veil of St Anne_ (detail), Egypt, 1096-1097.

Linen, embellished with bands of tiraz and spun gold,

148 x 290 cm. Apt Cathedral, Apt (France). Eastern.

158. **Anonymous.** Initial of the second _Book of Kings_ ,
Bible with prologue ( _Biblia Sacra cum prologis_ ),

second half of the 12th century. Parchment,

46.5 x 33 cm. Weissenau Abbey, Upper Swabia.

159. **Anonymous.** _The Crucifixion_ , St Calminius reliquary (detail),

beginning of the 12th century. Embossed enamel and copper.

Mozac Abbey, Mozac (France). Romanesque.

160. **Anonymous.** Cover of the gospel, northern Italy,

beginning of the 12th century. Embossed silver, engraved and

partially gilded, and niello on wood, parchment,

28.3 x 2.4 cm. Musée de Cluny, Paris. Byzantine.

161. **Anonymous.** Reliquary plate from the stone of
Christ's tomb: _The Holy Women_ , 12th century.

Gilded silver and wax on wood, 42.6 x 33.1 cm.

From the treasury of Sainte-Chapelle.

Musée du Louvre, Paris.

162. **Renier de Huy** , 12th century, Belgian.

Baptismal font, 1107-1108. Bronze.

St Bartholomew's Church, Liège. Romanesque.

**Renier de Huy**

**(12** **th** **century)**

Renier de Huy was a goldsmith and bronze moulder in the early 12th century. His name relates to the city Huy-sur-Meuse. Today, little is known about his life and few of his works still exist, including the massive brass piece, the baptismal font from the church of Notre-Dame-aux-Fonts, which currently lies in the St Bartholomew's Church in Liège. Renier de Huy's antique style influenced the late gothic and the beginning of the Renaissance style.

---

163. **Anonymous.** Icon in lapis lazuli, 12th century.

Gold, pearls, and precious stones, height: 8.3 cm.

Musée du Louvre, Paris. Byzantine.

164. **Anonymous.** Cupola,
with Genesis, c. 1120. Mosaic. Narthex,

St Mark's Basilica, Venice. Romanesque.

165. **Anonymous.** Mural, _Christ in Glory_ , 1120.

St Peter and Paul in Reichenau-Niederzell,

Reichenau. Romanesque.

166. **Anonymous.** Altar of Santa Maria de Taüll, 1123.

Carving from pinewood and polychrome tempera, 135 x 98 cm.

Museu Nacional d'Art de Catalunya, Barcelona. Romanesque.

167. **Anonymous.** _The Archangel Gabriel,_

beginning of the 12th century. Icon,

height: 11 cm. Church of St Clement of Ohrid,

Skopje (Macedonia). Byzantine.

168. **Anonymous.** _A Holy Woman_ ,

Catalonia, c. 1125-1150. Pearwood with

traces of polychrome, 133 x 31 x 38 cm.

Musée de Cluny, Paris. Romanesque.

169. **Anonymous.** _Enthroned Virgin Mary,_

Auvergne, last quarter of the 12th century.

Polychrome wood, 80 x 30 cm.

Musée de Cluny, Paris.

170. **Anonymous.** _The Virgin of Monserrat_ or
_Black Madonna_ , beginning of the 12th century.

Wood. Santa Maria de Montserrat Abbey,

Montserrat (Catalonia). Romanesque.

171. **Anonymous.** Aubazine cabinet, 12th century.

Oak and iron. Aubazine Abbey, Aubazine.

172. **Anonymous.** Qur'an stand, 12th century.

Wood. Museum für Islamische Kunst,

Staatliche Museen zu Berlin, Berlin. Eastern.

173. **Anonymous.** _Leopards and Centaurs,_

Hall of Roger II, 12th-13th century. Mosaic.

Palazzo dei Normanni, Palermo. Byzantine.

174. **Anonymous.** _The Creation of Eve_ , 1130-1143.

Mosaic. Palatine Chapel, Palermo. Byzantine.

175. **Anonymous.** Martorana Dome, _Christ Pantocrator_
_Surrounded_ _by Four Archangels_ , 1149.

Mosaic. The Church of Santa Maria

dell'Ammiraglio, Palermo. Byzantine.

176. **Anonymous.** Candlestick: _Woman Horseback Riding_ ,

Magdeburg (?), middle of the 12th century.

Gilded bronze, height: 20 cm.

Musée du Louvre, Paris. Romanesque.

177. **Anonymous.** Reliquary casket of
St Thomas Becket, c. 1190-1200. Champlevé copper,

engraved, enamelled, and gilded, 15 x 16.6 cm.

Musée de Cluny, Paris. Romanesque.

178. **Anonymous.** Portable altar: _Crucifixion and the_
_Twelve Apostles_ , Westfalen, c. 1170-1180. Gilded copper,

engraved and champlevé enamel, 8.6 x 14 x 21 cm.

Musée du Louvre, Paris. Romanesque.

179. **Anonymous.** Book cover: _Christ Enthroned_ ,
meridional workshop (Limousin or Spain?),

third quarter of the 12th century. Champlevé and

cloisonné copper, enamelled, and gilded,

23.6 x 16.6 cm. Musée de Cluny, Paris. Romanesque.

180. **Anonymous.** Shrine of St Dominic of Silos,

front plate, 1160-1170. Enamel and copper.

Museo de Burgos, Burgos. Romanesque.

181. **Anonymous.** Reliquary of Charlemagne's arm, Liège, c. 1165-1170

Champlevés enamel on copper, gilded silver on wood, 54 x 13.6 cm.

Musée du Louvre, Paris. Romanesque.

182. **Anonymous.** Stained glass window depicting
the _Passion of Christ_ (missing), 1140-1144.

Originally in the ambulatory in the Basilica

Cathedral of St Denis, Saint-Denis. Romanesque.

183. **Anonymous.**
_Samson Carrying the Gate of Gaza_ , 1180-1200.

Stained glass window from Alpirsbach Abbey.

Landesmuseum Württemberg, Stuttgart. Romanesque.

184. **Anonymous.** Stained glass window depicting
the _Nativity_ , detail from _Life of Christ_ , 1140-1145.

Ambulatory in the Basilica Cathedral of

St Denis, Saint-Denis. Gothic.

185. **Anonymous.** _St Eustace: The Sacred Tools for Hunting,_

c. 1200-1210. Stained glass window.

North aisle, Chartres Cathedral, Chartres. Gothic.

186. **Anonymous.**
_Our Lady Queen of Heaven_ , c. 1170.

Stained glass window, 427 cm.

Chartres Cathedral, Chartres. Romanesque.

187. **Anonymous.** High-spouted ewer,
Herat (Afghanistan), 1180-1200. Sheet brass inlaid

with copper, silver, and gold and with repoussé

decoration including signs of the zodiac,

height: 40 cm. British Museum, London. Eastern.

188. **Anonymous.** Ink bottle, second half
of the 12th century-beginning of the 13th century.

Bronze (brass) cast and engraved, coated with

copper and silver, height: 10.5 cm; diameter: 8.2 cm.

The State Hermitage Museum, St Petersburg. Persian.

189. **Anonymous.** Chest, France, c. 1200.

Gilded silver, gems, pearls on wood, quartz,

11.3 x 14.8 x 9 cm. Musée de Cluny, Paris.

190. **Master Roberto** , Italian. Baptismal font, c. 1150.

Basilica of San Frediano, Lucca. Romanesque.

191. **Anonymous.** Apse in the Cathedral of Monreale:
_Christ Pantocrator, Virgin and Child,_
_Archangel, Apostle, and Saints,_ 1175-1190.

Mosaic. Cathedral of Monreale, Sicily. Byzantine.

192. **Anonymous.** _Pala d_ _'_ _Oro_ , 12th-13th century.

Gold, silver, and precious stones, 212 x 334 cm.

St Mark's Basilica, Venice. Byzantine.

193. **Nicholas of Verdun** , 1130-c. 1205, Austrian.
_Shrine of the Three Kings_ , 1191. Oak, gold, silver,

copper, gilding, champlevé and cloisonné enamel,

precious stones, and semi-precious stones,

153 x 110 x 220 cm. Cologne Cathedral,

Cologne. Romanesque.

**Nicolas de Verdun**

**(Verdun, 1130 – Tournai, c. 1205)**

Nicolas de Verdun is one of the greatest goldsmiths of the Middle Ages. With him, the transition from the Romantic to the Gothic occurred. The genius artist was the cause for the Aesthetic Revolution of the 12th century, and he enjoyed a distinguished European distinction. The following three works are masterpieces of his creativity: in year 1181, he created the pulpit with an enamelled triptych of fifty religious peoples and a biblical scene for the Klosterneuburg Monastery. In 1184, he made the shrine of the _Three Magi_ for the Cologne Cathedral and in 1205 the shrine for Tournai Cathedral. The significance of Nicolas de Verdun's works lies in his personalised style, as well as in the return of the antique design vocabulary, and, although still early, the transition to Gothic.

---

194. **Anonymous.** Cauldron, Herat (Afghanistan),

12th century – beginning of the 13th century.

Bronze with inlaid work in silver and copper, height: 18.5 cm.

The State Hermitage Museum, St Petersburg. Eastern.

195. **Master Alpais (?)**. Master Alpais' ciborium,

Limoges, c. 1200. Gilded copper, champlevé enamel,

glass cabochons, height: 30 cm. Musée du Louvre, Paris.

196. **Anonymous.** Reliquary from
Notre-Dame de Termonde, Flanders, c. 1220-1230.

Gilded silver and niello on a wooden core, precious stones,

and quartz, 24.1 x 13.4 cm. Musée de Cluny, Paris.

197. **Anonymous.** Reliquary of St Francis of Assisi,
Limoges, c. 1228-1230. Gilded copper,

champlevé enamel on gilded copper, crystals,

20 x 20 cm. Musée de Cluny, Paris. Gothic.

198. **Anonymous.** Cross-shaped reliquary
of the True Cross, southern Italy (?),

end of the 12th century or c. 1200. Gilded silver,

opaque cloisonné enamel on gilded silver,

wood, glass beads, 24 x 11.7 cm.

Musée des beaux-arts de Dijon, Dijon. Byzantine.

199. **Anonymous.** Cross-shaped reliquary of
the True Cross, Limousin, 13th century.

Gilded copper on wood, jewels, 57.3 x 21.4 cm.

Musée de Cluny, Paris. Romanesque.

200. **Anonymous.** Chest, Sicily, end of the 12th century.

Lacquered and gilded ivory on wood,

gilded bronze, 11 x 31 cm. Musée de Cluny, Paris.

201. **Anonymous.** Chest, known as
'The Holy Reliquary', 12th-13th century.

Ivory and enamel, height: 35 cm;

diameter: 32.5 cm. From the treasury of the

Sens Cathedral, Sens (France). Byzantine.

202. **Anonymous.**
Jug, beginning of the 13th century.

Stoneware, height: 28 cm. Museum of History

of the People of Uzbekistan, Tashkent. Persian.

203. **Anonymous.** Pitcher, 13th century.

Enamelled stoneware, burnt twice, height: 7.8 cm;

diameter: 18 cm. The State Hermitage Museum,

St Petersburg. Persian.

204. **Anonymous.**
Dishes, Iran, 12th and 13th centuries.

Ceramic and turquoise glass.

Private collection. Eastern.

205. **Anonymous.**
View of a ceiling made of wood, 1214-1230.

St Michael's Church, Hildesheim. Romanesque.

206. **Anonymous.** _Ascension of Jesus_ , 13th century.

Mosaic. St Mark's Basilica, Venice. Byzantine.

207. **Anonymous.** Moralised Bible:
_Blanche of Castile and King Louis IX of France;_
_Author Dictating to a Scribe_ , France, c. 1230.

Ink, 37.5 x 26.2 cm. The Morgan Library

and Museum, New York. Gothic.

208. **Anonymous.** Cover of a book belonging
to St Blaise, Strasbourg (?), 1260-1270.

Gilded silver, 38.7 x 27.3 cm.

St Paul im Lavanttal, The Lavanttal. Gothic.

209. **Anonymous.** Prayer niche (Mihrab),

13th-14th century. Ceramic, 63 x 47 cm.

Museu Calouste Gulbenkian, Lisbon. Eastern.

210. **Anonymous.** _Adam_ , c. 1260.

Polychrome stone, 200 x 73 x 41 cm.

Musée de Cluny, Paris. Gothic.

211. **Anonymous.** Virgin and Child
from Sainte-Chapelle, c. 1265-1270.

Ivory and traces of polychrome, 41 cm.

Musée du Louvre, Paris. Gothic.

212. **Nicola Pisano** , 1206-1278,
Italian. Lectern, 1266-1268.

Marble, height: 460 cm. Cathedral of

Santa Maria Assunta, Siena. Gothic.

**Nicola Pisano**

**(Apulia, 1206 – Pisa, 1278)**

Italian sculptor and architect, Nicola Pisano heads the tradition of Italian sculpture. As early as 1221, he is said to have been summoned to Naples by Frederick II, to do work in the new Castell dell'Ovo. In 1260, as an incised inscription records, he finished the marble pulpit for the Pisa Baptistry. The next important work of Nicola in date is the Arca di San Domenico, in the church at Bologna consecrated to that saint, who died in 1221.

Nicola's last great work of sculpture was the fountain in the piazza opposite the west end of the Perugia Cathedral. Nicola Pisano was not only pre-eminent as a sculptor but was also the greatest architect of his century and a skilled engineer.

Nicola Pisano died at Pisa, leaving his son Giovanni, a worthy successor to his great talents both as an architect and sculptor.

---

213. **Anonymous.** Altarpiece from the Church of St Maria zur Wiese,
_The Holy Trinity, Virgin Mary, and John the Baptist_ , c. 1250.

Paint on wood. Staatliche Museen zu Berlin, Berlin. Romanesque.

214. **Anonymous.** Bowl, decorated with two princes
observing a pond with two fish, 13th century.

Ceramic, height: 9 cm; diameter: 21.7 cm.

Khalili Collection. Eastern.

215. **Anonymous.** Plate, Syria, middle of the 13th century.

Bronze and silver, forged and decorated, diameter: 43.1 cm.

The State Hermitage Museum, St Petersburg. Eastern.

216. **Anonymous.** Cup on a pedestal,

second half of the 13th century. Cast bronze (brass),

coated with silver and gold, height: 14.3 cm;

diameter: 17.7 cm. The State Hermitage Museum,

St Petersburg. Persian.

217. **Anonymous.**
Cup, Yuan dynasty, 1279-1368.

Stoneware, porcelain, height: 16.4 cm.

National Palace Museum, Taipei. Chinese.

218. **Anonymous.** Bottle, Egypt, 14th century.

Hand-blown glass, embellished with

enamel and gilded, height: 48 cm.

Musée des Arts décoratifs, Paris. Eastern.

219. **Anonymous.** Lamp from a mosque, 1309-1310.

Colourless glass, enamelled and gilded,

height: 30 cm; diameter: 21 cm.

Musée des Arts décoratifs, Paris. Eastern.

220. **Anonymous.** Lamp from a mosque, 14th century.

Enamelled glass, height: 35 cm; diameter: 31 cm.

Musée des Arts décoratifs, Paris. Eastern.

221. **Anonymous.** _Windmill_ Psalter:
Psalm I ( _Beatus Vir_ ), c. 1270-1280. Ink,

pigment,a nd gold on vellum, 32.3 x 22.2 cm.

The Morgan Library and Museum, New York. Gothic.

222. **Gautier de Coinci**. _The Miracles of the_
_Blessed Virgin Mary_ , a representation of the story
of the damnation of a money lender and the
redemption of a beggar who accompanied the
Blessed Virgin Mary, end of the 13th century.

Parchment, 27.5 x 19 cm. Bibliothèque nationale

de France, Paris. Gothic.

223. **Yves, monk of the Abbey of St Denis** ,
French. _The Life of St Denis: The Entrance_
_of St Denis into Paris_ , c. 1317.

Miniatures on parchment, 27.5 x 19 cm.

Bibliothèque nationale de France, Paris. Gothic.

224. **Anonymous.** _The Transfiguration of Jesus,_

14th century. Mosaic. Church of the

Holy Apostles, Thessaloniki. Byzantine.

225. **Anonymous.** _Presentation of the_
_Virgin in the Temple,_ 1315-1321. Mosaic.

Kariye Camii (Chora Church), Istanbul. Byzantine.

226. **Anonymous.** _St George and the Dragon,_

first half of the 14th century. Portable mosaic.

Musée du Louvre, Paris. Byzantine.

227. **Anonymous.** Aquamanile, northern Germany,

beginning of the 14th century.

Molten and engraved bronze, 22 x 19 cm.

Musée de Cluny, Paris. Gothic.

228. **Anonymous.** Reliquary bust of a
companion of St Ursula, Cologne, c. 1340.

Coloured limestone, gilded, height: 47.5 cm.

Musée de Cluny, Paris. Gothic.

229. **Minucchio da Siena** , 14th century,

Italian. Golden rose, Avignon, 1330.

Gold and coloured glass, length: 60 cm.

From the treasury of the Basel Minster.

Musée de Cluny, Paris. Gothic.

230. **Anonymous.** Reliquary figure:
_Virgin and Child of_ _Jeanne d_ _'_ _Évreux_ ,

Paris, c. 1324-1339. Gilded silver, basse-taille

enamels on gilded silver, stones and pearls,

height: 68 cm. From the treasury of the Basilica

Cathedral of St Denis.Musée du Louvre, Paris. Gothic.

231. **Anonymous.** Clasp of a reliquary,

Bohemia (?), middle of the 14th century.

Engraved silver, partially gilded, enamel,

jewels, pearls, 18.5 x 18.5 cm.

Musée de Cluny, Paris. Gothic.

232. **Anonymous.** Pouch, known as
'Countess of Bar', France, 14th century.

Leather, gold and silver threads, 36 x 32 cm.

Musée de Cluny, Paris.

233. **Anonymous.**
_Embroidery with Leopards_ , c. 1330-1340.

Velvet, silver threads, partially gilded,

cabochon, pearls, 51 x 124 cm.

Musée de Cluny, Paris. Romanesque.

234. **Anonymous.** Grisaille panel, c. 1324.

Glass, grisaille, yellow silver, lead,

64.5 x 42 cm. Musée de Cluny, Paris. Gothic.

235. **Anonymous.** Stained glass window
with maple leaves and crucifixion, c. 1330.

Glass, grisaille, and lead, 107 x 105 cm.

Musée de Cluny, Paris. Gothic.

236. **Anonymous.** _St Paul_ , Normandy, c. 1300.

Glass, grisaille, and lead, 71 x 58.5 cm.

Musée de Cluny, Paris. Gothic.

237. **Simone Martini** and **Lippo Memmi** ,
1284-1344 and 1291-1356, Italian.
Altarpiece of the _Annunciation_ , 1333.

Tempera on wood, 184 x 210 cm.

Galleria degli Uffizi, Florence. Gothic.

238. **Ugolino di Vieri** , 1329-1380/1385, Italian.

Reliquary of the Corporal of Bolsena, 1337-1338.

Gilded and enamelled silver, height: 139 cm.

Orvieto Cathedral, Orvieto (Italy). Gothic.

239. **Anonymous.** Arm reliquary of
St Louis of Toulouse, Naples, c. 1337-1338.

Quartz, gilded silver, and champlevé enamel,

height: 48 cm. Musée du Louvre, Paris. Gothic.

240. **Anonymous.** Sceptre of Charles V,

Paris, 1365-1380. Gold, enamelled repeatedly,

gilded silver (shaft), rubies, coloured glass,

pearls, length: 60 cm. From the treasury of the

Basilica Cathedral of St Denis.

Musée du Louvre, Paris. Gothic.

241. **Anonymous.** Bottle, Mamluk dynasty,

middle of the 14th century. Enamelled glass.

Museu Calouste Gulbenkian, Lisbon. Eastern.

242. **Anonymous.** Cross, 14th century.

Silver and enamel, 82.5 x 44.5 cm.

Musée de Cluny, Paris. Gothic.

243. **Anonymous.** Baptismal font,

Germany, 14th century.

Bronze, 80.5 x 87 cm.

Musée de Cluny, Paris. Gothic.

244. **Anonymous.** Door knocker with lion,

Germany, 14th century. Bronze,

19.5 x 8.5 cm. Musée de Cluny, Paris.

245. **Guyart des Moulins** , 1251-1322,
French. Bible Historiale: _Enthroned Holy Trinity_
(introductory leaflet), third quarter of

the 14th century. Parchment, 45.5 x 31.5 cm.

Bibliothèque nationale de France, Paris. Gothic.

246. **Guyart des Moulins** , 1251-1322, French.
Bible Historiale: _New Testament_ (frontispiece),

third quarter of the 14th century. Parchment,

45.5 x 31.5 cm. Bibliothèque nationale

de France, Paris. Gothic.

247. **Jean le Noir** , **Jacquemart de Hesdin** ,
**Maître de la Trinité** , **Pseudonym-Jacquemart**
and **Limbourg Brothers,** French. _Turin-Milan Hours_
(or _Belles Heures of Jean de France,_ _Duc de Berry_ ):
_The Birth of John the Baptist and the Baptism of Christ_ ,

1375-1390. Illuminated manuscript, 22.5 x 13.6 cm.

Bibliothèque nationale de France, Paris. Gothic.

248. **Giovanni de** **'** **Grassi** , 1350-1398, Italian.
_Breviarium ambrosianum_ , known as _Il Beroldo_ ,

c. 1390. Biblioteca Trivulziana, Milan. Gothic.

249. **Andrea Bonaiuti** , known as **Andrea da Firenze** ,
1343-1377, Italian. _Exaltation of the Work of_

_the Dominicans_ , c. 1365-1367. Fresco.

Basilica of Santa Maria Novella, Florence. Gothic.

250. **Anonymous.** Hinged chest, France,

14th century. Oak and wrought iron,

mortise and tenon joint, 89 x 165 x 79 cm.

Musée des Arts décoratif, Paris.

251. **Anonymous.** Chest, end of the 14th century.

Repoussé leather, engraved, painted, and gilded,

on wood, brass fittings, 12 x 26 x 18 cm.

Musée de Cluny, Paris.

252. **Anonymous.** Plate: _Virgin and Child,_
_Unicorn_ , c. 1370. Glass, gilded, engraved,

and painted, wooden frame, 32.5 x 15 cm.

Musée de Cluny, Paris.

253. **Anonymous.** Chest, end of the 14th century.

Repoussé leather, engraved, painted,

and gilded on wood, brass fittings,

12 x 26 x 18 cm. Musée de Cluny, Paris.

254. **Anonymous.** Baptismal basin of St Louis
(Louis IX), Egypt or Syria, c. 1320-1340.

Hammered brass, decoration inlaid with silver,

engraved, with gold and black paste, height: 22.2 cm;

diameter: 50.2 cm. Musée du Louvre, Paris. Eastern.

255. **Anonymous.** _A pair of mirrors: Christ between_
_John the Baptist and Charlemagne_ _and The Virgin_
_between St Catherine and John the Baptist_ , before 1379.

Gold, translucent enamel on basse-taille, diameter: 6.8 cm.

Musée du Louvre, Paris. Gothic.

256. **Anonymous.** St Bernard's goblet, end of the 14th century.

Pure gold, height: 22.5 cm; diameter: 15.2 cm.

From the treasury of St Mary's Cathedral, Hildesheim. Gothic.

257. **Anonymous.** Water pitcher from a
reception in Katzenelnbogen, beginning of

the 15th century. Gilded silver, height: 40 cm.

Hessisches Landesmuseum, Kassel. Gothic.

258. **Antonio de Carro** , 1392-1410, Italian.
Polyptych, _Virgin and Child Surrounded by Saints_ , 1398.

Tempera on wood, golden background, 228 x 236 cm.

Musée des Arts décoratifs, Paris. Gothic.

259. **Anonymous.** Reliquary of Christ's navel, 1407.

Gilded silver, coloured glass, 33.4 x 18.9 x 17.2 cm.

Musée de Cluny, Paris. Gothic.

### Renaissance

In the 14th century and early years of the 15th, elegant luxury was primarily displayed in rich fabrics and tapestries made to cover furniture, seats, and benches. The flowing draperies of the beds partook of this taste, which originated with the Crusades, and was initially inspired by the sight of the magnificent fabrics of the East. Sculpture, nevertheless, continued its progress, and even Italian woodwork began to show Oriental derivation. This age also corresponds with the complete expansion of Gothic architecture and furniture. The furniture is divided into flamboyant Gothic cloisters, crowned by fine needle-shaped sticks and flourishing leaves; their niches contain elegantly-quaint figures, and the panels, with their bas-reliefs, rival the perfection of altarpieces and religious triptychs of intricate workmanship. Accordingly, no part of these articles of furniture was covered so that the artist's ingenious conceptions could be easily viewed, unless a covering was absolutely necessary. Much of this furniture served only for luxurious display, while that which was destined for travelling remained simple in form and was modestly concealed in those parts of the dwelling reserved for private life.

In the next section, we look at Renaissance furniture. H. Havard ( _Les Styles_ ) writes:

"All furniture whose shape is not entirely determined by everyday use takes on certain characteristics of the appearance of a palace; chair legs become more rounded and column-like; cupboards, sideboards, cabinets and credence tables begin to look like small slim buildings crowned with pediments, decorated with niches and pilasters, escutcheons and entablatures."

Whatever variations the artist uses, however, no piece of furniture escapes the general trend. Everywhere furniture is becoming broader, horizontal lines take on unprecedented importance. It is the horizontal lines which invest the item with meaning and importance both in terms of its structure and its decoration.

Let us go on with our list of the identifying features of Renaissance furniture generally, the elegance and distinction of which will only increase as the style develops its own personality. Two-part cupboards covered in marquetry, cabinets in the classical style, church stalls decorated with arabesques above which there is a row of images of sibyls, angels, and chimaera in marquetry holding floating scrolls under porticos with columns. Above the images are low reliefs surrounded by columns and mouldings and above them is a cornice which forms a canopy with pinnacles and tracery on its outer edges. Narrow panels decorated with low reliefs, above which are pointed arcades supported on small columns. The panels are divided down the middle by a column and there is beading and tracery above them. Friezes, in the middle of which, one comes across a mascaron with rinceaux of light foliage emerging from it. Rows of caryatids holding flowers and fruit, separated by niches with figures represented at the back of the niche. Two-part wardrobes with four folding doors inlaid with marble or richly decorated with low reliefs on a gilt background. Chests with carved figures which are separated by pilasters with grotesque figures on them and a small spirit or genie at the top, classical mouldings: with balusters, gadroons, tracery, egg, and dart patterns, etc.

One particularly popular piece of furniture in the 16th century was a large cabinet consisting of a kind of round-topped chest which was raised on four legs and full of small drawers which could only be seen when the large wooden doors which made this piece essentially a wardrobe and which hid the drawers were open. There were also roll-tops, etc. As far as chairs and panelling are concerned, while during the Gothic period they were made of carved wood, during the Renaissance they were upholstered in either tooled or stamped leather from either Spain or Flanders. Even the chimney pieces and roofs were elegantly shaped and carefully decorated. This is typical of the Renaissance when the aim was always to embellish.

Were it not for the extremely original nature of their carving, in various degrees of relief, French Renaissance furniture (unlike Italian Renaissance furniture which was characterised by its strange mosaics of coloured stones and copper figurines) would be rather monotonous given that it was made of a single wood and was, therefore, one colour only. The range of furniture available remained limited and, though beautiful, it was not especially comfortable. In a word, the Renaissance marked the heyday of cabinet-making, tooling and binding, gold and silver work, stained glass, enamelling used as if it were paint (Limoges enamel), ceramics as practised by Lucca della Robbia in Italy and Bernard Palissy in France, faïence work from Oiron and the anonymous masterpieces from Urbino.

This was the period when jewellery, locks, woven and stitched fabrics with light, graceful patterns in soft, shimmering colours were at their height. Finally, this was the period when Du Cerceau's drawing and engravings were in fashion and disseminated the most characteristic decorative motifs for both buildings and furniture. Where jewellery was concerned in particular, decorative value was beginning to be an end in itself, in other words, the precious materials were no longer the be all and end all. There follows a list of remarkable sculptors of the Renaissance: Jean Goujon (who was also one of the architects who designed the Hôtel Carnavalet); Ligier Richier, to whom we owe the famous Holy Sepulchre group in Saint-Mihiel; Michel Colombe, sculptor of the Duke of Brittany's mausoleum (in Nantes cathedral); Germain Pilon, Jean Goujon, who popularised the use of the low relief for general decoration, Jean Juste of Tours, sculptor of Louis XII's tomb; Pierre Bontemps, etc. Étienne de Laulne and François Briot are two goldsmiths who are worthy of mention.

Renaissance art was characterised by the fusion of different styles. The renewal was a result of artists' relaxed approach, of the uninhibited love of luxury which artists, architects, and sculptors all worshipped and served. Statues and ornaments are no longer made in barbarian traditions. They have better models in nature and their makers embellish them with lifelike representations. Indeed, nature alone is not sufficient to fire the imagination of the artists of the period and they turn to the world of myth and story or to combinations of human and animal figures. Perfectly-lifelike fruits and flowers are also included in the works of these artists, who are fervent admirers of all life's great creations. Note that, aside from the character of the styles, independently of the patinas and the original colours having faded over the centuries, it is the easiest task in the world to tell real antique furniture apart from a copy! All one has to do is run one's hand lightly over the mouldings and the carvings and the feel of them is conclusive. The enthusiast will not be deceived because no-one has ever been able to fake the fine touch of such furniture, any more than a flower can be faked. The secret lies in the reliefs, which have been gradually worn by time and use, and in the wood which turns into velvet. Furthermore, velvet, silk, and satin were everywhere during this fascinatingly fresh, gay period of intellectual creativity. It was a period which turned the excessively flamboyant tracery of the most exuberant Gothic style into a kind of lace, this time without ornamental apertures, which was used profusely on all kinds of woodwork. However, it seems that even the Renaissance eventually fell into decadence, a period marked by a similar exuberance.

Renaissance jewellery, was worthy of the beauty and decorative creativity prevalent in architecture at the time. It was light, with delicate openwork and the images that were the chief source of its charm were embellished with harmoniously-coloured enamels, the like of which had never been seen before. Furthermore, towards the end of the 16th century, the art of cutting precious stones added brilliance to jewellery, varying its design and increasing prices. The name of Pericles is linked to the great art of ancient Greece, the names of the Medicis, of Pope Julius II, and of Pope Leo x are bound up with the Italian Renaissance and the name of Francis I, second only to that of Charlemagne, is equally gloriously connected to the history of French art.

260. **Filippo Brunelleschi** , 1377-1446, Italian.
_Sacrifice of Isaac_ , 1401. Bronze, 47 x 40 cm.

Museo Nazionale del Bargello, Florence. Early Renaissance.

261. **Lorenzo Ghiberti** , c. 1378-1455, Italian.

_Sacrifice of Isaac_ , 1401-1402. Bronze, 45 x 38 cm.

Museo Nazionale del Bargello, Florence. Early Renaissance.

**Lorenzo Ghiberti**

**(Florence, c. 1378-1455)**

Italian sculptor, Lorenzo Ghiberti learned the trade of a goldsmith under his father Ugoccione, known as Cione, and his stepfather Bartoluccio. In the early stages of his artistic career Ghiberti was best known as a painter in fresco. In Rimini, he executed a highly prized fresco in the palace of the sovereign Carlo Malatesta. Informed that a competition was to be opened for designs of a second bronze gate in the baptistery, Ghiberti returned to Florence to participate. The subject for the artists was the sacrifice of Isaac, and the competitors were required to observe in their work a certain conformity to the first bronze gate of the baptistery, executed about 100 years before by Andrea Pisano. Of the six designs presented by Italian artists, those of Donatello, Brunelleschi, and Ghiberti were pronounced the best; Brunelleschi and Ghiberti tied for first. The thirty-four judges entrusted the execution of the work to the two friends, but Brunelleschi withdrew from the contest. The first of his two bronze gates for the baptistery occupied Ghiberti twenty years.

To his task Ghiberti brought deep religious feeling and a strive for a high poetical ideal absent from the works of Donatello. The unbounded admiration called forth by Ghiberti's first bronze gate led to his receiving from the chiefs of the Florentine guilds the order for the second gate, of which the subjects were likewise taken from the Old Testament. The Florentines gazed with special pride on these magnificent creations. Even a century later they must still have shone with all the brightness of their original gilding when Michelangelo pronounced them worthy to be the gates of paradise. Next to the gates of the baptistery Ghiberti's chief works are his three statues of St John the Baptist, St Matthew, and St Stephen, executed for the church of Orsanmichele.

He died at the age of seventy-seven.

---

262. **Anonymous.** Virgin, opened,

West Prussia, beginning of the 15th century.

Polychrome wood (linden), 20 x 45 cm (opened).

Musée de Cluny, Paris. Gothic.

263. **Hector Rayronie** , 1449-1481, French.
Pedicle cross, Rodez, 15th century.

Gilded silver, translucent enamel, 38.5 x 17.6 cm.

St Gerald's Church, Salles-Curan (Aveyron).

264. **Anonymous.** _The Resurrection_ , Flanders, c. 1410-1420.

Tapestry with silk and silver threads, 77 x 240 cm.

Musée de Cluny, Paris. Renaissance.

265. **Anonymous.**
_The Offering of a Heart_ , c. 1400-1410.

Tapestry, wool, and silk, 247 x 210 cm.

Musée du Louvre, Paris. Gothic.

266. **Anonymous.** _Winged Stag_ , 1453-1461.

Wool, 347 x 380 cm. Musée départemental

des Antiquités, Rouen. Gothic.

267. **Anonymous.** Shield: _David and Goliath_ ,

Bohemia, 15th century. Wood, linen,

silver leaf, and painting, 90 x 55.5 cm.

Musée de Cluny, Paris. Gothic.

268. **Anonymous.**
Tunicle, _The Tree of Jesse_ , 15th century.

Silk and gold thread, 120.5 x 64 cm.

Musée de Cluny, Paris.

269. **Jean Fouquet** , c. 1420-before 1480, French.
Medallion: _Self-Portrait_ , c. 1450. Painted enamel

on copper, diameter: 7.5 cm (with border).

Musée du Louvre, Paris. Early Renaissance.

**Jean Fouquet**

**(Tours, c. 1420-1480)**

Painter and illuminator, Jean Fouquet is considered as one of the most important French painters of the 15th century. Little is known of his life, but it is almost certain that he created the portrait of the pope Eugene IV in Italy.

When he returned to France, he introduced elements from the Italian Renaissance into French painting. He was the official painter to the court of the king, Louis XI.

Whether it is in his miniatures that elaborate even the smallest detail or in his large formatted paintings on wood panel, the art of Fouquet always possesses monumental character.

His subjects articulate themselves on large surfaces with defined lines of brilliant purity.

---

270. **Jean Fouquet** , c. 1420-before 1480, French.
Rondel, monogrammed with 'LG', c. 1460.

White glass, yellow silver, and lead, diameter: 19.5 cm.

Musée de Cluny, Paris. Early Renaissance.

271. **Anonymous.** Virgin with Child:
_Notre Dame de Grasse_ , 1451-1500.

Limestone, 75 x 112 x 38 cm.

Musée des Augustins, Toulouse. Gothic.

272. **Anonymous**. Jug in the shape of
an elephant, 15th-16th century. Stoneware,

decorated with polychrome enamel,

length: 21 cm. Private collection. Vietnamese.

273. **Anonymous.** Water pitcher,

decorated with a dragon, 1465-1487.

Porcelain, height: 21.6 cm.

274. **Anonymous.**
Double gourd-shaped bottle, 1465-1487.

Porcelain, height: 45 cm.

Private collection. Chinese.

275. **Anonymous.** Moon-shaped jug with
a painting of a dragon, 1465-1487.

Porcelain, height: 27.4 cm.

Private collection. Chinese.

276. **Anonymous.** Blue plate, 1465-1487.

Porcelain, diameter: 27.4 cm.

Private collection. Chinese.

277. **Anonymous.** _Enseigne à l_ _'_ _arbalète:_
_Vierge et Saint Hermès_ _(Crossbow emblem:_
_Virgin and St Hermes),_ Rheinland, 1480-1500.

Silver, partially gilded, 30 x 6 cm.

Musée de Cluny, Paris. Renaissance.

278. **Anonymous.** Portable altar, second half of

the 15th century or end of the 16th century. Amethyst,

gilded, repoussé, filed, and engraved silver, niello,

wooden core, 23.8 x 27.3 cm. Musée du trésor

de la Cathédrale St-Jean, Lyon. Byzantine.

279. **Apollonio di Giovanni** , 1415/1417-1465,
Italian. Wedding chest, _Tournament in the_
_Piazza Santa Croce in Florence_ , middle of the

15th century. Poplar wood, carved and gilded,

decorated with oil colours. National Gallery,

London. Early Renaissance.

280. **Giovanni di ser Giovanni,** known as **Scheggia,**
**and Workshop** , 1406-1486, Italian. _Tiberius Gracchus_
_and Cornelia_ , 1465-1470. Poplar wood, base of slabs,

45 x 174.1 x 1.8 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Early Renaissance.

281. **Guidoccio Cozzarelli** , 1450-1516, Italian.
Cupboard panel, _Odysseus_ _'_ _Departure_ , 1480-1481.

Poplar wood, base of slabs, 34 x 121.5 x 2.5 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Early Renaissance.

282. **Anonymous.** Stained glass window:
_The Nativity_ , c. 1490-1500. After a sketch from

Jean Poyer, 220 x 142 cm. Private collection, Paris.

283. **Jean I Pénicaud** , c. 1490-after 1543, French.
_Christ Blesses the Praying Virgin_ , c. 1480.

Enamel painted on copper, 33 x 24.5 cm.

Musée de Cluny, Paris. Early Renaissance.

284. **Anonymous.** Illustrated cup,
_The Labours of Hercules_ , c. 1480-1500.

Enamelled blue glass, height: 16.5 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Early Renaissance.

285. **Hans Hemling** , 1435/1440-1494, Flemish.

Shrine of St Ursula, 1489. Oil colours on

wooden panel and gilding, 87 x 33 x 91 cm.

Memling in Sint-Jan – Hospitaalmuseum,

Bruges. Renaissance.

286. **Veit Stoss** , c. 1450-1533, German. St Mary's Altar:
_Dormition of Mary_ (centrepiece), 1489.

Linden, oak, and larch, 11 x 13 cm.

St Mary's Basilica, Krakow. Late Gothic.

**Veit Stoss**

**(Horb am Neckar, c. 1450 – Nuremberg, 1533)**

German sculptor and wood carver Veit Stoss is considered, with Tilman Riemenschneider, as the greatest wood carver of his age. In 1477, he went to Krakow, where he was actively engaged until the end of the century. It was here that he carved the high altar for St Mary's Basilica, between 1477 and 1489. On the death of King Casimir IV in 1492, Stoss carved his tomb in red marble for the Wawel Cathedral in Krakow. To the same date is ascribed the marble tombstone of the archbishop Zbigniew Ollsnicki in the cathedral at Gnesen (Giezno). In 1496, he returned to Nuremberg, where he did a great deal of work completing altars. His best-known sculpture is the Annunciation for the Church of St Lorenz in Nuremberg, from 1518, carved in wood on a heroic scale and suspended from the vault.

---

287. **Anonymous.** Main reliquary of
St Stephen of Muret, c. 1495-1507. Gilded silver,

bust of wood, height: 27 cm (head only).

Saint-Sylvestre Church, Saint-Sylvestre-Cappel.

288. **Bartolomeo Bellano** (attributed to),
1437/1438-1496/1497, Italian.
_St Jerome and the Lion_ , c. 1490-1495.

Bronze, 25 cm. Musée du Louvre,

Paris. Early Renaissance.

289. **Anonymous.** _Mary of Egypt_ , c. 1490.

Polychrome limestone, height: 130 cm.

Church of Saint-Germain-l'Auxerrois, Paris. Gothic.

290. **Anonymous.** Box with games, end of the 15th century.

Ebony, stained walnut, and ivory,

39 x 24 cm (closed). Musée de Cluny, Paris.

291. **Anonymous.**
Octagonal folding table, c. 1480-1500.

Oak, 75 x 90.5 x 79 cm.

Musée de Cluny, Paris. Late Gothic.

292. **Anonymous.** Box with print depicting
the _Martyrdom of St Sebastian_ , end of the

15th century. Wood, leather, iron, and fabric.

Coloured xylography, done with a stencil,

21 x 34 x 13 cm. Musée de Cluny, Paris. Late Gothic.

293. **Anonymous.** Compilation in honour
of St Denis, 1495-1498. Illuminated manuscript,

26 x 17.5 cm. Bibliothèque nationale de France,

Paris. Early Renaissance.

294. **Anonymous.** _Book of Hours of Anne_
_of Brittany and Mary Tudor_ , Tours, c. 1498.

Vellum, 13.1 x 8.9 cm. Bibliothèque municipale,

Lyon. Early Renaissance.

295. **Anonymous.**
_Minerva_ , France (?), after 1491.

Tapestry, wool, and silk, 257 x 156 cm.

Private collection. Early Renaissance.

296. **Anonymous.** Fragment of a
curtain from _The Stories of Virtuous Women:_
_Penelope at Her Loom_ , c. 1500. Wool and silk,

100 x 150 cm. Museum of Fine Arts, Boston.

297. **Anonymous.** _Narcissus_ , Paris, c. 1500.

Wool and silk, 282 x 311 cm. Museum of Fine Arts, Boston.

298. **Anonymous.** Cabinet, Italy, 16th century.

Plated red tortoiseshell with ivory.

Château de Blois, Blois. High Renaissance.

299. **Anonymous.** Medallion of
Louis XII (recto) and Anne of Brittany (verso),

Lyon, 1499. Bronze, diameter: 17 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Early Renaissance.

300. **Anonymous.** Serving cabinet with
plant detail, France, end of the 15th century.

Oak and iron, 162 x 118 cm.

Musée du Louvre, Paris. High Renaissance.

301. **Anonymous.** Choir stalls, Beauvais,

1492-before 1500. Oak, height: 87 cm.

Musée de Cluny, Paris. Gothic.

302. **Anonymous.** St John the Baptist Praying
in the Wilderness, Rouen, c. 1500-1510.

Stained glass window, 114 x 61 cm.

Victoria and Albert Museum, London.

303. **Jean Barbe** (attributed to), French.
_The Crucifixion: Roman Captain Recognises_
_the Divine Nature of Christ_ , 1502 (?).

Grisaille stained glass window, 86 x 53 cm.

Archiepiscopal complex of Rouen, Rouen.

304. **Anonymous.**
_Bearing of the Cross_ , Paris, c. 1500.

Stained glass window, 73 x 41 cm.

Musée de Cluny, Paris.

305. **Anonymous.** Stained glass window with
_The Great Triumphs of Petrarch:_ _The Triumph_
_of Chastity and The Triumph of Death_ , Troyes, 1502.

Stained glass window, 112 x 61 cm.

Church Saint-Pierre-ès-Liens, Ervy-le-Châtel (France).

306. **Anonymous.** Stained glass window
with the crest of Jean de Lorraine, c. 1505-1518.

Stained glass window, diameter: 42 cm.

Musée Lorrain, Nancy.

307. **Anonymous.** _Steps in Processing Wool_ ,
beginning of the 16th century. Tapestry, wool,

and silk, 220 x 319 cm. Musée du Louvre, Paris.

308. **Anonymous.** Tapestry (fragment),

beginning of the 16th century.

Wool, 258 x 250 cm. The State

Hermitage Museum, St Petersburg. Persian.

309. **Anonymous.**
Tapestry representing _The Life of St Stephen:_
_The Miracle of Mules_ (detail), c. 1500.

Wool and silk, 166 x 396 cm.

Musée de Cluny, Paris. Late Gothic.

310. **Anonymous.** _The Crucifixion_ , c. 1501-1518.

Wool and silk, gold and silver threads, 343 x 343 cm.

La Chaise Dieu Abbey, La Chaise Dieu. Late Gothic.

311. **Léonard** , known as **Nardon Pénicaud** ,
unknown - c. 1542, French. _The Crucifixion_ , 1503.

Painted enamel on copper, 33.5 x 25.5 cm.

Musée de Cluny, Paris. Late Gothic.

**Léonard, known as Nardon Pénicaud**

**(Date unknown – c. 1542)**

Nardon Pénicaud was a French enamellist and founder of the first dynasty of enamellers from Limoges. The only dating for his works comes from the date on _The Crucifixion_ from 1503 (currently at Musée de Cluny). The enamels used by Pénicaud were polychrome; he applied dark colours that he deposited onto gold or silver leaf. Pénicaud only presented religious scenes and was inspired by northern and eastern woodcuts. Although his will is dated 1541, his workshop was continued during the 16th century by his parents, Jean I, Jean II (most likely one of his sons) and Pierre (another son).

---

312. **Master of the Triptych of Louis XII** ,
French. _The Sorrowful Virgin_ , c. 1500.

Painted enamel on copper, 30 x 21 cm.

Musée du Louvre, Paris. Late Gothic.

313. **Master of the Triptych of Louis XII** , French.
_The Coronation of the Virgin_ , c. 1500.

Painted enamel on copper, diameter: 23 cm.

Musée du Louvre, Paris. Late Gothic.

314. **Anonymous.** Chest belonging to
Bishop François d'Estaing of Rodez, 1501-1529.

Carved and painted linden, 43 x 72.2 x 42.6 cm.

Rodez Cathedral, Rodez.

315. **Anonymous.** Altarpiece with the
_Passion and Childhood of Christ_ , c. 1500-1510.

Polychrome oak, 235 x 214 x 26 cm.

Musée du Louvre, Paris. Late Gothic.

316. **Anonymous.** Three backrests from the
choir stalls of the Château de Gaillon, c. 1508-1510.

Oak, 55 x 58 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

317. **Anonymous.** Chest, 16th century.

Carved wood, 150 cm. Musée national
de la Renaissance, Château d'Écouen,

Écouen. High Renaissance.

318. **Anonymous.** Frieze from the Castle of
Vélez Blanco: _The Birth of Hercules_ , Spain,

1505-1520. Carved pine, 90 x 605 cm (with frame).

Musée des Arts décoratifs, Paris.

319. **Anonymous.** Gallery of _Psyche,_
_David_ _'_ _s Army Gathers Strength for the Siege of Rabbah_
(detail from the third component), tapestry of
_David and Bathsheba_ , 1510-1515. Musée national de

la Renaissance, Château d'Écouen, Écouen. Renaissance.

320. **Anonymous.** Gallery of _Psyche,_
tapestries of _David and Bathsheba_ , 1510-1515.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

321. **Anonymous.** Gallery of _Psyche,_
_David Orders Jacob to Assemble the Army_
(detail from the second component), tapestry of
_David and Bathsheba_ , 1510-1515. Musée national de

la Renaissance, Château d'Écouen, Écouen. Renaissance.

322. **Anonymous.** _The Tapestry of the World,_
part of the cycle _The World is Driven by Vice_
_and Protected by Virtue_ , Brussels, 1510-1525.

Tapestry, wool, and silk, 390 x 345 cm.

Musée des Arts décoratifs, Paris. Renaissance.

323. **Anonymous.** _The Departure of a Hunting Party_ ,
part of _The Splendid Life_ , southern Netherlands,

c. 1510-1520. Tapestry with wool and silk threads,

285 x 285 cm. Musée de Cluny, Paris. Renaissance.

324. **Anonymous.** _The Bath_ , part of _The Splendid Life_ ,
southern Netherlands, c. 1510-1520.

Tapestry with wool and silk threads, 285 x 285 cm.

Musée de Cluny, Paris. Renaissance.

325. **Anonymous.** Dish with turquoise rosettes,

Turkey, 1530-1535. Porcelain, blue and turquoise

adornment on white background, diameter: 37.5 cm.

Private collection. Oriental.

326. **Casa Pirata Workshop**. Bowl with the
_The Martyrdom of St Cecilia_ , Italy, c. 1525.

Majolica, diameter: 25.4 cm.

Musée des Arts décoratifs, Paris. Mannerism.

327. **Anonymous.** Jug with the
crest of Pierre Tallon, 16th century.

Engraved, gilded, and painted glass, 21 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

328. **Anonymous.** Stone jug 'with halberdier',

16th century. Engraved, gilded, and painted glass,

17 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

329. **Anonymous.** Pitcher with the crest of

Catherine de Foix, Venice, before 1517.

Handblown transparent glass, polychrome enamel,

gold, 37 cm. Musée du Louvre, Paris. Renaissance.

330. **Anonymous.** Jug with the crest of
Anne of Brittany, 16th century. Enamelled glass,

21 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

331. **Anonymous.** _Passover Lamb_ pendant,

France, 16th century. Gold, baroque pearls,

3.5 x 3 cm. Musée des Arts décoratifs, Paris. Baroque.

332. **Anonymous.** Ship of Anne of
Brittany's heart, 1514. Gold alloy, repoussé,

guilloché, and enamelled, 15.6 x 13.1 x 6.4 cm.

Musée Dobrée, Nantes.

333. **Anonymous.** Ciborium from the
treasury of the Order of the Holy Spirit, Paris,

c. 1530. Quartz, gilded and enamelled silver,

pearls, garnet, agate and mussel cameos, 33 cm.

Musée du Louvre, Paris. Mannerism.

334. **Benvenuto Cellini** , 1500-1571,
Italian. Francis I's salt shaker, 1540-1543.

Ebony, gold, partially enamelled, 26 x 33.5 cm.

Kunsthistorisches Museum Wien, Vienna. Mannerism.

**Benvenuto Cellini**
**(Florence, 1500-1571)**

Italian artist, metalworker, and sculptor Benvenuto Cellini was the third child of Giovanni Cellini, a musician and artificer of musical instruments. When he reached the age of fifteen his father reluctantly consented to his being apprenticed to a goldsmith. He had already attracted notice in his native area when he was banished for six months in Siena, where he worked for a goldsmith; from there he moved to Bologna, where he progressed further in the trade. After visiting Pisa and after twice resettling for a short time in Florence, he left for Rome. He was nineteen. His first attempt at his craft there was a silver casket, followed by some silver candlesticks, and later by a vase for the bishop of Salamanca, which introduced him to the favourable notice of Pope Clement VII. In the attack upon Rome by the constable de Bourbon, which occurred immediately after, in 1527, the bravery and address of Cellini proved of particular service to the pontiff. From Florence he went to the court of the Duke of Mantua, and then again to Florence and Rome, where he was employed not only in the working of jewellery, but also in the execution of dies for private medals and for the papal mint.

Between 1540 and 1545 he worked at the court of Francis I at Fontainebleau and in Paris, where he created his famous salt cellar of gold enriched with enamel. After approximately five years of laborious and sumptuous work, the intrigues of the king's favourites led him to retire to Florence, where he employed his time in works of art, and exasperated his temper in rivalries with the uneasy natured sculptor Vaccio Bandinelli. During the war with Siena, Cellini was appointed to strengthen the defences of his native city, and, though rather shabbily treated by his ducal patrons, he continued to gain the admiration of fellow citizens by the magnificent works he produced. He died in Florence in 1571, unmarried, leaving no posterity, and was buried with great pomp in the church of Annunziata.

Besides the works in gold and silver, previously mentioned, Cellini executed several pieces of sculpture on a grander scale. The most distinguished of these is the bronze Perseus, a work first suggested by Duke Cosimo de' Medici. The casting of this great work gave Cellini the utmost trouble and anxiety; and its completion was hailed with rapturous homage from all parts of Italy.

---

335. **Anonymous.** Book cover with flaps,
end of the year 1520. Leather, lacquered, painted,

and gilded papier-mâché, 19.6 x 18.8 cm (cover);

29.6 x 9.2 cm (flaps). National Library

of Russia, St Petersburg. Persian.

336. **Anonymous.** Book cover, 16th century.

Lacquered, painted, and gilded papier-mâché and leather,

and accented gold, 41.6 x 28 cm (cover); 41.5 x 14 cm (flaps).

National Library of Russia, St Petersburg. Persian.

337. **Anonymous.** Fabric with warriors and prisoners,

Iran, 16th century. Silk, 128 x 67 cm.

Musée des Arts décoratifs, Paris. Eastern.

338. **Anonymous.** Tapestry with medallion,

16th century. Silk, 248 x 199 cm.

Khalili Collection. Eastern.

339. **Anonymous.** Velvet tunicle, 16th century.

Silk and silver, 118.5 x 33 cm.

The State Hermitage Museum, St Petersburg. Persian.

340. **Anonymous.** Prayer mat,
known as 'Bellini', 16th century.

Silk, 156 x 100 cm.

Musée des Arts décoratifs, Paris.

341. **Anonymous.** Farnese cabinet,

middle of the 16th century. Walnut,

230 x 213 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

342. **Anonymous.** Serving cabinet from Joinville, 1524.

Oak, 144 x 129 cm. Musée national de

la Renaissance, Château d'Écouen, Écouen. Renaissance.

343. **Anonymous.** _Chayère_ (chair for royals,
nobles, or ecclesiastics), first half of the 16th century.

Stained wood, height: 147 cm. Musée national de

la Renaissance, Château d'Écouen, Écouen. Renaissance.

344. **Anonymous.** _Chayère_ (chair for royals,
nobles, or ecclesiastics), Île-de-France, c. 1550.

Stained walnut. Renaissance.

345. **Anonymous.** Wardrobe with four doors
and sixteen medallions with profiles, c. 1515-1520.

Stained oak, 232 x 176 x 70 cm.

Musée des Arts décoratifs, Paris. Renaissance.

346. **Léonard Limosin** , c. 1505 - between January 1575
and February 1577, French. _Portrait of Eleanor_
_of Hapsburg_ , 1536. Painted enamel, 36 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

**Léonard Limosin**

**(Limoges, c. 1505 – between January** **1575 and February 1577)**

Léonard Limosin was a French painter, enameller, illustrator, and engraver from the 16th century. Little is known about his life during his early period, probably he was a student of Léonard Pénicaud. In 1530, he was Painter to the King and completed several enamel pieces for churches and a number of pottery and glazed boards.

As his portraits were greatly beloved, he painted in 1544 the Queen of France, the wife of Francis I. In 1548, he was appointed servant of the king's chamber.

His enamelled pieces are sensational; Limosin devoted himself with a wide colour palette and coated his objects with purple or blue glaze. Through the certainty of his designs, the influences from the School of Fontainebleau, and his effortless execution, Leonard Limosin stands as the leading enameller of Limoges.

---

347. **Léonard Limosin** , c. 1505 - between
January 1575 and February 1577, French.
_Peter the Apostle_ , c. 1535. Painted enamel,

22.8 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

348. **Benvenuto Cellini** , 1500-1571,
Italian. Relief customised for the Palace of
Fontainebleau gates, _The Nymph of Fontainebleau_ ,

1542-1543. Bronze, 205 x 409 cm.

Musée du Louvre, Paris. Mannerism.

349. **Girolamo della Robbia** , 1488-1566,
Italian. _Leda and the Swan_ , c. 1540.

Lacquered terracotta, 26 x 66 cm.

Liebieghaus, Frankfurt am Main. Mannerism.

350. **Dirck Crabeth** and **Workshop** , 1501-1574,
Dutch. Stained glass window depicting
_The Taking of the Ark_ , 1543. Grisaille,

yellow silver, glass, and lead, 109.5 x 64.8 cm.

Musée des Arts décoratifs, Paris.

**Dirck Crabeth**

**(1501-1574)**

Son of a family of painters, Dirck Crabeth was a Dutch stained-glass painter, designer of tapestries and cartographer. With the establishment of his reputation, Crabeth received numerous commissions for stained glass windows. He executed one of his most important projects from 1555-1571. Completing eight windows for the grand St John Church in Gouda (Netherlands), it now belongs to the UNESCO heritage list. One of the first stained glass windows portrays the baptism of Jesus by John the Baptist, installed in 1555.

A number of original drawings by Crabeth for church windows are still conserved.

---

351. **Anonymous.** _The Worship of the Golden Calf_ (detail),

middle of the 16th century. Threads of silk and silver,

34 x 51 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

352. **After Jean Cousin the Elder** , c. 1490/1500 - after 1560,
French. Tapestry with the _Story of St Mammes_ :
_St Mammes Giving Himself up to the Court of the_
_Governor of Cappadocia_ , 1544. Tapestry, wool,

and silk, 440 x 450 cm. Musée du Louvre, Paris.

353. **Anonymous.** 'Fan' table, second half of

the 16th century. Stained wood, 82 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Renaissance.

354. **Jean Goujon** , c. 1510-1566, French.
Relief, _Nymphs_ , 1549. Stone, 74 x 195 cm.

Musée du Louvre, Paris. Mannerism.

**Jean Goujon**

**(Normandy c. 1510 – Bologna c. 1566)**

The first mention of his name occurs in the accounts of the Church of Saint-Maclou in Rouen in the year 1540. On leaving Rouen, Goujon was employed by Pierre Lescot, the celebrated architect of the Louvre, on the restorations of Saint-Germain l'Auxerrois. In 1547, appeared Martin's French translation of Vitruvius, the illustrations of which were due, the translator tells us in his dedication to the king, to Goujon.

We learn from this statement not only that Goujon had been taken into the royal service on the accession of Henry II, but also that he had been previously employed under Bullant on the Château d'Ecouen. Between 1547 and 1549 he was employed in the decoration of the Loggia ordered from Lescot for the entry of Henry II into Paris, which took place on 16 June 1549. In the late 18th century, Bernard Poyet reconstructed Lescot's edifice into the Fontaine des Innocents, a considerable variation from the original design. At the Louvre, Goujon, under the direction of Lescot, executed the carvings of the southwest angle of the court, the reliefs of the Escalier Henry II, and the Tribune des Caryatides. Associated with Philibert Delorme in the service of Diana of Poitiers, Goujon worked on the embellishment of the Château d'Anet, which rose between 1548 and 1554.

Unfortunately, the building accounts for Anet disappeared. Goujon executed a vast number of other works of equal importance destroyed or lost in the great Revolution. In 1555, his name appears again in the Louvre accounts, and continues to do so every succeeding year up to 1562, when all trace of him is lost. In the course of that year an attempt was made to release from royal employment all those suspected of Huguenot tendencies. Goujon has always been claimed a Reformer; consequently, it is possible he fell victim to this attack.

---

355. **Jean Goujon** , c. 1510-1566, French.

_Nymph and Triton_ , 1549.

Stone, 73 x 195 x 12 cm.

Musée du Louvre, Paris. Mannerism.

356. **Anonymous.** Fountain of Diana,

middle of the 16th century.

Marble, 211 x 258 x 134 cm.

Musée du Louvre, Paris. Mannerism.

357. **Germain Pilon** , c. 1529-1590,
French. Funerary spirit, 1558. Marble,

85 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

358. **Anonymous.** Plaque of the harness of a
horse of Henry II (detail), _The Death of Cleopatra_ ,

c. 1556. After a drawing by Étienne Delaune.

Iron, 40 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

359. **Anonymous.** Armour belonging
to Henry II (detail), c. 1559.

Polished and chiselled iron.

Musée du Louvre, Paris. Mannerism.

360. **Anonymous.**
Shield belonging to Henry II, c. 1555.

Iron, partially coated with gold and silver.

Musée du Louvre, Paris. Mannerism.

361. **Anonymous.**
Armour belonging to Henry II, c. 1559.

Polished and chiselled iron.

Musée du Louvre, Paris. Mannerism.

362. **Francesco Negroli and his brothers** ,
1510-1579, Italian. Armour of Henry's heir apparent,
later Henry II, c. 1536-1547. Iron coated

with silver, 181 x 67 cm; weight: 19.7 kg.

Musée de l'Armée, Paris. Mannerism.

363. **Léonard Limosin** , c. 1505 – between
January 1575 and February 1577, French.

_The Descent from the Cross_ , 1557.

Painted enamel, 33.5 cm. Musée national de

la Renaissance, Château d'Écouen, Écouen. Mannerism.

364. **Léonard Limosin** , c. 1505 - between
January 1575 and February 1577, French.
_Portrait of the High Constable of Montmorency_ ,

Limoges, 1556. Painted enamel on copper,

giltwood mount, 75 x 54 cm.

Musée du Louvre, Paris. Mannerism.

365. **Pierre Courteys** , 1520-1591/1602,
French. _Jupiter_ , 1559. Painted enamel, 16.5 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

366. **Anonymous.** Table clock, Blois, c. 1560.

Silver, gilded brass, iron from Abbeville, 12 x 8 cm.

Musée national de la Renaissance, Château d'Écouen, Écouen.

367. **Anonymous.** Bottle with the crest of
Catherine de' Medici, c. 1560.

Opaque glass, gilded and painted, 19.5 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

368. **Anonymous.** Ewer and basin, said to have
belonged to Charles V, Antwerp, 1558-1559.
Basin: _Conquest of Tunis in 1835_. Ewer:
_The Embarkment of the Troops of Charles V after Battle_.

Gilded silver and partially enamelled. Musée du Louvre, Paris.

369. **Saint-Porchaire** **'** **s Workshop** ,
French. Ewer with the letter G, c. 1550.

Ceramic from Saint-Porchaire, height: 37.2 cm.

Musée du Louvre, Paris. Mannerism.

370. **Anonymous.** Wine jug from
the reign of Elizabeth I, 1560-1585.

White and blue porcelain, silver-plated mount,

height: 25.6 cm. Victoria and

Albert Museum, London. Chinese.

371. **Anonymous.**
Bottle with plum blossoms, c. 1560.

Ceramic. Khalili Collection. Eastern.

372. **Pierre Reymond** , 1513-1584, French.
Plate with _Month of September, the Harvest_ , Limoges, 1561.

Painted enamel on copper, grisaille, diameter: 18 cm.

Musée des Arts décoratifs, Paris. Mannerism.

373. **Anonymous.** Beer jug decorated
with carnations and leaves, last quarter of

the 16th century. Ceramic, 26 x 14.5 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Eastern.

374. **Anonymous.** Mantle piece detail,
_Diana and Actaeon_ , 1562. Stone.

Musée national de la Renaissance,

Château d'Écouen, Écouen.

375. **Germain Pilon** , c. 1529-1590, French.
_The Fates_ , 1586. Marble, 162 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

376. **Germain Pilon** , c. 1529-1590, French.
_The Lamentation of Christ_ , 1580-1585.

Probably adorned the altar at the Church of

Sainte-Catherine-du-Val-des-Écoliers, in Paris.

Bronze, 47 x 82 cm. Musée du Louvre, Paris. Mannerism.

377. **Alessandro Vittoria** , 1525-1608,
Italian. _Jupiter_ , c. 1560. Bronze, 72 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

**Alessandro Vittoria**

**(Trento, 1525 – Venice, 1608)**

Alessandro Vittoria was a sculptor, engraver, medallist, and architect. Born in Trento, he worked from 1543 to 1547 in Sansovino's Workshop in Venice. After a few trips to Vicenza, Padua, and Brescia, he finally relocated to Venice, where began his artistic career.

His style, expressive, dramatic, and elegant, secured him a place in amongst the European mannerist sculptors. He was influenced by Sansovino and realised a magnificent work in Venice, including the caryatides at the Piazza di San Marco, Scalad'Oro in Doge's Palace, and many monumental altars, bronzes, and busts.

Vittoria worked with Palladio on the Villa Pisani and with Veronese.
He died in 1608 in Venice.

---

378. **Jean Boulogne** , 1529-1608, Flemish.
_Nessus and Deianeira_ , Florence, c. 1580.

Bronze with red-brown patina, height: 42.1 cm.

Musée du Louvre, Paris. Mannerism.

379. **Anonymous.** Dresser with harpies, 1570.

Walnut, 147 x 130 cm. Musée national de

la Renaissance, Château d'Écouen,

Écouen. High Renaissance.

380. **Anonymous.** Two-piece sideboard,

end of the 16th century.

Light walnut. High Renaissance.

381. **Anonymous.** Wardrobe, said to
be from Clairvaux, c. 1570. Walnut, 246 x 136 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

382. **Anonymous.** Wardrobe, said to be
by Hughes Sambin, c. 1580. Walnut and oak,

partially gilded and painted, 206 x 150 cm.

Musée du Louvre, Paris. High Renaissance.

383. **Anonymous.** Fluted ewer, Florence,

end of the last quarter of the 16th century.

Medici porcelain, height: 26 cm.

Musée du Louvre, Paris. Mannerism.

384. **Francis II de** **'** **Medici Manufactory** ,
Italian. Wine bottle, 1581. Fine Medici porcelain,

decoration in blue cameo, 27.7 x 11.3 cm.

Musée national de la Céramique, Sèvres.

385. **Anonymous.** Glass chalice, probably from France,

end of the 16th century. Handblown glass shaped

whilst hot, height: 16.4; diameter: 15.3 cm.

Musée des Arts décoratifs, Paris. High Renaissance.

386. **François Briot** , c. 1550 - after 1616,

French. Basin and ewer, c. 1585. Molten tin,

diameter: 45 cm (basin), 28 x 13.5 cm (ewer).

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

387. **Anonymous.**
White and blue drinking bowl, 1599-1600.

Porcelain, height: 13.9 cm; diameter: 23.6 cm.

Victoria and Albert Museum, London. Chinese.

388. **Anonymous.** A pilgrim's water pitcher,

Deccan Plateau (India), 15th century.

Bronze, height: 30.5 cm.

Khalili Collection. Eastern.

389. **Anonymous.** Table clock, end of the 16th century.

Silver, gilded brass, iron, 15 x 10 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

390. **Anonymous.** Venetian cabinet, c. 1600.

Wood with ivory and mother-of-pearl, painted,

96 x 107 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

391. **Anonymous.** Cabinet 'with riders', 1615-1620.

Stained wood, 264 x 142 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

392. **Anonymous.** Dressing gown, c. 1600.

Silk, 129 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

393. **Anonymous.** _Mystical Marriage of St Catherine_ , c. 1610.

Framework of cloth, threads of silk and gold,

400 x 495 cm. Musée national de la Renaissance,

Château d'Écouen, Écouen. High Renaissance.

394. **Anonymous.** Mazarin desk with
seven drawers, 17th century. Boulle-style marquetry,

background in red-tinted tortoiseshell, inlay.

Châteaux de Umailles et de Trianon, Umailles. Baroque.

### Baroque

Of all sovereigns, Louis XIV is certainly the monarch who best knew how to surround the royal majesty with the most dazzling splendour. He required sumptuous buildings for his habitation, and if Versailles as a palace realised his dreams, he still required that the furniture destined to fill those galleries with glittering mirrors, gildings, paintings, and sculptures, should be worthy of such companionship and should exhibit a magnificence unknown until that day. Logical in his conceptions, the king understood that he must entrust the manufacture of the carpets, furniture, and silverware to real artists. In order to gather the most talented, he initially granted apartments in the Louvre to each of those who had distinguished themselves by works of uncommon merit.

This magnificence is also due to superbly-framed tapestries, to shimmering brocades, in which the cities of Lyon, Tours, and Venice excelled, to immense paintings by Le Brun and Van der Meulen.

On the other hand, wallpaper imitating leather and silk appeared and its unexpected cost-saving seemed appreciated. This period coincided unexpectedly with the end of rich stained glass windows, because transparent glass windows began to resemble our own modern variety. Indeed, the heavy and exuberant ceramic works of Bernard Palissy are spurned in favour of Chinese porcelain, earthenware from Rouen and Nevres, and this movement towards simplicity, both in shape and decor, was in conjunction with the contractions above.

Now we will delve more deeply into its recognisable traits. Boulle furniture: cased clocks, cupboards, drop-front tables, desks, corner cabinets, commodes, mirrors, etc., in ebony and black shell marquetry encrusted with engraved brass arabesques, decorated with chiselled bronzes. Decor: suns, flowerets, foliage, cartouches, scrolls, shells, and caps placed in the axis, fleurs-de-lis alternating with the royal cipher, etc. Beds without posts with velvet and feather curtains with heavy canopies. Canopies, boxes in trimmed silk and tablecloths. Ceilings, panelled with mouldings and white and gold ornaments. Decorated with complex pelmets of unequalled wealth and strength.

The silverwork tends to assault the modesty of the wood. Furthermore, the idea of bulbous furniture, with wonderful commodes with practical drawers, first appeared under the Sun King, as did the idea of large desks replacing earlier counters and tables. Moreover, we should not forget that the art of cabinetmaking reached its peak at this time with its learned veneers, and the little pieces of furniture that would abound later, such as corner cupboards, shelves, consoles, which are nothing more than pieces derived from earlier commodes and desks. Indeed, the balconies and gates speak of the triumph of ironwork in general, and the way these pieces are covered in chiselled appliqués and giving them marble tablets dates from Louis XIV. Cabinet making would become clearer and the next period would play with the elements of form it had just recovered.

If, finally, under Louis XIV and Louis XV, the art of jewellery-making reaches its peak, under the Sun King, jewellery was as solemn and as noble in its splendour as it was fanciful and graceful under Louis XV.

True Louis XV style, according to the experts, is marked by a revival of the classical spirit and a rejection of the convoluted Régence style. J.F. Oëben, Madame de Pompadour's cabinetmaker, refocused on cabinets, reacting against the oppressive profusion of bas-reliefs and bronze ornaments in the tradition of C.A. Boulle. Another master cabinetmaker was Riesener. Riesener accents the rigid transformation of the Louis XV style. Gold working remained under the spell of the unique, contorted shapes expressed in Meissonnier, Oppenord, and Prieur's designs until François Germain, Auber, Fayolle, etc. returned to Greek simplicity.

Louis XV jewellery invokes the same spirit of simplicity and sobriety of details that pervades the entire style, although pieces were somewhat heavy and formal.

In the realm of tapestry, the Gobelins' activity never slowed down after the Great King's passing, although the solemnity of their projects diminished during the century of grace and lightness.

Although frames had expanded and acquired ornamental extravagances, the subjects of the paintings they held were 'amusing' and of small dimensions. Examples would be Charles-Antoine Coypel's depiction of Vie de Don Quichotte, Claude Audran's paintings of the seasons and the elements, and Boucher's images of the gods' great loves.

As is always the case, the jewellery created in the 18th century reflected the tastes of the times. The precious, undulating, contorted Rocaille genre of jewellery falls into the same system of ornamentation governing friezes and tympana, ceilings and panels, that goes all the way down to miniatures set in meticulously-gilded frames. The same pastoral and romantic scenes decorated medallions, buckles, and broaches often enhanced by a variety of gems or pearls. Likewise, eccentrically-shaped rings made from precious metals reflected the capricious ideal and grace of the period.

This was the age of Riesener's furniture and its precious marquetry enhanced by Gouthière's exquisite carvings, the age of large-scale nudity, of faded, subdued decorations with supple fabrics made in Lyon, and of white paint accented by a narrow sliver of gold. And it was still the age of fine fluting, garlands, ribbons, and hunting and fishing motifs and trophies.

Metalwork was inspired by goldsmith masters such as Gouthière and Germain. The latter was responsible for many of the most remarkable masterpieces of the 18th century, while the former was more closely associated with gilded bronze work. At the time, coloured crystal was mixed with metal for a clear, transparent reflection like that of silver to create a bright ensemble and to liven up the simple shapes that followed the previous, more torturous ones. Blue crystal was preferred. Silver and its lovely motifs were used for salt shakers, teapots, and centrepieces supported by trays with discreet feet and decorated with acanthus leaves and bacchante heads among the usual garlands. The fever for metalwork produced a slew of small objects and cases: candy dishes, flasks, snuffboxes, etc. And, of course, there was that familiar Louis XVI knick-knack, the fan. Decorative fans were made from perfumed wood and ivory and trimmed with gold. They depicted the romantic subjects of the era: pastoral scenes and Chinese images, and they were embedded with beautiful ornaments. The snuffboxes and candy dishes cannot be overlooked with their cameos (a very fashionable piece of jewellery following the discovery of Pompeii), their enamels, their mosaic and their rare miniatures.

During Louis XVI's reign and through the early years of the French Revolution was the most impressive artistic period for the Sèvres factory in terms of both form and decoration. Chemistry had miraculously created regal blues, turquoises, violets, daffodil yellows, and corals to be used in decorating cups, glasses large and small, vases, and any other piece of tableware, much to the delight of enthusiasts. The Pajous, Falconets, and Clodions created exquisitely-slight, unglazed porcelain sculptures for Sèvres that nicely complemented the enormity of the large table pieces. The Louis XVI vase by Sèvres is generally Classical, with a handle formed by scrolls or laurel leaves and other foliage.

The era we have just outlined ended in revolution, but only after taking advantage of a necessary and engaging evolution in good taste, subtlety, and distinction to create a welcome diversity of styles.

395. **Anonymous.** Pitcher, Paris, 1603-1604.

Silver, 18 x 18.2 cm. Musée des

Arts décoratifs, Paris. Mannerism.

396. **Anonymous.** Pencil holder, 17th century.

Bamboo, height: 13.5 cm.

National Palace Museum, Taipei. Chinese.

397. **Anonymous.** Pencil holder, 17th century.

Bamboo, height: 15.4 cm.

Shanghai Museum, Shanghai. Chinese.

398. **Anonymous.** Jug, 17th-19th century.

Ivory, height: 45.4 cm.

National Palace Museum, Taipei. Chinese.

399. **Anonymous.**
Knife and fork, 17th century.

Figures made of ivory.

Sexmuseum Amsterdam, Amsterdam.

400. **Jean I** or **Jean II Limosin** , active beginning
of the 17th century, French. Water pitcher:
_Triumphal Procession of Bacchus,_
_Amphitrite, and Poseidon_ , c. 1600-1620.

Painted enamel, polychrome, height: 27.8 cm.

Musée national de la Renaissance,

Château d'Écouen, Écouen. Mannerism.

401. **Suzanne de Court** , 1575-1625, French.
Plate with _The Clever Virgins and the_
_Foolish Virgins_ , beginning of the 17th century.

Painted enamel on copper, 38.5 x 49.5 cm.

Musée du Louvre, Paris. Mannerism.

402. **Anonymous.**
Wall light of Maria de' Medici, c. 1630.

Gilded silver, cameos, carnelian, 45 cm.

Musée du Louvre, Paris. Mannerism.

403. **Pierre Delabarre** (mount),
recognised master in 1625, French.
Water pitcher, c. 1630 (mount).

Carnelian, enamelled gold, 28 cm.

Musée du Louvre, Paris. Mannerism.

404. **Anonymous.** Ornate door, 17th century.

Carved wood, 191 x 48 cm.

Musée des Arts décoratifs, Paris. Eastern.

405. **Paul Vredeman De Vries** and **Adriaen van Nieulandt** ,
1567 - after 1630 and 1587-1658, Flemish. _Solomon and_
_the Queen of Sheba_ , c. 1610. Oil on canvas, 158 x 198 cm.

Musée des Arts décoratifs, Paris. Mannerism.

406. **Anonymous.** Ear sofa, beginning of the 17th century.

Natural wood with leaf and shell carvings. Baroque.

407. **Anonymous.** Chairs with arms,
beginning of the 17th century.

Wood and fabric cover.

408. **Anonymous.** Alsatian chest,

17th century. Walnut, intarsia decoration.

409. **Anonymous.** Cabinet, Paris, c. 1645.

Ebony on oak frame and poplar veneer,

blackened fruitwood base, 184 x 158.5 cm.

Musée du Louvre, Paris.

410. **Anonymous.** Cabinet of ebony,

first half of the 17th century. Ebony.

Musée Saint-Loup, Troyes.

411. **Anonymous.** Round shield for young Louis XIII, c. 1610.

Molten, engraved, and gilded iron, velvet, weight: 2.1 kg.

Musée de l'Armée, Paris. Baroque.

412. **Anonymous.** Dagger and sheath,
17th century. Height: 38.4 cm.

Moscow Kremlin, Moscow. Eastern.

413. **Anonymous.**
King Louis XIII's armour, c. 1620-1630.

Blackened iron, gilded copper, linen, leather,

140 x 74 cm, weight: 26.8 kg.

Musée de l'Armée, Paris. Baroque.

414. **Anonymous.** Louis XIII's colletin, c. 1630.

Molten, repoussé, chiselled, and burnished silver, velvet,
satin trimmed with gold, 18 x 35 x 12 cm, weight: 1.3 kg.

Musée de l'Armée, Paris. Baroque.

415. **Mortlake Manufactory** , 1619 - end of
the 17th century, English. Tapestry with the cycle of
_The Four Horsemen of the Apocalypse:_
_Christ_ _'_ _s Charge to Peter_ (after Raphael), c. 1640.

Wool, silk and metal threads, 410 x 610 cm.

Mobilier national, Paris. Classisism.

416. **Mortlake Manufactory** , 1619 - end of
the 17th century, English. Tapestry with the
cycle of _The Fo_ _ur Horsemen of the Apocalypse:_
_The Sacrifice at Lystra_ , c. 1640. Wool,

silk and metal threads, 420 x 650 cm.

Mobilier national, Paris. Classisism.

417. **Mortlake Manufactory** , 1619 - end of
the 17th century, English. Tapestry with the
cycle of _The Fo_ _ur Horsemen of the Apocalypse:_
_The Conversion of the Proconsul_ or _The Blinding_
_of Elymas_ , c. 1640. Wool, silk and metal threads,

405 x 645 cm. Mobilier national, Paris. Classisism.

418. **After Jules Romain** , 1499-1546, Italian.
_The Battle of Zama_ , tenth tapestry from the
set of the _Hunts of Maximilian_ , 17th century.

Tapestry, wool and silk, 435 x 740 cm.

Musée du Louvre, Paris. Classisism.

419. **Raphael de La Planche** and **Michael I von Corneille** ,
c. 1601-1664, French. Tapestry with _The_ _Story_
_of Clorinda and Tancred:_ _The Meeting of_
_Clorinda and Tancred_ , c. 1645-1660.

Wool and silk, 312 x 385 cm.

Musée des Arts décoratifs, Paris. Classisism.

420. **Mortlake Manufactory** , 1619 - end of
the 17th century, English. Tapestry with the cycle of
_The Four Horsemen of the Apocalypse:_
_The Miraculous Draught of Fishes_ , c. 1640.

Wool, silk and metal threads, 493 x 440 cm.

Mobilier national, Paris. Classisism.

421. **Anonymous.** Golden chest belonging to
Anna of Austria, middle of the 17th century.

Gold, wood covered with blue silk,

25.2 x 47.5 x 36.2 cm. Musée du Louvre, Paris.

422. **Anonymous.** Box, Goa, India,

17th century. Silver, 57 x 40 x 32 cm.

Private collection. Eastern.

423. **Anonymous.** Canopy bed from the
Castle of Effiat, c. 1650. Natural walnut, carved

Genoa velvet, trim with silk embroidery,

295 x 192 x 165 cm. Musée du Louvre, Paris.

424. **Melchior Baumgartner** and **Hans Lencker** (attributed to),
German. Cabinet, Augsburg, c. 1650. Ivory, silver,

and gilded silver, 70 x 88 x 42 cm. Private collection.

425. **Pierre Gole** , c. 1620-1684, Dutch.
Cabinet on stand, 1661-1665. Veneered in ivory

and tortoiseshell, ebony mouldings and brass mounts,

on a pine carcase, with walnut drawers, 126 x 84 x 40 cm.

Victoria and Albert Museum, London. Louis XIV style.

**Pierre Gole**

**(Bergen, c. 1620 – 27 November 1684)**

Pierre Gole was a well-known carpenter of the 17th century. Born in Bergen, he soon relocated to Paris. Being the half-brother of André-Charles Boulle ( _Boulle marquetry_ ), Pierre Gole learned the fundamentals of inlaid work of tortoiseshell and brass.

He was employed by Cardinal Mazarin and worked as a carpenter for Louis XIV. He produced cabinets and other furniture inlays for the king and royal palaces, including the furnishings for the royal bedroom of Louis XIV in 1663. This cabinet retains an impressive quality, made out of various woods and inlaid with ivory.

Gole died in 1685.

---

426. **Pierre Gole** (attributed to), c. 1620-1684,
Dutch. Casket and cabinet, Paris, c. 1655.

Softwood, veneered in tortoiseshell, ivory,

stained ivory, ebony, kingwood, walnut, pear, yew,

barberry, wood, casket: 23.8 x 47.7 x 34 cm; base:

63.2 x 60 x 40 cm. Musée des Arts décoratifs,

Paris. Louis XIV style.

427. **Thomas Hache** , 1664-1747, French.

Commode, Grenoble, end of the 17th century.

Wood inlay, native colour.

**Thomas Hache**

**(1664 - 13 March 1747)**

The Hache family is a family of cabinetmakers from Grenoble. Thomas Hache began as journeyman in Chambéry and learned of Italian decor. Later, he entered the workshop of the cabinetmaker Michel Chevalier. In 1721, he received a patent for the furniture of the Duchess of Orléans. The commission for furniture and wood carvings increasingly grew. At the end of his life, Thomas Hache worked in collaboration with his son Peter and his grandson Jean-François in a workshop. Jean-François Hache would become the most famous cabinetmaker in the family dynasty and had acquaintance with Jean-François Oeben, eventually inheriting the workshop from his father.

---

428. **Anonymous.** Game table from the
baroque period, end of the 17th century - beginning

of the 18th century. Fruitwood, 69.5 x 45 cm.

Private collection.

429. **Anonymous.** Plate painted
with twelve colours, 1660-1722.

Enamel, diameter: 17.2 cm.

The Palace Museum, Beijing.

430. **Anonymous.**
Pear-shaped vase, 17th century.

Porcelain, height: 34 cm.

The Palace Museum, Beijing. Chinese.

431. **Anonymous.** Tea kettle, 1662-1722.

Porcelain, height: 8.8 cm.

National Palace Museum, Taipei. Chinese.

432. **Anonymous.** Plate with butterflies
and peachtree branches, 1680-1735.

Porcelain, 36 cm. The Palace Museum,

Beijing. Chinese.

433. **Anonymous.** Vase decorated with
dragons and insects, 17th-18th century.

Jade, height: 28.8 cm.

Tianjin Museum, Tianjin. Chinese.

434. **Anonymous.** Two fish-shaped alcohol tankards,

Qing dynasty, Kangxi period (1662-1722).

Green porcelain, polychrome embellishment, 15.5 x 21.5 cm.

Musée national des Arts asiatiques – Guimet, Paris. Chinese.

435. **Anonymous.** Ornate corsage, France or Spain,

end of the 7th century. Silver, gilded silver, gold,

rose-cut diamonds, emeralds, amethyst, height: 20 cm.

Musée des Arts décoratifs, Paris. Baroque.

436. **Anonymous.** Ritual crown, Nepal, 1677.

Gilded copper and precious stones, height: 76 cm.

Victoria and Albert Museum, London. Indian.

437. **Anonymous.** Arc quadrant,

end of the 17th century.

Bronze, height: 66 cm.

The Palace Museum, Beijing. Chinese.

438. **Anonymous.** Quiver with the crest of the
Duke of Burgundy, second half of the 17th century.

Blue velvet, decorated with gold and silver,

79 x 12 cm; weight: 1.2 kg. Musée de l'Armée, Paris.

439. **Anonymous.** Armillary sphere, 1669.

Silver plated, sandalwood, height: 37.5 cm.

The Palace Museum, Beijing. Chinese.

440. **Anonymous.** Bottle, end of the 17th century.

Faience with molten decoration, height: 18 cm.

The State Hermitage Museum, St Petersburg. Persian.

441. **Anonymous.**
Amphora in Tang style, 1680-1735.

Porcelain, height: 51.8 cm.

The Palace Museum, Beijing. Chinese.

442. **'** **De Grieksche A** **'** **Manufactory.**
Porcelain vase, Delft, c. 1710.

Faience, height: 77 cm; diameter: 46 cm.

Musée des Arts décoratifs, Paris.

443. **Saint-Cloud Manufactory** , 1674-1766, French.
A pair of funnel-shaped vases and a pair of water pitchers,

c. 1700. Soft-paste porcelain, decorated with blue glass,

funnel-shaped vases: height: 20.8 cm; diameter: 9.8 cm.

Water pitchers: height: 21 cm; diameter: 9.8 cm.

Musée des Arts décoratifs, Paris.

444. **Autruche Manufactory** (attributed to),
French. Navel-shaped plate, Neum, c. 1660.

Faience, tin-glazed, kiln-baked after decoration,

6.7 x 50.2 x 51.3 cm. Musée des Arts décoratifs, Paris.

445. **André-Charles Boulle** , 1642-1732, French.
Wardrobe, c. 1700. Veneered in ebony, kingwood,

polychrome wood inlay, brass, tin, tortoiseshell and

horn on oak frame, gilded bronze, 255.5 x 157.5 x 58 cm.

Musée du Louvre, Paris. Louis XIV style.

**André-Charles Boulle**
**(Paris, 10 November 1642 – Paris, 29 February 1732)**

The royal carpenter André-Charles Boulle was the first to decorate furniture with gilded bronze, making him the greatest French cabinetmaker of the 17th and 18th centuries. He was also the maker of numerous furnishings for Louis XIV, his family, and the royal estate. Initially, his father educated him on the artistic techniques regarding sculpture, drawing, painting, and gilding. Thanks to the young artist, the family workshop gained considerable recognition.

In May 1672, he receives an assignment at the Louvre.

From 1684-1692, the king commissions the panelling and the flooring of his study at Versailles, disappeared since the 18th century.

The brass- and tortoiseshell-inlaid marquetry by Boulle were such great successes, that they would be henceforth known as 'boullework'. The artist was as innovative with his bronze application and in his form of leafs as in his furniture pieces, including the creation of new models, such as the 'commode', conceptualised by himin 1708. The beauty of his furnishings was recognised not only in France, but also throughout Europe.

In 1700, he received a commission from the Duchess of Burgundy to design the furniture for the Château de la Ménagerie. Jules Hardouin-Mansart later commissioned him to complete two commodes for the Grand Trianon in Versailles.

Boulle's technique spread across France and the rest of Europe, and his model would be reproduced throughout the middle of the 18th century and the Second Empire.

---

446. **André-Charles Boulle** , 1642-1732, French.
Chest on a console base, c. 1690-1695.

Archives Galerie Steinitz, Paris. Louis XIV style.

447. **André-Charles Boulle** (attributed to), 1642-1732,
French. Commode, c. 1710. Veneered in ebony,

brass and tortoiseshell inlay, gilded bronze, marble portor,

86 x 148 cm. Musée du Louvre, Paris. Louis XIV style.

448. **Anonymous.** Small table, Mughal, 17th century.

Gold with enamel and precious stones, 23.7 x 23.7 x 10 cm.

The State Hermitage Museum, St Petersburg. Eastern.

449. **Antoine Morand** , 1674-1757, French.
Automaton clock, 1706. Rose and palisander

wood inlay, chiselled and gilded bronze, 275 x 82 x 82 cm.

Mercury Salon, Palace of Versailles, Versailles.

450. **Anonymous.** Large panoramic image
depicting the Bosphorus shore, 18th century.

Paper painted in the Dufour Manufactory, Paris.

451. **Anonymous.** Tapestry, 18th century.

Wool, 152 x 216 cm. The State

Hermitage Museum, St Petersburg. Persian.

452. **Claude Audran III** , 1657-1734, French.
Project for a ceiling painting, c. 1700.

Gouache on paper. Musée des Arts décoratifs, Paris.

453. **Anonymous.** Detail of a ceiling painting from
the state house of the Countess of Verrue in Paris,

c. 1715. Musée des Arts décoratifs, Paris.

454. **François Boucher** , 1703-1770, French.
_Le Montreur d_ _'_ _images_. _Fêtes Italiennes_
tapestry (Italian Village Scenes), 1736. Tapestry.

Manufacture royale de Beauvais, Beauvais.

**François Boucher**

**(Paris, 1703-1770)**

Boucher is typical of the artist, whose ambitions are clearly defined and exactly proportioned to his capacity: he desired to please his contemporaries, to decorate walls and ceilings for them, and, in his better moments, realised perfectly what he set out to do. He bore the weight of an immense output, illustrating a book, or finishing off a fan as aptly as he rumpled the draperies of complaisant goddesses or peopled sky and wave with rosy and golden nudes. As a decorator he had gifts in no way inferior to those of his fascinating contemporary Tiepolo; he could also paint excellent portraits, or render intimate scenes with brilliance and deftness.

---

455. **Anonymous.** _Don Quixote:_
_The Ball in Barcelona_ , c. 1732-1736.

Tapestry, wool and silk, 360 x 505 cm.

Musée du Louvre, Paris. Rococo.

456. **Anonymous.** Pendant depicting
_The Assumption of the Virgin Mary_ , 18th century.

Gold, crystal, glass painting, 7 x 5 cm.

Musée des Arts décoratifs, Paris. Rococo.

457. **Anonymous.**
Earring, France, 18th century.

Silver, emeralds, aquamarine, rubies.

Musée des Arts décoratifs, Paris. Rococo.

458. **André-Charles Boulle** (attributed to), 1642-1732,
French. Pair of sconces, Paris, c. 1715-1720.

Gilded bronze, 52 x 23 cm.

Musée des Arts décoratifs, Paris. Rococo.

459. **Anonymous.** Ring with a fleur-de-lis,

France, 18th century. Gold, quartz.

Musée des Arts décoratifs, Paris. Rococo.

460. **Anonymous.** Pendant with
_Annunciation_ and _Nativity_ , 18th century.

Blue, red, white, and green enamel on gold,

baroque pearls, 8.2 x 5 cm.

Musée des Arts décoratifs, Paris. Rococo.

461. **Anonymous.** Gilded chamber in the
Rochegude mansion in Avignon, c. 1720. Panelling,

carved from lime and softwood, painted and gilded.

Musée des Arts décoratifs, Paris. Regency style.

462. **Anonymous.** Double commode with corner
mountings, Paris, c. 1725. Oak and conifer wood,

veneered in palisander and gilded walnut,

gilded bronze, marble, 84 x 282 x 82.5 cm.

Musée des Arts décoratifs, Paris. Regency style.

463. **Joseph Poitou** (attributed to) and
**Charles Cressent** (bronze), 1680-1719 and 1685-1768,
French. Wardrobe, c. 1715-1720. Oak, veneered in

violet-coloured wood, gilded bronze, 275 x 163 x 56 cm.

Musée des Arts décoratifs, Paris. Regency style.

**Charles Cressent**

**(Amiens, 1685-1768)**

Charles Cressent, the son of the royal cabinetmaker François Cressent, was born in 1685. Educated by his father at first, he later studied at the Académie de Saint-Luc in Paris, before going to work at the workshop of sculptor Joseph Poitou, André-Charles Boulle's rival.

Following the death of the latter, Cressent became the cabinetmaker regent. His commissioners include famous names, such as King Louis XV, John V, King of Portugal, and the Duke of Richelieu, etc. Cressent made commode with rich decoration, also referred to as 'palmes à fleurs', on high feet, made of two drawers and on a gilded bronze pedestal with floral motifs.

His most important work was done between 1725-1745, during which he created fixed forms for the desk and the commode of Louis XV.

Some of his furniture was seized twice during trial proceedings between 1722 and 1725, and again in 1748, 1756, and 1765.
Cressent completed various clocks of great fantasy, leading to the birth of Rococo.

He was without a doubt one of the most brilliant creators of the first half of the 18th century.

---

464. **Anonymous.** Armchair with frame,
back in curved medallion shape, 18th century.

Gilded wood, silk.

465. **Anonymous.** Chair, c. 1670-1680.

Chiselled and gilded beechwood,

modern trimming, 114.7 x 70 x 80 cm.

Musée des Arts décoratifs, Paris.

466. **Anonymous.** Chair, Paris, c. 1720.

Chiselled and gilded beechwood, 112 x 76 x 63 cm.

Musée des Arts décoratifs, Paris. Regency style.

467. **Charles Cressent** , 1685-1768, French.
Commode, c. 1730-1735. Veneered in satinwood

and kingwood, gilded bronze, Sarrancolin marble,

90 x 143 x 64 cm. Musée du Louvre, Paris. Regency style.

468. **Noël Gérard** , before 1690-1736, French.
Ormolu polychrome mounted Boulle commode with

two drawers, c. 1730. Veneered in ivory, tin,

copper, 134.6 x 87.6 x 66 cm. Victoria and

Albert Museum, London. Regency style.

469. **Anonymous.** Four glass vials,
second half of the 18th century. Colourless and

transparent glass, gilded bottleneck and stopper,

copper, height: 15 cm. Private collection.

470. **Daniel Govaers** , known as **Gouers** ,
Master in Paris in 1717 - active until 1736.

Snuff box, 1726-1727. Gold, diamonds, emeralds,

2.8 x 8.2 x 6.2 cm. Musée du Louvre, Paris.

471. **Anonymous.** _The Four Seasons_ , 18th century.

Enamelled white and opaque glass on a metal stand,

base of gilded turned wood, height with base: 17 cm.

Musée des Arts décoratifs, Paris.

472. **Anonymous.**
Peacock-shaped snuff box, 18th century.

Enamel on copper, 4.6 x 3.7 cm.

The Palace Museum, Beijing. Chinese.

473. **Anonymous.** Three-legged incense burner,
Qing dynasty, 18th century. Copper and enamel cloisonné,

height: 42 cm; diameter: 36 cm. Musée national des

Arts asiatiques - Guimet, Paris. Chinese.

474. **Anonymous.** Tea kettle, c. 1725-1730.

Meissen porcelain, polychrome decoration,

and gold, height: 11 cm.

Musée national de la Céramique, Sèvres.

475. **Ateliers Clérissy** , French.
Large serving platter, c. 1730.

Faience, burned decoration, 61 x 48.5 cm.

Musée des Arts décoratifs, Paris.

476. **Anonymous.** Blue bowl, 1723-1725.

Glass, diameter: 17.3 cm.

Asian Art Museum, San Francisco. Chinese.

477. **Sèvres Manufactory** , 1740 - currently active;
known at this time as the Vincennes Manufactory,

French. Cup, second quarter of the 18th century.

Mennecy porcelain, polychrome embellishment,

height: 8.6 cm; diameter: 15.5 cm.

Musée national de la Céramique, Sèvres.

**Sèvres Manufactory**

**(Vincennes, 1740 – currently active)**

The Sèvres Manufactory, located in Sèvres, the Hauts-de-Seine department, is one of the leading manufacturers of European porcelain. Founded in 1740, the manufactory is currently still open. Its current production takes into account the modern. Sèvres was the city of ceramic in 2010 with the Musée national de Céramique, and since 2012 the Musée national de la porce-laine Adrien-Dubouché in Limoges. The Vicennes manufactory was created, with the support of Louis XV and Madame de Pompadour. Its products placed it in competition with Chantilly and Meissen. In 1756, it relocated to Sèvres, in a building erected close to the Bellevue Palace, following Madame de Pompadour requests. Originally, the manufactory produced soft paste china.

From 1800 to 1847, the production steadily increased and gained international recognition, under the leadership of Alexandre Brongniart.

In 1875, the manufactory once again moved, this time to a special building, done by the French state, classified as a historical landmark, located near Parc de Saint-Cloud. The products are only exhibited in two galleries: the first located in Sèvres and the second in the heart of Paris, in 1st arrondissement, between the Louvre and the Comédie Française. Today, the manufactory organises numerous exhibi-tions all over the world and participates in various exhibitions and art fairs.

---

478. **Anonymous.** Bowl, military battle
scene of horsemen, c. 1745.

Capodimonte porcelain, height: 25 cm.

479. **Anonymous.** Bowl, c. 1749-1753.

Vincennes porcelain, polychrome embellishment,

height: 7 cm; diameter: 24 cm.

Musée national de la Céramique, Sèvres.

480. **François-Thomas Germain** , 1726-1791,
French. Ewer and basin, 1756-1758.

Silver, ewer: 27.5 x 12 x 17.8 cm;

basin: 7.8 x 40.4 x 28.7 cm.

Musée des Arts décoratifs, Paris.

481. **Juste-Aurèle Meissonnier** and **Claude Duvivier** ,
1695-1750 (Meissonnier) and Master in 1720 (Duvivier),

French. Candelabra, 1734-1735. Silver, 38.5 x 21.5 cm.

Musée des Arts décoratifs, Paris. Rococo.

**Juste-Aurèle Meissonnier**

**(Turin, c. 1695 – Paris, 1750)**

Master of Rococo art, Juste-Aurèle Meissonnier was a painter, sculptor, designer, architect, and goldsmith. Louis XV bestowed upon him the title _Dessinateur du cabinet_ and the royal goldsmith. He was one of the first artists to overlook symmetry in favour of skewed forms, mismastched patterns of plants and shellfish. In 1735, he published the book _Le Livre d_ _'_ _ornements en trente pièces._

---

482. **Anonymous.** Brooch, France,

18th century. Gold, emeralds, and diamonds.

Musée des Arts décoratifs, Paris.

483. **Anonymous.** Earrings, Portugal,

18th century. Silver, topaz.

Musée des Arts décoratifs, Paris.

484. **Anonymous.** _Nœud_ (node) brooch,

France, 18th century. Silver, chrysoberyl.

Musée des Arts décoratifs, Paris.

485. **Anonymous.** Coal oven, 18th century.

Enamel cloisonné, height: 83 cm.

The Palace Museum, Beijing. Chinese.

486. **Anonymous.** Incense burner, 18th century.

Enamel, height: 101.5 cm; diameter: 55 cm.

British Museum, London. Chinese.

487. **Anonymous.** Ice box, 18th century.

Enamel cloisonné, length: 117 cm.

Victoria and Albert Museum, London. Chinese.

488. **Anonymous.** Vase with various flowers,

18th century. Porcelain, height: 32.4 cm.

Asian Art Museum, San Francisco. Chinese.

489. **Anonymous.** Vase, 18th century.

Porcelain, height: 52 cm.

British Museum, London. Chinese.

490. **Anonymous.** Celadon vase, 18th century.

Porcelain, height: 42 cm.

Baur Collection, Geneva. Chinese.

491. **Sèvres Manufactory** , 1740 - currently active;
known at this time as the Vincennes Manufactory,

French. Duplessis sauceboat, 1756.

Hard-paste porcelain, 26 x 19.4 cm.

Musée des Arts décoratifs, Paris.

492. **Anonymous.** Fish-shaped snuff box,

18th century. Glass, 7.5 x 3 cm.

The Palace Museum, Beijing. Chinese.

493. **Villeroy Manufactory** , 1720,
French. Magot figure, c. 1740.

Hard-paste porcelain, 20 x 21.5 cm.

Musée des Arts décoratifs, Paris.

494. **Anonymous.** Seated Guandi,
Qing dynasty, 18th century. Porcelain with enamel,

coated in green, 29 x 12.5 cm. Musée national

des Arts asiatiques – Guimet, Paris. Chinese.

495. **Anonymous.** Sloping secretary, c. 1750.

Oak, violet-coloured wood inlay, kingwood,

satin, gilded bronze, 90 x 85 cm.

Musée des Arts décoratifs, Paris. Louis XV style.

496. **Adrien Faizelot Delorme** (attributed to)
and **Étienne-Simon Martin** (attributed to),
Master 1748-1768 and 1770, French. Sloping secretary,

c. 1749-1570. Poplar and linden wood, blue moire, blue paper,

silver-coated bronze, gilded bronze, iron, 88 x 59 x 43 cm.

Musée des Arts décoratifs, Paris. Louis XV style.

**Adrien Faizelot Delorme**

**(Master 1748-1768)**

Adrien Delorme, son of the cabinetmaker François Delorme, belonged to a family of crafters, as his brothers Jean-Louis and Alexis were also cabinetmakers. He became a master in 1748, and his workshop lied on Rue du Temple, similar to other manufacturers and merchants. From 1768 to 1770, he was appointed Juror of his community to replace his father. His original inlaid works show an outstanding quality, the lacquer and varnish contradict the Far East taste and secure his repute. Delorme produced tables, secretaries, but it is the curved commodes, with vibrant decoration and lacquer from China or Japan, geometric patterns or flower motifs, which assume an important place in his assembly of works. One of its decorations type consists of winding tendrils that decorate the veneer. Adrien Delorme was referred to in one of the annuals from his day as one of the adept artists to work with inlay. According to Pierre Verlet, "his works capture the boldest Rococo elements in the time of Louis XV."

---

497. **Bernard II van Risen Burgh** , c. 1696-1765,
French. Commode, 1737. Veneered in fruitwood,

Japanese lacquer, vernis Martin on oak frame, gilded bronze,

Antin marble, 85 x 127 cm. Musée du Louvre, Paris. Louis XV style.

498. **Jacques-Philippe Carel** , c. 1688-1755, French.
Commode, c. 1750. Oak, black varnished wood,

kingwood, fruit woods and oak veneer, Coromandel lacquer,

gilded bronze, Sarrancolin marble, 93 x 146 x 69 cm.

Musée du Louvre, Paris. Louis XV style.

499. **Sylvain-Nicolas Blanchard** , 1723,
known as Master in 1743, French. Chair, c. 1745.

Tapestry, decorated with flower bouquets.

Archives Galerie Didier Aaron, Paris. Regency style.

500. **Jean-Baptiste Cresson** , 1720-1781,

French. The Queen's chair, c. 1755.

Carved and painted beechwood, 96 x 70 x 53 cm.

Musée des Arts décoratifs, Paris. Regency style.

501. **Anonymous.** Chair, c. 1750.

Carved and painted beechwood,

84 x 60 x 49 cm.

Musée des Arts décoratifs, Paris.

502. **Jean-Baptiste Gourdin** , 1723-1781,
French. The Queen's chair, c. 1770.

Moulded, carved, and painted beechwood

and walnut (right arm), 96.5 x 65 x 55 cm.

Musée des Arts décoratifs, Paris. Regency style.

503. **Anonymous.** Armchair with
heart-shaped back, Paris, c. 1750-1760.

Beechwood, leather, and cane, 84 x 60 x 50 cm.

Musée des Arts décoratifs, Paris.

504. **Anonymous.** Teacup, saucer,
and sugar bowl, c. 1753-1754. Vincennes porcelain,

lapis lazuli background, depicting birds in mid-flight

and rich golden framing. Palazzo Pitti, Florence.

505. **Anonymous.** Wine cooler, 1760.

Sèvres porcelain, blue background,

depicting polychrome bird reserves,

16.5 x 17.5 cm. Palazzo del Quirinale, Rome.

506. **Fabrique Gaspard Robert** , 1722-1799,
French. Tureen, c. 1765-1770. Tin faience,

enamel kiln-baked before decoration,

30.5 x 38.3 x 27.5 cm.

Musée des Arts décoratifs, Paris.

507. **François-T** **homas Germain** , 1726-1791,
French. Fire incense burner, 1757.

Gilded bronze, 57 x 59 x 4 cm.

Musée du Louvre, Paris. Rococo.

**François-Thomas Germain**

**(1726-1791)**

The son of the silversmith Thomas Germain was François-Thomas Germain, a French jeweller, specialist of works of silver. He studied at the Académie royale de peinture and was a sculptor and goldsmith to the king from 1 May 1748. Following his father's death, he inherited an unbelievably valuable collection of designs and models, which he would use his entire life and from which he took the stamp. With Jacques Roettiers, he was received as a silversmith in 1751 by the king and obtained the order to smelt unusable silver cutlery and dishware.

The first important assignment François-Thomas Germain received was a table service, done in 1752 for the Nabob of Golconde. Even the King of Portugal recommended him for a large task. Germain was protected from hostilities by his father's shining reputation. He opened stores throughout Europe, but he handed out his gold at any price, which increased Germain's growing debt even more. With time, he would be pushed out of the Louvre and would lose his commission to make the dressing table for the Princess of Austurias. After the death of Louis XV, Germain sought to rejoin the Louvre, but he received a negative response. In this way, he lived the rest of his days in obscurity.

---

508. **Anonymous.** _Naiad_ , 1756.

Hard-paste porcelain, accentuated gold,

gilded bronze, 30 x 52 x 42 cm.

Musée du Louvre, Paris. Rococo.

509. **Claude-Siméon Passement** , **Claude Dauthiau** ,
and **Philippe Caffieri** , 1702-1769, 1730-1809,
and 1725-1772, French. Astronomical clock, 1754.

Gilded bronze, 83.2 x 53 cm. Clock Cabinet,

Louis XV's living room, Palace of Versailles, Versailles.

510. **F.L. Godon** , **Relojero de Camara de S.M.C.** and **Coteau** ,
Spanish and French. Clock, last quarter of the 18th century.

White marble and gilded bronze, 57 x 68 cm.

Royal Collection, Palacio Real de Madrid, Madrid.

511. **Jean-Démosthène Dugourc** , **Louis-Simon Boizot** ,
**Pierre-Philippe Thomire** , and **Robert Robin** , 1740-1825,
1743-1809, 1751-1843, and 1742-1799, French.
Clock, _Sacred Fire of Vesta_ , 1788. Gilded bronze

and patinated bronze in black, Sèvres porcelain plate,

turquin blue marble, 50.5 x 65 x 18 cm.

Musée des Arts décoratifs, Paris.

512. **Jean-François Oeben** and **Jean-Henri Riesener** ,
1721-1763 and 1734-1806, French. Cylinder-shaped
secretary in Louis XIV's office in Versailles, 1760-1769.

Bronze and veneer in various woods, Sèvres porcelain,

147.3 x 192.5 x 105 cm. Palace of Versailles, Versailles.

513. **Martin Carlin** (attributed to), c. 1730-1785,
French. Commode of Madame du Barry, 1772.

Oak, veener in pear-tree wood, rosewood, and kingwood,

Sèvres porcelain, gilded bronze, white marble, varnish,

87 x 119 x 48 cm. Musée du Louvre, Paris. Louis XVI style.

**Martin Carlin**

**(Freiburg im Breisgau, c. 1730-1785)**

Martin Carlin was a cabinetmaker from Germany. He learned his craft in Paris and worked in Jean-François Oeben's workshop. He collaborated with the then-great merchants Poiriet and Daguerre. Carlin specialised in products of top quality and completed luxury furniture (commodes and secre-taries), made of expensive and rare materials, belonging to the time of Louis XVI. He made posters with painted porcelain, mosaics of precious stones or lacquer.

Carlin received commissions only from the social elite, such as the royal family (Maria Antoinette), the aristocracy (Duchess of Mazarin), or the Comtesse du Barry.

His most famous pieces are those done for Bellevue Palace.

---

514. **Anonymous.** Console, part of a pair,
c. 1760-17709. Carved and gilded wood.

Musée Nissim de Camondo, Paris. Louis XVI style.

515. **Jean-François Leleu** , 1729-1807, French.
Commode of the Prince of Condé, 1772. Oak frame,

veneer of sycamore, rosewood and kingwood,

polychrome wood marquetry, gilded bronze,

Griotte Rouge marble, 87 x 124 x 59 cm.

Musée du Louvre, Paris. Louis XVI style.

516. **Léonard Boudin** , 1735-1807, French.
Secretary with doucine moulding, c. 1760.

Rosewood inlay. Private collection.

517. **Jean-Henri Riesener** , 1734-1806,
French. Low cabinet, c. 1775-1780.

Oak, veneer of sycamore wood, velvet, inlay,

89 x 114 cm. Musée des Arts décoratifs,

Paris. Louis XVI style.

518. **Étienne Maurice Falconet** , 1716-1791,
French. _The Dancing Dog_ , c. 1758-1759.

Group in soft-paste Sèvres porcelain, 22.5 x 29.2 x 20.8 cm.

Musée national de la Céramique, Sèvres. Louis XVI style.

519. **Anonymous.**
_Player of the Spanish Bagpipe,_ 1772.

Scuplture in biscuit porcelain.

Pavlovsk Palace, St Petersburg.

520. **Anonymous.** _The Soprano du Barry_ , 1772.

Sculpture in biscuit porcelain, height: 22.5 cm.

Musée national de la Céramique, Sèvres.

521. **Sèvres Manufactory** , 1740 - currently active,
French. Statue, _The Emperor of China_ , c. 1776-1885.

Hard-paste porcelain, 40.5 x 14.5 cm.

Musée des Arts décoratifs, Paris.

522. **Sèvres Manufactory** , 1740 - currently active,
French. Plate from the service of Caroline of Naples, 1773.

Porcelain, diameter: 24 cm. Musée des Arts décoratifs, Paris.

523. **Sèvres Manufactory** , 1740 - currently active,
French. Plate, 1773. Porcelain, diameter: 24 cm.

Musée national de la Céramique, Sèvres.

524. **Pierre-Joseph Rosset** , French.
Round plate, second size, 1775.

Porcelain with gadroon, painted, height: 3.5 cm;

diameter: 30 cm. Private collection, Paris.

525. **Anonymous.** Fruit basket, 1783.

Porcelain, height: 7.5 cm; diameter: 25.3 cm.

Museo Arqueológico Nacional, Madrid.

526. **Philippe Castel, Nicolas Sisson,**
and **Nicolas Schradre** , French. Terrine, 1774.

Porcelain, 25 x 33 x 20.5 cm.

Museo Arqueológico Nacional, Madrid.

527. **Meissen Manufactory** , 1710 - currently active,
German. Breakfast dishes, c. 1780-1790.

Box lined with leather and silk, hard-paste porcelain,

polychrome enamels and highlights, covered with gold,

box: 17.5 x 38.5 x 29 cm. Musée des Arts décoratifs, Paris.

528. **Anonymous.** Panel trim (detail), c. 1750.

Carved polychrome oak, 268 x 67 cm.

From the treasury of the Crécy-Couvé Palaces.

Musée des Arts décoratifs, Paris.

529. **Anonymous.** Decorative flower
garland and stylised foliage.

Private collection. Louis XVI style.

530. **Jean-Siméon Rousseau** (attributed to), 1747-1820,
French. Trim panel, 1782. Oil on wood.

Musée des Arts décoratifs, Paris.

531. **Anonymous.** The privy chamber of the queen,
or the gilded privy chamber, 1783.

Palace of Versailles, Versailles.

532. **Jean-Henri Riesener** , 1734-1806, French.
Rolltop desk of Marie Antoinette, 1784.

Oak and deal frame, veneer of sycamore,

kingwood and rosewood, polychrome

wood marquetry, gilded bronze, 103 x 113 x 64 cm.

Musée du Louvre, Paris. Louis XVI style.

**Jean-Henri Riesener**

**(Gladbeck, 1734 – Paris, 1806)**

As Marie Antoinette's favourite cabinetmaker, Jean Henri Riesener was the royal cabinetmaker for Louis XVI. After his arrival in Paris in 1755, Riesener visited Jean-François Oeben's workshop often. He completed a roll-top desk for Louis XVI and began to work in the study at the court, where he lived for ten years. Riesener quickly developed a strong reputation for his extremely-fine inlaid work, for the quality of the bronze and its elegance. His style was neo-classical with straight lines. The commissions steadily increased. The first piece that he signed was a secretary, commissioned by the king, began by Oeben and finished by Riesener in 1769.

This secretary is exhibited in a study at the Louvre, further decorated with brass work by Hervieux Duplessis and intricate inlay by Winant. His second masterpiece is a flat table, currently found at the Petit Trianon. For over ten years, Riesener was the main contractor of the royal family.

In 1755, he made the bedroom commode for Louis XVI in Versailles. Afterwards, two important pieces for Marie Antoinette: two corner cabinets and a commode made of mahogany with bronze decoration.

Despite his good reputation, his popularity sank after the French Revolution, and entered early retirement in 1800.

---

533. **Jean-Henri Riesener** , 1734-1806, French.
Rolltop desk, Louis XVI period.

Marquetry and gilt ormolu. Louis XVI style.

534. **Martin Carlin** , c. 1730-1785, French.
Commode of Madame Victoire, 1785. Ebony,

Japanese lacquer, gilded bronze, white marble,

96 x 151 x 53 cm. Musée du Louvre, Paris. Louis XVI style.

535. **Adam Weisweiler** , 1744-1820, French.
Writing table, belonging to Marie Antoinette, 1784.

Ebony, Japanese lacquer, mother-of-pearl,

gilded bronze, and steel, 73.7 x 81.2 x 45.2 cm.

Musée du Louvre, Paris. Louis XVI style.

**Adam Weisweiler**

**(Neuwied-am-Rhein, 1744 – Paris, 1820)**

Adam Weisweiler was a brilliant cabinetmaker of the late 18th century. He established himself in the Faubourg St Antoine, quickly developing a good standing. Specialising in dainty and charming furnishings (cabinets, tables, etc.), he soon became known for his application of porcelain from the Sèvres Manufactory and Wedgewood. His creations were beloved by nobles and by the courts of Europe. He was the main contractor for the French court, the king of Naples, and Catherine the Great, of Russia. Weisweiler strived to complete an outstanding amount of furnishings, always of excellent quality. His creations evolved through time, and after the French Revolution, he became the contractor for the imperial court.

Today, many of his works are found in various museums, such as the Louvre or the Victoria and Albert Museum in London.

---

536. **Jacob Frères** , 1768-1803 and 1770-1841,
French. Chair, from a room occupied by
Madame Récamier, c. 1798. Satinwood and

kingwood veneer, height: 74 cm; diameter: 75 cm.

Musée du Louvre, Paris. Louis XVI style.

537. **Jean-Baptiste-Claude Sené** , 1748-1803,
French. Chair, 1787.Gilded beechwood,

91 x 70 x 61 cm. Musée du Louvre, Paris.

538. **Jean-Louis Morin** , 1732-1787, French.
Quadratic image with blue background,
18th century. Sèvres porcelain, 15 x 15 cm.

Musée des Arts décoratifs, Paris.

539. **Louis-François Lécot** and **François-Antoine Pfeiffer** ,
1741-1800 and active 1771-1800, French.
Platter, 1790. Porcelain, 28 x 28 cm.

Musée national de la Céramique, Sèvres.

540. **Sèvres Manufactory** and **Asselin**
**de Villequier** (decoration), 1740 - currently active,
French. Mustard pot, end of the 18th century.

Porcelain, height: 9 cm; diameter: 6.7 cm.

Musée national de la Céramique, Sèvres.

541. **Sèvres Manufactory** , 1740 - currently active,
French. Helmet-shaped ewer, last quarter of

the 18th century. Porcelain, height: 28.5 cm.

Musée national Adrien Dubouché, Limoges.

542. **Anonymous.** Arles commode,

end of the 18th century. Carved wood.

543. **Jacques Dubois** , 1694-1763, French.
Large writing table, c. 1794. Veneer in

violet-coloured oak and fir wood, gilded bronze,

83 x 197 cm. Musée du Louvre, Paris.

544. **Georges Jacob** , 1739-1814, French.
Commode (detail), c. 1792-1795.

Mahogany, satinwood, and kingwood,

wood patinated like bronze, ivory, carved bronze,

marble. Private collection. Louis XVI style.

**Georges Jacob**

**(Cheny, 6 July 1739 – Paris, 5 July 1814)**

Georges Jacob is one of the most well-known cabinetmakers of the 18th century. Two of his sons Georges Jacob II and François-Honoré-Georges Jacob-Desmalter were also carpenters, as well as a grandson Alphonse Jacob-Desmalter. An orphan, he moved to Paris at age sixteen, where he became the apprentice to Jean-Baptiste Lerouge, a cabinetmaker. Later, he would become fellow mason at the same workshop. Specialising in seating furniture, he became a master on 4 September 1765 and opened his own workshop in 1775 on the Rue Meslée. He received commissions from the king, and Jacob was, until the end of the Ancien Regime, the official cabinetmaker to the crown. Among his employers, one finds Marie Antoinette, the king's brother, the future King Louis XVII, the Count of Artois, the Prince of Condé, and a few German princes.

Jacob was the first to apply mahogany and create new forms, inspired by the ancient Greeks and Romans. In the late 1780s, he completed a stool for artist David to use whilst painting. The Revolution deteriorated his financial situation, and on 13 August 1796, he handed over his finances to his sons, who founded La Maison Jacob-Frères. After the death of his son Georges Jacob II, he and another son, François-Honoré, opened a business, under the name 'Jacob-Desmalter et Cie', which reaped the favour of the king, compelting numerous furnishings for the imperial residence. In 1813, the company went bankrupt. Georges Jacob died in ruins in his house on Rue Meslée.

---

545. **Anonymous.** Travel secretary, c. 1795-1800.

Mahogany, stainless steel, gilded bronze,

104 x 74 x 32 cm. Musée des Arts décoratifs, Paris.

546. **Jacob Frères** , 1768-1803 and 1770-1841,

French. Bed of Madame Récamier, c. 1799. Mahogany,

gilded and patinated bronze, 100 x 133 x 100 cm.

Musée du Louvre, Paris. Louis XVI style.

547. **Anonymous.** Woodwork at the lounge of
the hotel Talairac, c. 1790. Painted and gilded oak and

conifer wood, mantle of cherry-red marble and

gilded bronze. Musée des Arts décoratifs, Paris.

548. **Alphonse Fouquet** , **Paul Grandhomme** ,
and **Charles Béranger** ,1828-1911, 1851-1944,
and 1816-1853, French. The Lady of the Castle,
_Bianca Cappello_ , 1878. Chased gold, enamel painted on

mother-of-pearl, rose-cut diamond, 8.7 x 7 cm.

Musée des Arts décoratifs, Paris. Neo-antique style.

### Modern Period

"One can argue the merits and the future of the new decorative art movement, but there is no denying it currently reigns triumphant over all Europe and in every English-speaking country outside Europe; all it needs now is management, and this is up to men of taste" (Jean Lahor, Paris 1901). Art Nouveau sprang from a major movement in the decorative arts that first appeared in Western Europe in 1892, but its birth was not quite as spontaneous as is commonly believed. Decorative ornament and furniture underwent many changes between the waning of the Empire Style around 1815 and the 1889 World Exhibition in Paris celebrating the centennial of the French Revolution. For example, there were distinct revivals of Restoration, Louis-Philippe, and Napoleon III furnishings still on display at the 1900 World Exhibition in Paris. Tradition (or rather imitation) played too large a role in the creation of these different period styles for a single trend to emerge and assume a unique mantle. Nevertheless there were some artists during this period that sought to distinguish themselves from their predecessors by expressing their own decorative ideal.

What then did the new decorative art movement stand for in 1900? In France, as elsewhere, it meant that people were tired of the usual repetitive forms and methods, the same old decorative clichés and banalities, the eternal imitation of furniture from the reigns of monarchs named Louis (Louis XIII to XVI) and furniture from the Renaissance and Gothic periods. It meant designers finally asserted the art of their time as their own. Up until 1789 (the end of the _Ancien Régime_ ), style had advanced by reign; this era wanted its own style. And (at least outside of France) there was a yearning for something more: to no longer be slave to foreign fashion, taste, and art. It was an urge inherent in the era's awakening nationalism, as each country tried to assert independence in literature and in art. In short, everywhere there was a push towards a new art that was neither a servile copy of the past nor an imitation of foreign taste.

There was also a real need to recreate decorative art, simply because there had been none since the turn of the century. In each preceding era, decorative art had not merely existed; it had flourished gloriously. In the past, everything from people's clothing and weapons, right down to the slightest domestic object – from andirons, bellows, and chimney backs, to one's drinking cup – were duly decorated: each object had its own ornamentation and finishing touches, its own elegance and beauty. But the 19th century had concerned itself with little other than function; ornament, finishing touches, elegance, and beauty were superfluous. At once both grand and miserable, the 19th century was as 'deeply divided' as Pascal's human soul. The century that ended so lamentably in brutal disdain for justice among peoples had opened in complete indifference to decorative beauty and elegance, maintaining for the greater part of one hundred years a singular paralysis when it came to aesthetic feeling and taste. The return of once-abolished aesthetic feeling and taste also helped bring about Art Nouveau. France had come to see through the absurdity of the situation and was demanding imagination from its stucco and fine plaster artists, its decorators, furniture makers, and even architects, asking all these artists to show some creativity and fantasy, a little novelty and authenticity. And so there arose new decoration in response to the new needs of new generations.

The definitive trends capable of producing a new art would not materialise until the 1889 World Exhibition. There the English asserted their own taste in furniture; American silversmiths Graham and Augustus Tiffany applied new ornament to items produced by their workshops; and Louis Comfort Tiffany revolutionised the art of stained glass with his glassmaking.

An elite corps of French artists and manufacturers exhibited works that likewise showed noticeable progress: Emile Gallé sent furniture of his own design and decoration, as well as coloured glass vases in which he obtained brilliant effects through firing; Clément Massier, Albert Dammouse, and Auguste Delaherche exhibited flambé stoneware in new forms and colours; and Henri Vever, Boucheron, and Lucien Falize exhibited silver and jewellery that showed new refinements. Everything was culminating into a decorative revolution. Free from the prejudice of high art, artists sought new forms of expression. In 1891, the French Societé Nationale des Beaux-Arts established a decorative arts division.

The rise of Art Nouveau was no less remarkable abroad. In England, Liberty shops, Essex wallpaper, and the workshops of Merton-Abbey and the Kelmscott-Press under the direction of William Morris (to whom Edward Burne-Jones and Walter Crane provided designs) were extremely popular.

The 1925 Exhibition contained a classification never before seen in previous exhibitions: that of furniture sets. Architects had given up composing pieces of furniture as Robert de Cotte had done, creating pieces for Versailles, Jean-François Heurtier, and Charles François Darnaudin in arranging the Louis XVI library, and Charles Percier in designing the cradle for the King of Rome. The architect limited his domain to permanent decoration later supplemented by the tapestry-maker; in this setting, the cabinetmaker would later place his pieces of furniture. Such a concept would lead to a triple failure: the stylish decorations made in advance by the architect could hardly lend themselves to the work of the tapestry-maker or to the presentation of the cabinetmakers' models. The cause of this discordance has to be sought in the generalisation of rented apartments. A permanent residence, such as the old mansions of the 18th century, needed an ephemeral decoration, no longer suitable for a rented apartment, which hosted new tenants every three, six, or nine years. It is to the honour of some architects to have revived, at the end of the 19th century, the past tradition of designing an entire interior. Thus, at the Exposition Universelle of 1900, in the French section, furniture sets could be seen, particularly those of Plumet made in collaboration with cabinetmaker Tony Selmersheim. The first interior designers, being architects, tended to convert the furniture into permanent decoration by connecting the book-cases to the skirting boards, the divans to the book-cases, and even the tables to the divans. A particular piece of furniture thus lost its movable nature and simply became part of the architecture.

Of all the industries that are related to finery, jewellery is the one that most clearly belongs to the decorative arts. In the past, jewellers would be linked with goldsmiths' guilds. Their art had an impact on sculpture and decoration. The price and the long life span of the stones and metals give the jewels an immortality that clothing, hats, and vanity accessories lack, worn for one season and forgotten about soon after. But only seemingly so. The value of the material, far from preserving the jewels, leads them to certain destruction. Portraits and rare drawings only enable us to imagine what the tags of Anne of Austria looked like, the necklace of the Queen, the diadem of Josephine or that of Empress Eugenie. A collector of antiquarian jewels can hardly put in his showcase anything but items of minor quality and importance; all the others had become obsolete. At all times the daughters wished a new mounting for the precious stones of their mothers. Since the Revolution, more frequent breaks in tradition, and more sudden and greater displacements of private fortune accelerated these transformations. The jewellery presented by the French section was generally designed according to the 'modern' spirit, from which the Exhibition took its inspiration. The sketches that were visibly inspired by an antique style or that evoked the decorative style fashionable after 1900 had been eliminated. It was a great service rendered to the French jewellery trade, forced to find a new style.

549. **Jean-Baptiste-Claude Odiot** , 1763-1850,
French. Soup tureen, 1819. Bronze silver-plated

with galvanoplasty, Christofle Manufacturer,

52 x 49 x 27.7 cm. Musée des Arts décoratifs,

Paris. Restoration style.

**Jean-Baptiste-Claude Odiot**

**(Paris, 1763-1850)**

Son of the goldsmith Jean Claude Odiot, Jean-Baptiste-Claude Odiot worked at the family workshop alongside his father until his death in December 1788. His work represents a return to the antique style and is heralded as the best of the French goldsmiths.

After the induction of a law on 15 September 1798, which forbade the export of gold or silver materials, Jean-Baptiste-Claude lost his work and enrolled in the army. He continued his goldsmithing during the imperial period, reaching the height of his fame in 1811. He obtained many commissions from the emperor and his family, such as the sceptre (found at Fontainebleau) and the coronation sword, the cradle for the King of Rome, a service for Pauline Borghese and Madame Mère, as well as furnishings and decorative items for the toilet for Empress Marie Louise, fully executed in silver-gold.

Louis XVIII bestowed upon him the National Order of the Legion of Honour during the Restoration.

His son, Charles Nicolas, who excelled in the application of Rococo-motifs, took after him, becoming the main contractor for Louis Philippe and the royal family of Orléans.

---

550. **Guillaume Martin Biennais** , 1764-1843, French.
Bed table with toiletries, c. 1800. Mahogany, silver,

gilded silver, crystal, and ivory. Musée national du

château de Malmaison, Rueil-Malmaison. Empire style.

551. **Jacob-Desmalter** , 1770-1841,
French. Chair, after 1803. Walnut, ebony inlay,

and tin. Musée des Arts décoratifs, Paris. Empire style.

552. **Anonymous.** Standing mirror, c. 1810.

Mahogany veneer, gilded bronze.

Musée des Arts décoratifs, Paris. Empire style.

553. **Félix Rémond** , **Jean-François Denière** ,
and **François Thomas Matelin** , 1779 - after 1860,
1774-1866, and 1759-1815, French. Duke of
Bordeaux's ceremonial cradle, 1819. Oak,

ash burl veneer and inlay, walnut and kingwood,

gilded bronze, 226 x 126 x 64 cm.

Musée des Arts décoratifs, Paris. Restoration style.

554. **Félix Rémond** , 1779 - after 1860, French.
The Queen's dressing table, c. 1823. Oak, elm burl

and amboyna burl veneer, gilded bronze, white marble.

Musée des Arts décoratifs, Paris. Restoration style.

555. **Jean-Charles Develly** , 1783-1862, French.
'Clodion' vase, Sèvres, 1817. Hard-paste porcelain,

gilded bronze, height: 76 cm; width: 55 cm.

Musée du Louvre, Paris. Louis XVI style.

556. **Anonymous.** 'Tombak' water pitcher,

Turkey, 19th century. Gilded copper on mercury, 41 cm.

Prince Naguib Abdallah's Collection. Eastern.

557. **Bercy Manufactory** (?), 1827-1867, French.
A pair of Medici vases, 1815-1830. Handblown bicolour

crystal and ormolu, height: 23.5 cm; diameter: 15 cm.

Musée des Arts décoratifs, Paris. Classicism inpired by antiquity.

558. **Anonymous.** Dressing table and chair, c. 1819.

Crystal, verre églomisé, gilded bronze, 78 x 122 x 64 cm.

Musée du Louvre, Paris. Restoration style.

559. **Anonymous.** Design for a bedroom, c. 1835.

Watercolour. Musée des Arts décoratifs, Paris.

560. **Anonymous.** Plate, 19th century. Faience,

decoration painted under glaze, diameter: 21.4 cm.

The State Hermitage Museum, St Petersburg. Persian.

561. **Anonymous.** Pendant, France,
beginning of the 19th century. Gold,

hard-stone cameo, enamel, 4.5 x 3.2 x 4 cm.

Musée des Arts décoratifs, Paris. Restoration style.

562. **Anonymous.** Bracelet, France, Restoration period.

Embossed and gilded copper, coloured glass.

Musée des Arts décoratifs, Paris. Restoration style.

563. **Anonymous.** _Bows_ brooch, Paris, 1819-1838.

Gold, baroque pearls, height: 19 cm.

Musée des Arts décoratifs, Paris. Restoration style.

564. **Anonymous.** Hairpin, 19th century.

Silver, glass. Musée des Arts décoratifs,

Paris. Restoration style.

565. **Alexandre Georges Fourdinois** , 1799-1871, French.
Empress Eugénie's standing mirror, 19th century.

Mahogany and gilded bronze, 232 x 127 cm.

Musée national du château de Compiègne,

Compiègne. Second Empire style.

566. **Georges-Alphonse Jacob-Desmalter** , 1799-1870,
French. Two-door library cabinet, lower part, 1832.

Veneer in palisander and rosewood, white marble,

110 x 180 cm. Musée du Louvre, Paris. Empire style.

567. **Guillaume Grohé** , 1808-1885, French.
Secretary-commode, Paris, 1839. Rosewood, ebony,

end-cut palmwood, and marble, 100 x 120 cm.

Musée du Louvre, Paris. Renaissance.

**Guillaume Grohé**

**(Wintersheim, 8 February 1808-1885)**

Born the son of a farmer in the Grand Duchy of Hessen, Guillaume Grohé and his brother Jean Michel moved to Paris in 1827, where he began his work as a cabinetmaker. In 1829, he began a manufacturing and purchasing firm.

A worthy follower of Boulle, Grohé was a talented artist and quickly attained a good reputation, specialising in his style of furniture.

In 1849, he received the National Order of the Legion of Honour, becoming an Officer.

Grohé was a master of modern carpentry, completing furniture for the royal house. He received commissions from King Louis Philippe, Empress Éugenie, and Napolean III. He was the main contractor to the queen of England, Madame Marguerite Pelouze, for the furnishings done at Chenonceau, and the Duke of Aumale, for the manufacture of furniture at Chantilly.

Afterwards, he participated in the World's Exhibition, acting as Vice President and Juror.

His work is currently found in several museums, such as the Louvre, the Musée du Château de Fontainebleau, the Musée Condet, and Carnavalet.

---

568. **Anonymous.** Middle piece of a bracelet,
Paris, after 1838. Gold, topaz, pearls, and enamel,

7.5 x 6.8 cm. Musée des Arts décoratifs, Paris.

569. **Morel** and **Cie (Jean Valentin Morel** and **Henri Duponchel)** ,
**Jean-Baptiste Klagmann** , and **Milleret** , 1794-1860, 1794-1868,
1810-1867, French. Bracelet model, 1842-1848. Glass pearls,

coated with ivory, two-tone gilt bronze, yellow and green ormolu,

diameter: 7 cm. Musée des Arts décoratifs, Paris.

570. **Anonymous.** Necklace, forepart, Paris, after 1838.

Gold of various colours, gilded silver, amethyst, rubies,

emeralds in cannetille and graineti, height: 8 cm;

diameter: 4 cm. Musée des Arts décoratifs, Paris.

571. **Alexandre-Gabriel Lemonnier** , 1808-1884,
French. Empress Eugénie's crown, Paris, 1855.

Gold, diamonds, and emeralds, height: 13 cm;

diameter: 15 cm. Musée du Louvre, Paris. Empire style.

**Alexandre-Gabriel Lemonnier**

**(1808-1884)**

Following the World Exhibition of 1851, the jeweller Alexandre-Gabriel Lemonnier received the Medal of Council and the Legion of Honour for his works and was appointed Jeweller to the Prince-President Napoleon III. He supplied several jewels for the emperor's wedding to Eugénie. Finally, in 1853, he was appointed Jeweller to the Crown, creating two crowns for the empress. The first contained stones from the crown of Charles X, which was replaced in 1855 by a simpler crown, as the empress desired a smaller, simpler, and lighter one. It contains 2,424 diamonds and fifty-six emeralds. With this item, Lemonnier won the silver medal at the World Exhibition in 1855.

---

572. **William Morris** , 1834-1896, English.
The Red House, 1860. Bexleyheath,

London. Arts and Crafts Movement.

573. **Philip Speakman Webb** (original idea), 1831-1915,
English. Corridor in the living quarters, 1860.

The Red House, Bexleyheath,

London.Arts and Crafts Movement.

574. **Philipp Speakman Webb** (design),
**Morris** , **Marshall** , **Faulkner & Co.** (manufacturing),
1831-1915 and 1861-1875, English. St George cabinet, 1861.

Painted and gilded mahogany, pine and oak with copper mounts,

111 x 178 x 43 cm. Victoria and Albert Museum,

London. Arts and Crafts Movement.

**Philip Speakman Webb**
**(Oxford, 1831 – Worth, 1915)**

****

Philip Speakman Webb was an architect and one of the leading members of the Arts and Crafts Movement. Born in Oxford on 12 January 1831, he relocated to London to work as an assistant in the office of the Gothic-Victorian architect George Edmund Street. Thereby, Webb met William Morris in 1856, who had been actively working there for nine months. The two would establish a life-long friendship and partnership. In the later 1850s, he travelled with Charles Faulkner to France. A year later, the young architect designed the Red House in Bexleyheath, Kent for his friend William Morris.

Webb participated in 1861 in the founding of the firm Morris, Marshall, Faulkner and Co.

Between 1892 and 1894, he designed and built the Standen House for London-based lawyer James Beale. Webb retired in 1901, moved from London to the countryside in Worth, West Sussex, where he lived until his death in 1915. In contrast to his friend William Morris, Webb never published anything regarding his philosophy about architecture. However, we can still see its influence in various pieces of furniture and stained-glass windows.

---

575. **Edward Burne-Jones** , 1833-1898,
English. Sideboard, _Ladies and Animals_ , 1860.

Pine, painted with oil, with gold and silver leaf,

116.8 x 152.4 x 73.7 cm. Victoria and Albert Museum,

London. Arts and Crafts Movement.

576. **William Morris** , **Edward Burne-Jones** ,
and **Dante Gabriel Rossetti** , 1834-1896,
1833-1898, and 1828-1882, English.
Chair from Red Lion Square, c. 1857.

Wood and oil painting, 90 x 40 x 40 cm.

Private collection. Arts and Crafts Movement.

577. **Alphonse Giroux** and **Cie** , c. 1799-1867, French.
Empress Eugénie's _bonheur-du-jour_ writing desk, 1855.

Carved linden wood, rosewood, ormolu, porcelain plates.

Musée national du château de Compiègne, Compiègne.

578. **Henri Auguste Fourdinois** , 1830-1907,
French. Renaissance cabinet, 1867.

Carved walnut, lapis lazuli, jasper, ivory,

and silver inlay, 253 x 143 x 60 cm.

Musée des Arts décoratifs, Paris.

Classicism inspired by the Renaissance.

579. **Morris, Marshall** , **Faulkner & Co**, 1861-1875,
English. Adjustable chair, c. 1866.

Mahogany, upholstered in velvet from Utrecht,

96.5 x 73.7 x 83.8 cm. Victoria and Albert Museum,

London. Arts and Crafts Movement.

580. **Christofle Manufactory** , **François Gilbert** ,
**Georges Diebolt,** **a** nd **Pierre-Louis Rouillard** ,
1816-1891, 1816-1861, and 1820-1881, French.
Table setting centrepiece, 1852-1856. Galvanic bronze

and silver-plated bronze, 100 x 292 x 105 cm.

Musée des Arts décoratifs, Paris. Neo-classiscism.

581. **Henri Dasson** , 1825-1896,
French. Inkwell, Napolean III period.

Boulle inlay and gilded bronze.

Second Empire style.

**Henri Dasson**
**(Paris, 1825-1896)**

Son of a shoemaker, the Paris-born Henri Dasson would quickly became the most famous cabinetmaker and bronzer of the second half of the 19th century. He successfully followed in the footsteps of the cabinetmaker Charles Winckelsen from Rue Vielle du Temple

His furniture, decorated in bronze, inlaid, or lacquered panels reinvigorated the Louis XIV, Louis XV, and Louis XVI styles. After perfecting his craft, Dasson soon came under scrutiny of critics, receiving international recognition and great prizes, eventually becoming Legion Rider in 1883 and Officer in 1889.

The characteristic of his art comes from the originality of his creations, inspired by the 18th century, possessing much refinement and varied scenery, an exceptional quality of carving, use of varnish, Cuban mahogany, kingwood, and glass.

Henri Dasson participated in the World Exhibition of 1878, receiving the highest prize for his copy for Louis XV's desk, a masterpiece of carving. Lastly, he received the main prize at the World Exhibition in 1889.

Dasson ended his work in 1894.

---

582. **Jacob Meyer-Heine** , 1805-1879,
French. Chest: _The Story of Psyche_ , 1865.

Wood, painted enamel plates on copper, 24.5 x 27.3 cm.

Musée national de la Céramique, Sèvres. Second Empire style.

583. **Eugène Fontenay** , 1823-1887,
French. Earrings, 1867. Gold, jade.

Musée des Arts décoratifs,

Paris. Second Empire style.

584. **Eugène Fontenay** , 1823-1887, French.
Earring, 1867-1882. Gold, lapis lazuli, 7.5 x 2.5 cm.

Musée des Arts décoratifs, Paris. Second Empire style.

585. **Charles Duron** and **Sollier Frères** , 1814-1872
and c. 1837-1867, French. Cup, 1867. Gold, enamel,

lapis lazuli, and precious stones, height: 21 cm.

Musée d'Orsay, Paris. Second Empire style.

586. **Émile Gallé,** 1846-1904, French.
Vase with two doves, 1871. Height: 16 cm.

The Bowes Museum, Barnard Castle,

County Durham. Art Nouveau.

587. **Émile Gallé** , 1846-1904, French.
Ceremonial glass, c. 1867-1876. Smoked glass,

wheel-engraved decoration, enamelled and gilded,

polychrome opaque enamel with gold relief,

height: 23.3 cm; diameter: 10.9 cm.

Musée d'Orsay, Paris. Art Nouveau.

588. **Émile Gallé,** 1846-1904, French.
Glasses with heraldic decoration, c. 1868-1870.

Transparent glass, enamelled and gilded decoration,

polychrome opaque enamel with gold relief,

height: 9.5; diameter: 5.5 cm.

Musée d'Orsay, Paris. Art Nouveau.

589. **William Morris** , 1834-1896,
English. Detail of _Love Fulfilled_ , Poem from
_A Book of Verse_ , 1870. Poem was written as a gift for

Georgiana Burne-Jones. Arts and Crafts Movement.

590. **William Morris** , 1834-1896, English.
_A Book of Verse_ , 1870. First page.

Victoria and Albert Museum, London.

Arts and Crafts Movement.

591. **William Morris** , **Charles Fairfax Murray** ,
**Louise Powell,** and **Graily Herwitt** , 1834-1896,
1849-1919, 1882-1956, and 1864-1952, English.
_The Story of the Valiant Frithiof_ , c. 1873.

Watercolour and gilding on paper, 40.1 x 53 cm.

Paul Getty Library, Wormsley. Arts and Crafts Movement.

592. **Walter Crane** , 1845-1915, English.
_Swans_ , design for wallpaper, 1875.

Gouache and watercolour, 53.1 x 53 cm.

Victoria and Albert Museum, London. Art Nouveau.

**Walter Crane**

**(Liverpool, 1845 – Horsham, 1915)**

Walter Crane was born in Liverpool in 1845. He was a British portrait, figure, and landscape painter.

He is considered one of the best illustrators of children's books and agreed with the Arts and Crafts Movement.

In January 1859, Crane began, at the age of thirteen, his three-year apprenticeship with Linton. He studied alongside him, the work of the Pre-Raphaelites Rossetti, Millais, and Burne-Jones and that of the old Italian masters. Ruskin's writing about the beauty and usefulness of art and dignity of crafters influenced him significantly.

After the completion of his apprenticeship, Crane attempted to start working. His work, from this period, consists of vignettes, landscape, and groups of people in formal attire. Crane learned to simplify the details.

In 1863, Crane met the book printer Edmund Evans, with whom he would develop a large portion of his creative work. Next, he drew a book cover for cheap, travel book for Evans. From 1865, he began to publish his own series on prize-worthy, colourful picture books, including _Sing a Song of Sixpence_ , which he extended to over fifty titles over the next fifty years. His already famous illustrations influenced the appearance of children's literature in Great Britain during the 19th century. As Morris wanted to include art in the daily lives of all classes, he focused his attention on textiles, tapestries, and home decor.

Crane founded the Arts and Crafts Exhibition Society in 1888, for which he acted as President.

In 1894, he worked in the Kelmscott Press, with William Morris on the illustration for the fantasy novel _The Story of the Glittering Plain_. He wrote important books on decoration and presentation.

Walter Crane died on 1915 in Horsham, Sussex.

---

593. **William Morris** , 1834-1896, English.
_Odes of Horace_ , 1874. Manuscript.

Bodleian Library, University of Oxford,

Oxford. Arts and Crafts Movement.

594. **Dante Gabriel Rossetti** or **Edward Burne-Jones** and **Morris,**
**Marshall, Faulkner & Co.**, 1828-1882, 1833-1898,
and 1861-1875, English. _Three Angels_ , 1870.

Reconstructed stained glass window, from the east

façade of the St James Church in Brighouse (destroyed).

Bradford Museums, Galleries & Heritage,

Bradford. Arts and Crafts Movement.

595. **Edward Burne-Jones** , 1833-1898,
English. _Faith, Hope, and Charity_ , 1889.

Stained glass window. St Martin's Church,

Brampton. Arts and Crafts Movement.

**Edward Coley Burne-Jones**

**(Birmingham, 28 August 1833 – London, 17 June 1898)**

Burne-Jones complete life's work presents his continuous attempt to achieve perfect beauty. Typically, Burne-Jones is considered a Pre-Raphaelite although he was not a founding member of the Pre-Raphaelite Brotherhood.

Burne-Jones' production in the second half of the 19th century closely resembled Rossetti's style. No other British artist – from Constable to Francis Bacon – enjoyed such international fame as Burne-Jones. In retrospect, his superficial portrayals and avoidance of narratives are good characteristics of the early modern style and present the first step into the abstract movement.

It is probably no wonder that Vassily Kandinsky (1866-1944), in his book _Über das Geistige in der Kunst (Concerning the Spiritual in Art)_ , describes Rossetti and Burne-Jones as forbearers of abstract art.

---

596. **Christofle Manufactory** and **Émile Reiber** (design),
1830 - currently active and 1826-1893, French.
Corner cabinet, 1874. Main piece of ebony,

palisander and blackened pear-tree wood,

door of gilded or patinated galvanic bronze, copper,

silver, gold, enamel cloisonné, 195 x 95 x 63 cm.

Musée des Arts décoratifs, Paris. Second Empire style.

597. **Édouard Lièvre** , 1829-1886,
French.Valtesse de la Bigne's bed, 1877.

Patinated bronze, 410 x 260 x 200 cm.

Musée des Arts décoratifs,

Paris. Second Empire style.

598. **Alphonse Fouquet** , 1828-1911,
French. Clock and Sphinx chatelaine, 1878.

Chased gold, 12.7 x 1.5 cm. Musée des

Arts décoratifs, Paris. Inspired by the Renaissance.

**Alphonse Fouquet**

**(1828-1911)**

A famous jeweller in the 19th century born in a merchant family, Alphonse Fouquet entered a jewellery-making workshop at the age of eleven. After his apprenticeship with Renouvat, at age nineteen, he began to decorate his own jewellery with pencil and gouache on sketchpaper. Through and through, he developed his own style, eventually finishing his jewellery in leather, ribbon, decorated with flowers.

The women of the 19th century loved to wear jewellery with harmonious ornamentation and stones. Fouquet's jewellery contradicted this in a sense. The large size and the generally-framed portraits with carved figures or women or fantastic animals were done similarly to those of the 16th century. The jewellery designers of the 19th century were inspired by those of the Middle Ages and the Renaissance.

Alphonse Fouquet created numerous bracelets, brooches, necklaces, tiaras, pins, and ornate corsages.

From 1862 to 1868, he led a workshop that manufactured an innovative series of jewellery with stones such as turquoise, lapis lazuli, pearls, sapphires, and topazes.

He triumphed at the World Exhibition of 1878 with its Renaissance-inspired jewellery made in collaboration with sculptors of the time.

His son George succeeded him. He focused more on Art Nouveau style, and collaborated with Alphonse Mucha.

---

599. **Louis Rouvillois** for Frédéric Boucheron,
French. Tie pin, _Victory_ , 1877.

Enamel on the backside, gold,

painted enamel, carnelian intaglio.

Musée des Arts décoratifs, Paris. Art Nouveau.

600. **Petit** for Frédéric Boucheron,
French. Tie pin, _The Sun_ , 1880. Gold,

two-layered carnelian, silver, rose cut diamonds.

Musée des Arts décoratifs, Paris. Art Nouveau.

601. **Louis Rouvillois** for Frédéric Boucheron,
French. Tie pin with double-sided scarab, 1878.

Sapphire, carved and trimmed with gold threads and

rose-cut diamonds on silver, pin of gold,

height: 8.5 cm; pin: 1.9 x 1.5 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

602. **Maison Soufflot fils** , founded in 1867,
French. Brooch, Paris, 1878. Rhinestones,

gold setting, box in navy blue leather,

7 x 11 cm. Musée des Arts décoratifs, Paris.

603. **Gabriel Viardot** (attributed to), 1830-1906,
French. Mirror, c. 1880. Sycamore,

glass, 175 x 120 cm. Musée des

Arts décoratifs, Paris. Art Nouveau.

**Gabriel Viardot**

**(1830-1906)**

Gabriel Viardot is one of the most valued cabinetmakers of the end of the 19th century. As one of the first cabinetmakers with far-east influences, Viardot was an example for many other artists.

In the 1850s, he and his brother opened a store in Paris under the name Viardot Frères and Co. Due to Renaissance-style furniture, the two brothers earned a second class medal at the Paris World Exhibition of 1855.

In 1860, he separated from his brother and opened his own workshop. It is known that in 1875 Viardot worked daily with about ninety to hundred men and that he created a vitrine for the presentation of Clémence d'Ennery's eastern collection.

His luxurious pieces, of extraordinary quality, were the result of the substantial progress in the decorative arts area. He used ivory, pearls from Tonkin, and panel with Japanese lacquer.

His talent was frequently rewarded, hence his four medals in 1867, the silver medal in 1878, and the four gold medals from the World Exhibitions in Antwerp, Nice, and Paris.

Viardot died in 1906. His workshop continued under the leadership of his children.

---

604. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active, French.
Saigon vase, _The Abduction_ , 1880-1881.

Hard-paste porcelain, height: 23 cm; diameter: 13 cm.

Château-musée de Boulogne-sur-Mer, Boulogne-sur-Mer.

605. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active, French.

Saigon vase, _The Elements_ , 1879-1880.

Hard-paste porcelain, height: 19 cm; diameter: 10 cm.

Musée national de la Céramique, Sèvres.

Inspired by the Japansese style.

606. **Sèvres Manufactory** , 1740 - currently active,

French. Blois pitcher, 1880-1883. Hard-paste porcelain,

enamel, gilded and customised decoration from Lauth-Vogt,

42 x 27 cm. Musée des Arts décoratifs, Paris.

607. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active, French.

Plate, _Air and Water_ , 1879-1880.

Hard-paste porcelain, diameter: 30 cm.

Musée national de la Céramique, Sèvres.

608. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active, French.
Chinese antique vase, _Mythology_ , 1880-1882.

Hard-paste porcelain, height: 35 cm; diameter: 15.5 cm.

Palais des Beaux-Arts, Lille. Inspired by Chinese style.

609. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active, French. Plaque,
_Young Woman and Child_ or _Brother and Sister_ , c. 1882.

Hard-paste porcelain, 12.8 x 5.7 cm.

Musée Rodin, Paris. Neo-classicism.

610. **Auguste Rodin** and the **Sèvres Manufactory** ,
1840-1917 and 1740 - currently active,
French. Jar from Pompeii _Day_ , 1881-1882.

Hard-paste porcelain, height: 32 cm; diameter: 23 cm.

Musée national de la Céramique, Sèvres. Neo-classicism.

611. **Maison Soufflot fils** and **Robert** ,
founded in 1867, French. Brooch, c. 1880.

Gold, silver, diamonds, stainless steel.

Musée des Arts décoratifs, Paris. Neo-classicism.

612. **Auguste Rodin** , 1840-1917, French.
_Pastoral_ from _Fenaille Album_ , c. 1880-1885.

Pen and brown ink, brown wash, and white gouache,

19.3 x 13.2 cm. Musée des Arts décoratifs,

Paris. Expressionism.

**Auguste Rodin**

**(Paris, 12 November 1840 – Meudon, 17 November 1917)**

****

French sculptor Auguste Rodin took classes at the School of Decorative Arts, also called the 'Little School.' After failing the entrance exam three times, he was unable to attend the School of Fine Art. As if in revenge against the establishment, he became one of the greatest sculptors of the century. In 1864, Rodin became a student of Carrier-Belleuse, first a master, then friend, of whom he made a bust of, almost twenty years later. In 1877, Rodin exhibited at the Cercle de Bruxelles his plaster work, the _Defeated_ , then at the Salon des Artistes Français under the title of _Age of Bronze_. The work provoked a real scandal, because the modelling appeared to be alive.

Accused of moulding from a cast, Rodin was finally cleared of all suspicion, notably as a result of the support of Carrier-Belleuse, and the affair finally allowed the genius of the sculptor to be revealed to the public. Now a recognised artist, he worked in a studio, in a marble works, on the Rue de l'Université in Paris. In 1880, the state commissioned a cast of his _Age of Bronze_ and a monumental door, for the future Museum of Decorative Arts. It is the beginning of public commissions which, until the death of the artist, never ceased and always ended, paradoxically, in scandal. Revolutionising sculpture by liberating the form, the work of Rodin was also marked by his admiration for Michelangelo whose non finito method he utilised in his own way, by letting his figures appear from blocks of marble in which they are kept prisoner.

---

613. **Auguste Rodin** , 1840-1917, French.
_Woman Breastfeeding a Child_ from _Fenaille Album_ ,

c. 1880-1885. Pen and brown ink, brown wash,

and white gouache, 16 x 7.6 cm.

Musée des Arts décoratifs, Paris. Expressionism.

614. **William Morris** , 1834-1896,
English. _Holland Park_ , 1883.

Hammersmith rug, 475.4 x 412.7 cm.

Private collection. Arts and Crafts Movement.

**William Morris**

**(Walthamstow, 1834 – Kelmscott, 1896)**

William Morris belonged to the most creative group of the Arts and Crafts Movement of Great Britain. The scope and depth of his work make him exceptional in the history of art and design. He was a revolutionary interior architect and book printer, a powerful and productive poet, a weaver, embroider, colourist, and calligrapher, and a staunch socialist and protector of historical buildings.

Starting in 1853, he studied at the Exeter College in Oxford, where he met and befriended Edward Burne-Jones.

Morris travelled in 1855, in the company of Burne-Jones, to northern France to see the gothic cathedrals.

He founded _The Oxford and Cambridge Magazine_ in the beginning of 1856, and met Rossetti who encouraged him to leave architecture for paintings.

In 1861, Morris decided to found a decorative arts firm, in partnership with Peter Paul Marshall, Charles Faulkner, and Philip Speakman Webb, and artists Burne-Jones, Ford Madox Brown, and Rossetti.

In 1891, he founded Kelmscott Press (named after its original location) in Hammersmith, which publishes the _Kelmscott Chaucer_. This book was typeset by Morris and illustrated by Burne-Jones, and acts as the ideal example for Morris's objectives. It joins the beauty and usefulness of everyday objects.

Morris died in 1896 and is buried in a cemetery in Kelmscott under a simple headstone designed by Webb. His art, his ideals, and his life work pave the way for generations of artists who followed suit in his pursuit of 'the beauty of life'.

---

615. **William Morris** , 1834-1896,

English. _The Woodpecker_ , 1885. Tapestry,

307 x 156 cm. William Morris Gallery,

London. Arts and Crafts Movement.

616. **Edward Burne-Jones, William Morris**
and **Morris & Co.**, 1833-1898, 1834-1896
and 1875-1940, English. _Pomona_ , 1885. Tapestry,

wool and silk on cotton weft, 300 x 210 cm.

The Whitworth Gallery, University of Manchester,

Manchester. Arts and Crafts Movement.

617. **William Morris** , 1834-1896, English.
Curtain, _The Orchard_ , c. 1880-1890.

Linen. Victoria and Albert Museum,

London. Arts and Crafts Movement.

618. **Edward Burne-Jones** (designer), **Kate Faulkner** (decorator),
and **John Broadwood** (manufacturer), 1833-1898, dates unknown,
and 1732-1812, English. Grand piano, 1883. Oak,

stained and decorated with gold and gilded-silver gesso,

266 x 140.5 x 45.7 cm. Victoria and Albert Museum,

London. Arts and Crafts Movement.

619. **Antoni Gaudí** , 1852-1926, Spanish.
Dressing table, c. 1895. Wood.

The Güell Family Collection,

Barcelona. Art Nouveau.

620. **Arthur Heygate Mackmurdo** ,
1851-1942, English. Chair, c. 1883.

Mahogany and leather, 97.2 x 48.5 x 47 cm.

Victoria and Albert Museum, London. Art Nouveau.

621. **John Henry Dearle** (designer) and
**Morris & Co.** (manufacturer), 1859-1932
and 1875-1940, English. Screen, 1885-1910.

Mahogany frame with panels of embroidered

silk and satin, 162.9 x 166.2 x 2.8 cm.

Victoria and Albert Museum,

London. Arts and Crafts Movement.

622. **Antoni Gaudí** , 1852-1926, Spanish.
_El Capricho_ , east facade, 1883-1885.

Santander region. Art Nouveau.

**Antoni Gaudí**

**(Reus, June 1852 – Barcelona, 1926)**

Antoni Gaudí I Cornet was born in Reus in June 1852. In 1870, he enrolled in the architecture school of Barcelona. In the years 1876-1877, Gaudí worked alongside Francisco de Paula del Villar on the restoration of the apse of the Montserrat monastery and published his first writing regarding architecture. The following year, he acquired his architecture diploma and designed two streetlights for the Plaza Real.

As a young architecture, Gaudí would be influenced by the neo-gothic works of Viollet-le-Duc. He emancipated himself abruptly from all rigid styles, developing much originality and fantasy. Gaudí incorporated Art Nouveau principles, uniting architecture and interior design.

Gaudí undertook work for the Sagrada Família in Barcelona in 1882. Differences with the original architecture brought the contract to Gaudí's hands, who modified the original plans, making it the most ambitious project he would make in his life.

In 1883, he received the commission for Casa Vicens. The work for a garden began in 1900 on a hill in Barcelona, known today as Park Güell.

In 1926 Antoni Gaudí was hit by a tram and succumbed to his injuries. He is buried in the crypt of the Sagrada Família that he left unfinished. Worthy representative of Art Nouveau, Gaudí is probably one of the artists who breaks the most radically with traditions of the past. His work, listed as World Heritage by UNESCO, was once widely criticized. However, Barcelona remains today, in the eyes of all, the work of Antoni Gaudí.

---

623. **Antoni Gaudí** , 1852-1926, Spanish.
_Casa Vicens,_ c. 1852-1888.

Barcelona. Art Nouveau.

624. **Auguste Félix Delaherche** , 1857-1940,
French. Vase, _Peacock Feathers_ , c. 1889.

Sandstone, blue enamel decoration in cobalt and

green on white slip, lead varnish, height: 42 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

625. **Émile Gallé** , 1846-1904, French.
Vase, _Orpheus_ , 1888-1889. Blow-moulded glass,

processed hot, wheel-engraved, and gilded,

height: 26 cm. Musée des Arts décoratifs,

Paris. Art Nouveau.

626. **Auguste Rodin** and **Jules Desbois** ,
1840-1917 and 1851-1935, French.
Design for decorative vase, c. 1890 (?). Bronze,

35.5 x 24 cm. Musée Rodin, Paris. Art Nouveau.

627. **Émile Gallé,** 1846-1904, French.
Vase, _Autumn Nightlights_ , 1891.

Multi-layered crystal, partially-hammered surface,

wheel-engraved decoration, height: 21.3 cm.

Musée d'Orsay, Paris **.** Art Nouveau.

628. **Alf Wallander** , 1862-1914,

Swedish. Vase, 1897. Porcelain.

Kunstindustrimuseet, Copenhagen. Art Nouveau.

629. **Louis Comfort Tiffany** , 1848-1933,
American. Vase, 1892-1896. Glass,

brown and silver decoration, 9.5 x 9.5 cm.

University of Michigan Museum of Art,

Ann Arbor (Michigan). Art Nouveau.

**Louis Comfort Tiffany**

**(New York, 1848-1933)**

Born in the United States in 1848, Louis Comfort Tiffany was the son of Charles Tiffany, who founded his firm in September 1838 alongside John B. Young. The company Tiffany & Young would change in 1853 to Tiffany & Co., as Charles Tiffany became the sole proprietor of the firm.

In 1866, Louis Comfort studied at the National Academy of Design in New York. At the age of twenty-two, he developed an interest in glass; however, it would take another ten years before he would make serious designs for glass works. During this time he created, with great taste and extraordinary knowledge of Art Nouveau, glass objects original in form and colour and of the highest beauty, namely windows, lamps, and lampshades.

Whilst the company Tiffany & Co. fostered his passion, Louis Comfort founded his own firm in 1885, which specialised in works of glass. He developed new processes, most notably the manufacture of opaque glass (at the time, most artists relied on clear glass), and acted as a supporter of the Art and Crafts Movement begun in England by William Morris.

In 1839, Tiffany perfected a new technique for the manufacture of glass vases and glass bowls, the favrile technique, a handcrafted method for glass blowing, which produced different effects.

Bing's Maison de l'Art Nouveau in Paris exhibited Tiffany's works of glass in 1895.

In 1902, Louis Comfort Tiffany succeeded his father as head of Tiffany & Co., continuing to work with glassware. Thomas Edison later encouraged Tiffany to direct his attention toward electric lamps. From this moment on, Tiffany lamps became popular decorative and functional pieces, full of organic motifs: flowers, leaves, butterflies, and dragonflies.
Louis Comfort Tiffany died on January 1933 in New York. The company Tiffany & Co. continues to exist and has amassed a worldwide reputation for decorative pieces. The work of Louis Comfort Tiffany is still very much beloved and is in constant demand by collectors. The Metropolitan Museum of Art in New York owns many of his works, as they epitomise Art Nouveau.

---

630. **Louis Comfort Tiffany** , 1848-1933,
American. Vase, 1892-1894.

Glass, silver glaze, 15 x 19 cm.

University of Michigan Museum of Art,

Ann Arbor (Michigan). Art Nouveau.

631. **Tiffany & Co.**, 1837 - currently active,
American. Vase, 1895-1898. Favrile glass,

cut and engraved, height : 31.1 cm.

The Metropolitan Museum of Art,

New York. Art Nouveau.

632. **Tiffany & Co.**, 1837 - currently active,
American. Vase, 1893-1896.

Favrile glass, 35.9 x 29.2 cm.

The Metropolitan Museum of Art,

New York. Art Nouveau.

633. **Zsolnay Porcelain Manufacture** ,
1853 - currently active, Hungarian.

Vase, 1899. Faience, glazed porcelain.

Museum of Applied Arts, Budapest. Art Nouveau.

634. **Carlos Schwabe** , 1866-1926, Swiss,
German-born. Poster for the first Salon de la

Rose + Croix, 1892. Lithograph, 199 x 80 cm.

Private collection. Art Nouveau.

635. **Aubrey Beardsley** , 1872-1898,
English. Poster for _The Studio_ , 1893.

Lithograph, 72.5 x 47 cm. Victoria and

Albert Museum, London. Art Nouveau.

**Aubrey Beardsley**

**(Brighton, 1872 – Menton, 1898)**

Aubrey Vincent Beardsley was born in the town of Brighton in 1872. The artistic and musical aptitude of the Beardsley children was quickly recognised. Beardsley studied at a school in Bristol for four years, during which he proved his talent for drawing as seen in the caricatures of his teachers and the illustrations done for the school newspaper _Past and Present_.

Beardsley's first attempt to enter the art world originates in a meeting with the famous painter Sir Edward Burne-Jones, who advised the young artist to study at the Westminster School of Art.

In the early 1890s, Beardsley produced a series of important title images and illustrations, namely those for Sir Thomas Malorys entitled _Le Morte d_ _'_ _Arthur_ , for which Beardsley drew over 300 illustrations, vignettes, and ornaments.

His encounter with Oscar Wilde in 1893 was crucial. Wilde's so-called scandalous piece _Salomé_ was published in the French language in 1894.
To the scandalous publication by Wilde, Beardsley provided the black-and-white illustrations for Lord Alfred Douglas's English translation, which helped spread his name amongst the public.

Beardsley's fame was finally established after the publication of the first issue of The Yellow Book, which he completed with Henry Harland. Together with Leonard Smithers, Beardsley would later found the magazine _The Savoy_ , for which Beardsley work and drew. Facing terrible health issues, Beardsley travelled to southern France, but the warm climate did not have the desired effect.

Beardsley died during the night of the 15th to the 16th of March 1898 at twenty-five years of age, either as a result of his deteriorating health, or at his own hands from world-weariness.

Despite his short career, Beardsley's innovative style has had a lasting influence on Art Nouveau.

---

636. **Aubrey Beardsley** , 1872-1898,
English. _The Toilet of Salome_ , illustration for

Oscar Wilde's play _Salome,_ 1893.

Print, ink on paper. Private collection. Art Nouveau.

637. **Eugène Grasset** , 1845-1917, Swiss.
_Salon des Cent_ ( _Salon of the One Hundred_ ), 1894.

Print for a coloured poster. Victor and Gretha

Arwas Collection. Viennese Secession.

**Eugène Grasset**

**(Lausanne, 1845 – Sceaux, 1917)**

Eugène Grasset was born in the Swiss Lausanne in 1845. He was the son of the sculptor and decorator Samuel Joseph Grasset and learned painting under the patronage of François Louis David Bocion, before undertaking architecture courses at the Swiss Federal Institute of Technology in Zurich in 1861. After completing his studies, he travelled to Egypt in 1866. In 1871, he moved to Paris, where he discovered his passion for Japanese art partially thanks to the photographs of Charles Gillot.

In 1880, he designed for Gillot furniture and a dining room. The furniture, made of oak and walnut, feature imaginative animals and figures from folk art. From 1890 to 1903, Grasset taught at the École Guérin Design. His students included, among others, Augusto Giacometti and Paul Berthon. He then designed in 1890 the poster for _Jeanne d_ _'_ _Arc_ starring Sarah Bernhardt.

Two years later, created Gasset in his design for the poster for _Encres Marquet_ his ideal woman, a true and timeless Muse. The posters, full of symbolist, Pre-Raphaelite, and Japanese influences, are the embodiment of the spirit of Art Nouveau. Its perfect union of women, art, and nature would inspire Alphonse Mucha.

In 1894 he created the poster for the _Salon des Cent_.

In 1897, he worked for two French newspapers, _Art et Décoration_ and _L_ _'_ _Estampe et L_ _'_ _Affiche._

Eugène Grasset died at Sceaux in 1917.

---

638. **Paul Berthon** , 1872-1909, French.
_Liane de Pougy at the Folies Bergère_ , 1892.

Coloured lithograph, 150 x 60 cm.

Bibliothèque nationale de France, Paris. Art Nouveau.

639. **Eugène Grasset** (sketch), **Félix Gaudin** (execution),
1845-1917 and 1851-1930, Swiss and French.

Stained glass window, _Spring_ , 1894.

Glass and lead, 294 x 132 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

640. **Victor Horta** , 1861-1947, Belgian.
Hôtel van Eetvelde, interior view of

the salon, 1895. Brussels. Art Nouveau.

641. **Victor Horta** , 1861-1947, Belgian.
Hôtel van Eetvelde, facade, 1895.

Brussels. Art Nouveau.

642. **Victor Horta** , 1861-1947, Belgian.
Hôtel Solvay, view of the main salon, 1895.

Brussels. Art Nouveau.

**Victor Horta**

**(Gand, 1861 – Brussels, 1947)**

Victor Horta was born in Ghent in 1861. Son of a shoemaker, he enrolled at the Academy of Fine Arts in his hometown and from 1874 to 1877, he attended a school for continued education. In 1878, he made his first trip to Paris on the occasion of the World Exhibition and apprenticed with the architect and decorator Jules Debuysson. The following year, he moved to Brussels, where he became a student at the Royal Academy.

In 1884, Victor Horta presented a design for the Parliament for which he was awarded the Godecharle architecture prize. Next year he built three houses in Ghent and in 1887, he won the three-year competition launched by the Academy of Fine Arts in Brussels for the Natural History Museum.

In 1900, Victor Horta designed a mansion for the chemist Emile Tassel. This achievement, even today, exemplifies Art Nouveau. This architectural project marks the beginning of a long series of commissions that will extend into the first decade of the 20th century, houses in its majority, mainly in the Belgian capital. Among the most famous: Hotel Tassel (1893), Hotel Solvay (1894), Hotel Van Eetvelde (1895), Hotel Aubecq (1899), and Hotel Max Hallet (1902). In 1898, he made a home and workshop for himself on Rue Américaine.

But the talent of Victor Horta is also seen in public projects. In 1895 he built, for the Association of Workers and funded by Solvay, the People's House.

Horta went into exile in the United States until 1919. Upon his return, he sold his home at Rue Américaine and began working on plans for the Palais des Beaux-Arts in Brussels.

He died in 1947 at eighty-six years old.

---

643. **Victor Horta** , 1861-1947, Belgian.
Hôtel Tassel, great hall on the ground floor, 1893.

Brussels. Art Nouveau.

644. **Philip Speakman Webb** (original idea), 1831-1915,
English. Standen, 1893. East Grinstead, West Sussex.

Arts and Crafts Movement.

645. **Hector Guimard** , 1867-1942, French.
Castel Béranger, main entrance, 1895-1898.

Paris. Art Nouveau.

**Hector Guimard**

**(Lyon, 1867 – New York, 1942)**

Hector Guimard Germain was born in Lyon in 1867. At the age of fifteen, he entered the École des arts décoratifs in Paris, and then three years later the École des beaux-arts.

In 1888 he was commissioned to build a café for live music on the banks of the Seine (which was unfortunately destroyed during the floods of 1910). In 1889, he is responsible for the pavilion of the Power Expo at the World Exhibition and is responsible for the construction of the school Sacré-Cœur.
Between 1891 and 1893, he built various private homes.

The following year he travelled to England and Belgium, where he met Victor Horta and began his conversion to Art Nouveau style. Back in France in 1895, he strived for three years on the construction of Castel Béranger. This particular architectural masterpiece entirely designed by Guimard received the first prize for the most beautiful Parisian façade in 1899.

In 1898, Hector Guimard entered the contest launched for the Paris Metro, concentrating on the conservation of the kiosks at the stations' entrances. Eventually winning, he received the commissions to design the entrances. However, his style is not yet appreciated by all.

In 1903, he participated in an international exhibition at the Grand Palais and designed a pavilion. As a modernist architect, he took into consideration the physical and economic difficulties caused by the war requiring quick and economical solutions.

In 1930, he built the country house La Guimardière using pipes as porters and decorative elements. Following the outbreak of the Second World War, the then-sick Guimard fled to the United States.

Hector Guimard died in New York in 1942.

---

646. **Hector Guimard** , 1867-1942, French.
Castel Béranger, detail of the vestibule
and door overlooking the courtyard,

1895-1898. Paris. Art Nouveau.

647. **Henry Van de Velde** , 1863-1957,
Belgian. Bloemenwerf, 1895.

Brussels. Art Nouveau.

648. **Charles Rennie Mackintosh** , 1868-1928,
Scottish. Cabinet, 1895. Cypress, wood,

and coloured metal, 195 x 158 x 45.6 cm.

Glasgow School of Art, Glasgow.

Arts and Crafts Movement.

**Charles Rennie Mackintosh**

**(Glasgow, 1868 – London, 1928)**

Charles Rennie Mackintosh was born in Glasgow in 1868. He began his architectural training in his hometown and attended art and design courses at Glasgow School of Art. During his studies, he met the MacDonald sisters, Margaret (whom he would marry in 1900) and Frances.

In 1889, he joined the architectural firm Honeyman & Keppie.

The following year, he founded his own architectural office, and four years later the group _The Four_ alongside the MacDonald sisters and McNair. The group soon participated in several international exhibitions. Through these exhibitions, Mackintosh's reputation began to build and the style of the group soon was dubbed the 'Glasgow style'. It was especially Mackintosh who inspired the Viennese Art Nouveau movement known as the Secession.
In 1894, Mackintosh designed his first architectural work, the corner tower of the building of the Glasgow Herald. Therefore he rejects the academic tradition of modern forms in building.

In 1897, he was responsible for the transformation of the Glasgow School of Art, a task that allowed him to assert his style. He sought to establish a synthesis between exterior architecture, interior design, and furniture. Always working with his wife, his works reflect their cooperation, his formal and straight style was enhanced by the floral and rolling shapes of Margaret.

Charles Rennie Mackintosh died at the end of 1928.

---

649. **Philip Speakman Webb** (design) and **John Garrett & Son**
(manufacturing), 1831-1915 and dates unknown, English.
Altar table and cloth, 1896-1899. Oak, joined and carved,

cloth embroidered with silk threads by May Morris, 94.7 x 145.7 x 66 cm.

Victoria and Albert Museum, London. Arts and Crafts Movement.

650. **Charles Rennie Mackintosh** ,
1868-1928, Scottish. Chair, 1897-1900.

Oak, 136.5 x 50.3 x 45.5 cm.

Victoria and Albert Museum,

London. Arts and Crafts Movement.

651. **Gustave Serrurier-Bovy** , 1858-1910,
Belgian. Pedestal, 1897. Congolese rosewood.

Norwest Corporation, Minneapolis. Art Nouveau.

652. **Henry Van de Velde** , 1863-1957,
Belgian. Chair, c. 1895. Wood, 94 x 44.1 x 41.7 cm.

Virginia Museum of Fine Arts, Richmond. Art Nouveau.

653. **Hector Guimard** , 1867-1942, French.
Seat for the smoking room, 1897-1898.

Jarrah, engraved metal, modern trim,

260 x 262 x 66 cm. Musée d'Orsay,

Paris. Art Nouveau.

654. **Charles Rennie Mackintosh** , 1868-1928,
Scottish. Poster for _The Scottish Musical Review_ , 1896.

Coloured lithograph, 246.4 x 94 cm. The Museum

of Modern Art, New York. Art Nouveau.

655. **Gustav Klimt** , 1862-1918, Austrian.
_Final Design for the Allegory_ _'_ _Tragedy_ _'_ , 1897.

Black chalk, wash, accents of gold and white, 42 x 31 cm.

Kunsthistorisches Museum Wien, Vienna. Viennese Secession.

656. **Alphonse Mucha** , 1860-1939, Czech.
Poster promoting the _Salon des Cents_
in the _Hall de la Plume_ , 1896.

Coloured lithograph, 64 x 43 cm.

Mucha Museum, Prague. Art Nouveau.

**Alphonse Maria Mucha**

**(Ivancice, 1860 – Prague, 1939)**

Alphonse Mucha was born on 14 July 1860 in Ivancice. Whilst working in an office for a living, he gave free rein to his passion for drawing.

In 1879, he became a manufacturer for theater sets for the firm Kautsky-Brioschi-Burghard. Mucha then settled in the small town of Mikulov where he met Count Khuen, who asked him to decorate a dining room in Emmahof Castle, with murals. Mucha's ambition for decorative works on a large scale originates from this first experience.

In 1888, he enrolled at the Académie Julian, where he met Sérusier, Vuillard, Bonnard, Denis, and others which will constitute the group Nabis. Mucha style would be deeply influenced by the Symbolist movement and mysticism prevailing in Paris in literary and art circles during the second half of the 1880s. Art Nouveau exploded in Paris in 1895 when Guimard built Castel Béranger, as well as when Mucha's poster of Sarah Bernhardt in the role of _Gismonda_ appeared in the streets of Paris. The enormous success of this theatre poster instantly projected Mucha to the top of the Parisian artistic world and provided financial security in the form of a contract committing to work for Sarah Bernhardt for six years. A series of striking posters, _The Lady of the Camellias, Medea, La Tosca,_ and _Hamlet_ , emerged over the next four years.

From the success of his work for Sarah Bernhardt, Mucha received many other commissions for posters. He created an idealised feminine type, instantly recognisable, and used for all kinds of advertisements. This character was from carnal mirth the hedonistic blond or the redhead of Chéret, whose voluptuous figure, melancholy and morbid refinement stem from the Raphaelites and whose dangerous femme fatale from the end of the century.

During the late 1890s, Mucha deploys his prodigious qualities of invention in the decorative arts. He designed, as well the furniture and cutlery, storefronts, jewellery and biscuit boxes.

Mucha's career in Paris peaked with his preparations for the World Exhibition in 1900.

In 1906, he sailed for America in search of lucrative commissions for portraits.

Mucha died in 1939.

---

657. **Alphonse Mucha** , 1860-1939, Czech. Poster for
_Monaco – Monte-Carlo, chemin de fer P.L.M._ , 1897.

Coloured lithograph, 110.5 x 76.5 cm.

The Mucha Trust Collection. Art Nouveau.

658. **Josef Maria Olbrich,** 1867-1908, Austrian.
Building of the Viennese Secession Exhibition,

1897-1898. Vienna. Viennese Secession.

659. **René Lalique** , 1860-1945, French. Pendant,
_Head of a Woman Wearing Two Poppy Flowers_ ,
c. 1898-1899. Gold, white chalcedony, enamel,

blister pearl pendant, 10.2 x 5.7 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

660. **René Lalique** , 1860-1945, French. Ring,
_Two Couples_ , 1899-1901. Cast and chased gold,

pearl button, height: 2.6 cm; diameter: 2.1 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

661. **R** **ené Lalique** , 1860-1945,
French. _Iris_ bracelet, 1897. Gold,

enamel, and opal. Private collection,

New York. Art Nouveau.

662. **René Lalique** , 1860-1945, French.
Dragonfly-shaped brooch, 1897-1898. Gold,

enamel, chrysoprase, diamonds, and moonstone,

23 x 26.6 cm. Calouste Gulbenkian Foundation,

Lisbon. Art Nouveau.

663. **René Lalique** , 1860-1945, French.
Bat-shaped ring, 1899. Silver, transparent blue enamel,

moonstone, gold, height: 1.2 cm; diameter: 1.9 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

**René Jules Lalique**

**(Ay, 1860 – Paris, 1945)**

René Lalique was born in the small village of Ay in the Marne department in 1860. From 1876 to 1878, he apprenticed for the Parisian jeweller, Louis Aucoq. Then, from 1878 to 1880, he studied two years at the Sydenham Art College in London.

On his return to Paris, he earned his living by designing jewellery. He quickly abandoned the application of diamonds to works in order to use new materials of the time: semi-precious, horn, ivory, and glass.

In 1894, he designed costume jewellery for the actress Sarah Bernhardt which quickly thrust him into salons, such as the Salon de la Société des Artistes Français. Although an excellent sculptor, draftsman, and printmaker, he became world-known thanks to his jewellery. His reputation grew as he participated in international exhibitions in Brussels, Munich, Turin, Berlin, London, St Louis, and Liège.

In 1900, during the World Exhibition in Paris, he won the Grand Prize and was awarded the Legion of Honour. Lalique was then the most famous Art Nouveau jeweller. His fame is such that today when we talk about art jewellery, it refers to 'Lalique-style'. These works essentially show the flora and fauna, including peacock and insects. The turning point in his creation was when he ordered the creation of a perfume bottle.

After the First World War, he bought a glassware Wingen-sur-Moder in Alsace, where he began a new career, that of glassmaking, at the age of fifty-six years. After marrying the daughter of the sculptor Auguste Ledru, he had a son, Marc, who in the 1930s followed his father's footsteps. When he inherited the firm in 1945, the production changed to crystal glass.

Today, the company he founded still works.

---

664. **René Lalique** , 1860-1945, French.
Winged female figure, c. 1899. Bronze.

Private collection, New York. Art Nouveau.

665. **Alphonse Mucha** , 1860-1939, Czech.
_Cocorico_ , magazine cover, issue no. 1,

December 1898.Mucha Museum,

Prague. Art Nouveau.

666. **Akseli Gallen-Kallela** , 1865-1931,
Finnish. _Flame_ , Ryijy tapestry, 1899.

Woven wool. Museum of Arts and Design,

Helsinki. Art Nouveau.

667. **József Rippl-Rónai,** 1861-1927,
Hungarian. _Woman in Red_ , 1898.

Embroidered tapestry. Museum of

Applied Arts, Budapest. Art Nouveau.

668. **Ludwing von Hofmann** , 1861-1945,
German. Poster for the first exhibition of the
Berlin Secession, 1899. Coloured lithograph.

Staatliche Museen zu Berlin, Berlin. Viennese Secession.

669. **Koloman Moser** , 1868-1918, Austrian.
_Mädchenkopf_ ( _Young Girl_ _'_ _s Head_ ), design for
the cover of _Ver Sacrum_ , vol. 2, no. 4, 1899.

Chinese ink on cardboard, 41 x 41 cm.

Wien Museum Karlsplatz, Vienna. Viennese Secession.

670. **Joseph Maria Olbrich** , 1867-1908,
Austrian. Poster for the 2nd exhibition of the

Viennese Secession. Lithograph, 86.2 x 51.2 cm.

Hessisches Landesmuseum, Darmstadt. Viennese Secession.

671. **Abd Al-Mutallib Isfahani**. Tablet, end of

the 19th century. Forged and engraved bronze.

The State Hermitage Museum, St Petersburg. Persian.

672. **Lucien Falize** , 1839-1897,
French. Jar, _Arts and Crafts_ , 1895.

Gold and enamel, height: 22.3; diameter: 8.9 cm.

Musée des Arts décoratifs, Paris. Art Deco.

673. **Fernand Dubois** , 1861-1939,
Belgian. Candelabra, 1899. Plated bronze.

Horta Museum, Brussels. Art Nouveau.

674. **Henry Van de Velde** , 1863-1957,
Belgian. Candelabra, 1898-1899. Silver.

Musées royaux des Beaux-Arts

de Belgique, Brussels. Art Nouveau.

675. **Louis Comfort Tiffany** , 1848-1933,
American. Lamp, _Daffodil_ , c. 1899.

Lead glass, height: 96.5 cm.

Courtesy McClelland & Lars Rachen,

Ltd, New York. Art Nouveau.

676. **Gustave Serrurier-Bovy,** 1858-1910,
Belgian. Bedroom furniture: bed, 1899.

Polished mahogany, brass, original silk-embroidered

and stencilled panels, with embroidery application.

Musée d'Orsay, Paris. Art Nouveau.

677. **Émile Gallé** , 1846-1904, French.
Cabinet with decoration in form of umbellifer
or acanthus, Japanese-style door and vases, c. 1900.

Inlaid work and glass. Private collection. Art Nouveau.

678. **Édouard Colonna,** 1862-1948, French.
Music cabinet, 1900. Fruit tree wood.

Made for the Art Nouveau pavilion at the

World Exhibition of 1900. Macklowe Gallery,

New York. Art Nouveau.

679. **Adolf Loos** , 1870-1933,
Austrian. Table, _Elephant trunk_ , c. 1900.

Österreichisches Museum für angewandte Kunst,

Vienna. Viennese Secession.

**Adolf Loos**

**(Brno, 1870 – Kalksburg, 1933)**

Adolf Loos was born in the city of Brno into a sculpting family. After studying at the Academy of Fine Arts in Vienna and later at the University of Technology in Dresden, Adolf Loos travelled for three years to the United States (1893-1896), where he gained artisanal and technical experience in all possible areas. Shortly before his return to Vienna, deeply influenced by his stay in the United States, he sought to establish a career as an architect in Vienna.

Adolf Loos building designed and built in 1909-1910 for the couturier Goldmann & Salatsch (das Looshaus) caused a scandal: no more columns, no frames around the windows – just patches of bare wall. And this precisely vis-à-vis the Michaelertor, a neo-baroque dome with a passage leading to the Imperial Palace in Vienna and the usual place of cabs. The Viennese were outraged. A contrast could not be more obvious. Although a railing extends around the building which optically separates the ground floor from the four upper floors, the facade was just too naked and in such bad taste according to the almost unanimous opinion of the Viennese.

Nevertheless, Loos remained faithful to its architectural design: an end to Art Nouveau. With another building, the Steiner House (1910), protected as a historic monument since 1996, he pushed the concept further. He traced the path of modern architecture in central Europe with its various villas and buildings for housing, but also with its commercial buildings and interiors. Mentioned here in particular is the Café Museum. He explained and defended this path in some writings, especially in his text _Ornament and Crime_ (1908).

Adolf Loos died on 23 August 1933 in Vienna.

---

680. **Emile Gallé** , 1846-1904, French.
_King Solomon_ _'_ _s Amphora_ , 1900.

Glass, height: 116 cm. Musée de

l'École de Nancy, Nancy. Art Nouveau.

**Émile Gallé**

**(Nancy, 1846-1904)**

Émile Gallé was born in May 1846 in Nancy. At nineteen, he worked in the glassware factory Lorraine, Burgun, Schewerer, & Co. where he deepened his knowledge of glassmaking techniques and forms. Curious by nature, Emile Gallé was introduced to glassblowing. Thereafter, he travelled to London, spending long periods in the South Kensington Museum (now the Victoria and Albert Museum), and Paris. Botany enthusiast, throughout his travels he studied plants, animals, and insects which he drew carefully and later referenced in his decorative works. Back in Nancy, he began to work in 1867, with his father, for whom he designed new pieces of ceramics, furniture, and jewellery.

In 1873, he created, in the family factory, his own glassworks where he implemented the methods learned beforehand.

In 1877, he took over the management of the Gallé establishments.

In 1878, he participated in the World Exhibition held in Paris, influenced by the achievements of some contemporaries.

At the Exhibition of 1889, during which he was awarded the Grand Prize, he presented artistic glass creations, using innovative and original materials such as etched glass cameo or glass paste. He also developed new forms of glass vases, with new colours. Pioneering Art Nouveau, the Gallé style was born thereof.

These achievements were met with great success and Émile Gallé received several awards. He was appointed Officer of the Legion d'Honneur and Commander in 1900.

In 1901, he created, alongside other artists including Majorelle and Daum, the Nancy School where he became chairman. The following year, he participated at the Exhibition of Decorative Arts in Turin. The achievements of this period are recognisable by the presence of an engraved star after the signature of the master. Gallé's works were produced until 1933. The factory closed its doors in 1935.

---

681. **Emile Gallé** , 1846-1904, French.
Table lamp, _Rhododendron_ , c. 1900.

Cameo glass, engraved.

Private collection. Art Nouveau.

682. **Daum** , glass factory founded in 1878,
French. Vase, c. 1900. Cameo glass,

wheel-engraved glass, and wood.

Private collection. Art Nouveau.

683. **Emile Gallé** , 1846-1904,
French. Vase, _Iris_ , c. 1900.

Glass, wheel-engraved glass.

Private collection, Japan. Art Nouveau.

684. **Gustav Gurschner** ,1873-1970,
Austrian. Lamp, _Nautilus_ , 1899-1900.

Bronze and nautilus shell. Virginia Museum

of Fine Arts, Richmond. Viennese Secession.

685. **Philippe Wolfers** , 1858-1929, Belgian.
Vase, c. 1900. Glass and metal.

Private collection, Brussels.

686. **Louis Comfort Tiffany** , 1848-1933,
American. Vase, c. 1900. Favrile glass,

height: 51.1 cm. The Museum of Modern Art,

New York. Art Nouveau.

687. **Koloman Moser** , 1868-1918,
Austrian. Glasses, c. 1900. Transparent and

white glass, 32 x 4.5 x 4.5 cm. Universität für

angewandte Kunst Wien, Vienna. Art Nouveau.

688. **Keller Bro** **thers,** 1878, German.
Carafe for water or wine, 1900.

Gilded silver, 26 x 18 cm. Musée des

Arts décoratifs, Paris. Art Nouveau.

689. **Louis Comfort Tiffany** , 1848-1933,
American. Punch service with three ladles, 1900.

Favrile glass, gilded silver, copper, 38.8 x 61 cm.

Virginia Museum of Fine Arts, Richmond. Art Nouveau.

690. **Tiffany & Co.**, 1837 - currently active,
American. Service with four glasses and
spoon within an art nouveau case, c. 1900.

Favrile glass and gilded silver.

Macklowe Gallery, New York. Art Nouveau.

691. **Louis Comfort Tiffany** , 1848-1933, American.
Document holder with three dividers, c. 1900.

Gilded bronze with lattice work and foliage and honey-coloured,

marbled glass, height: 25 cm. Private collection. Art Nouveau.

692. **Félix Bracquemond** and **Auguste Rodin** ,
1833-1914 and 1840-1917, French. Hand mirror, c. 1900.

Gold, transparent enamel cloisonné, and ivory, 32.2 x 16.1 cm.

The Cleveland Museum of Art, Cleveland. Art Nouveau.

**Félix Bracquemond**

**(Paris, 28 May 1833 – Sèvres, 27 October 1914)**

Painter and engraver of the second half of the 19th century, Felix Bracquemond was a leading figure in the world of art. Producer of more than 800 engravings and precursor of Japonism in France, Bracquemond trained as a lithographer before being noticed by Joseph Guichard, a student of Ingres who took his workshop. His engravings portray landscapes, everyday scenes, or copies of works by artists such as Gustave Moreau and Camille Corot.

Bracquemond quickly befriended the Impressionists, including Manet and Degas and exhibited for the first time at the Paris Salon in 1852. In 1856, he discovered prints by artist Hokusai. Representations of insects, crustaceans, fish, flowers, and birds inspired him, making him the initiator of Japonism in France.

In 1860, he returned to the workshop of Théodore Deck, later of Eugène Rousseau, who then commissioned designs for a table service for the World Exhibition. Bracquemond used Japanese-inspired elements.

At the World Exhibition of 1867, he successfully presented his 'Rousseau' service.

In 1882, he was made a Knight of the Legion d'Honneur and Officer in 1889. Before becoming honorary member of the Société des peintres graveurs in 1890, Felix Bracquemond published the book _Du Dessin et de la couleur_ in 1887.

Bracquemond played an important role in the French decorative arts and the revival of engraving.

---

693. **Paul** and **Henri Vever** , 1850-1915 and 1854-1942,
French. Pendant, _The Awakening_ , 1900. Gold, ivory,

diamonds, baroque pearls, and enamel, height: 9.5 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

694. **Paul** and **Henri Vever** , 1850-1915
and 1854-1942, French. Pendant, 1900.

Gold, topaz, pearls, enamel. Musée des

Arts décoratifs, Paris. Art Nouveau.

695. **Henri Vever** , 1854-1942, French.
Pendant, _Sylvia_ , 1900. Gold, agate, rubies,

diamonds, and rose-cut diamonds, 12 x 6.5 cm.

Presented at the World Exhibition of 1900.

Musée des Arts décoratifs, Paris. Art Nouveau.

696. **Georges Fouquet,** 1858-1929,
French. Brooch, _Orchid_ , 1900.

Gold, enamel, rubies, and pearls.

Anderson Collection. Art Nouveau.

697. **René Lalique** , 1860-1945, French.
Necklace, _Dragonfly_ , c. 1900-1902.

Gold, enamel, watercolour, and diamonds.

Private collection, London. Art Nouveau.

698. **René Lalique** , 1860-1945, French.
Haircomb, _Lily of the Valley_ , 1900.

Gold, horn, enamel, 16 x 9.1 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

699. **Paul** and **Henri Vever** , 1850-1915
and 1854-1942, French. Haircomb,
_Daphnis and Chloe_ , 1900. Ivory,

pearls, gold, enamel, 18 x 4.5 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

700. **Paul** and **Henri Vever** , 1850-1915 and 1854-1942,
French. Haircomb, _Mistletoe_ , 1900.

Gold, shell, pearls, enamel, 17.1 x 10 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

**Henri Vever**

**(Metz, 16 October 1854 – Noyers, 1942)**

Henri Vever came from a family of jewellers based in Metz. The House of Vever was founded in 1821 by his grandfather Pierre-Paul Vever and was controlled by his father Ernest in 1848.

Henri was an apprentice at Laguet Brothers around 1871 and became the craftsman. He later undertook courses at the _Académie des Beaux-Arts_ , where he studied drawing and ornamental design. He then joined the workshop of Jean Léon Gérôme.

Vever entered the family business with his brother Paul in 1874, assuming management during the following years. The reputation of the House of Vever continually grew. The two brothers exhibited for the first time at the World Exhibition in Paris and won one of two grand prizes. After this, they participated in other major exhibitions such as Moscow (1891) and Chicago (1893). In their creations, wildlife or mythical creatures are usually embellished by the use of stones, diamonds, and rubies.

In addition to creating jewellery in Art Nouveau style, Henri Vever wrote a book on the history of jewellery, _La Bijouterie française au XIX_ _e_ siècle.

---

701. **René Lalique,** 1860-1945, French.
Brooch, _Blackthorn and Wasps_ , 1900.

Gold, enamel, glass, 4.7 x 11.2 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

702. **René Lalique,** 1860-1945, French.
Pendant, _Roosters_ , c. 1901-1902. Cast and chased gold,

decoration engraved on the backside. Rooster heads

and feathers of transparent enamel on gold. Surround of the

central stone and frontal feathers in gold with mounted stones.

Central stone held in place by an eyelet in the upper part,

6.9 x 5.1 cm. Musée des Arts décoratifs, Paris. Art Nouveau.

703. **Georges Fouquet** , 1858-1929, French.
Brooch with _Winged Snake_ , 1902.

Gold, enamel, diamonds, and pearls.

Private collection, New York. Art Nouveau.

704. **Hippolyte Lucas** , 1854-1925, French.
_At Water_ _'_ _s Edge_ , 1900. Aquatint.

Macklowe Gallery, New York. Art Nouveau.

705. **Manuel Orazi** , 1860-1934, Italian.
_Dance Palace_. Poster for the official dance

theatre at the World Exhibition of 1900.

Coloured lithograph. Victor and Gretha

Arwas Collection. Art Nouveau.

706. **Raphaël Evaldre** , dates unknown and 1862-1938,
French. Winter garden at the Ursulines Institute, c. 1900.

Wavre-Notre-Dame (Belgium). Art Nouveau.

707. **Hector Guimard** , 1867-1942, French.
The entrance of the metro station at

Porte Dauphine, c. 1900. Paris. Art Nouveau.

708. **Georges Hoentschel** , 1855-1915, French.
_Salon du bois_ , Paris, 1900. Algerian plane-tree wood,

glass, brass, silk wallpaper, 712 x 143 x 600 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

**Georges Hoentschel**

**(1855-1915)**

Georges Hoentschel was a French architect, designer, ceramic artist, and collector. He designed interior rooms for the Duke of Gramont, the King of Greece, the Marquise of Ganay, and the emperor of Japan. He designed the banner for the applied arts division at the World Exhibition of Paris in 1900, as well as in St Louis in 1904. His work, especially his study of wood from 1900, is exhibited in the Musée des Arts décoratifs in Paris. Georges Hoentschel was also known as a collector in the United States, and some of his 1,800 pieces comprise the foundation of the department of Middle Ages and French 18th century art in the Metropolitan Museum of Art in New York.

Those who knew Hoentschel would describe him as "the elegance of the heart and the intelligence of taste."

Friend of Marcel Proust, Auguste Rodin, Georges Feydeau, Victor Hugo, Edgar Degas, Léopold Stevens, he was also a talented ceramic artist following Jean Carriès, with a fondness for the Impressionists, encouraging him to collect works of Monet, Manet, Turner, and Sisley.

Georges Hoentschel is buried in the Père Lachaise cemetery in Paris.

---

709. **Henri Vever** , 1854-1942, French.
_Vase with Locusts_. Bronze and enamelled silver.

Presented at the Salon de la Société

Nationale des Beaux-Arts in 1904, Paris.

Robert Zehil Collection. Art Nouveau.

710. **Imperial Glass Factory in St Petersburg** (manufacturer).
Vase, 1904. Cased and wheel-cut glass, height: 25 cm.

Victoria and Albert Museum, London. Art Nouveau.

711. **Tiffany & Co.**, 1837 - currently active,
American. Lamp, _Wisteria_ , 1902. Bronze and glass.

Private collection. Art Nouveau.

712. **Émile Gallé,** 1846-1904, French.
Lamp, _Mushroom_ , 1902. Triple- and

double-blown glass shaped hot, height: 82 cm.

Musée de l'École de Nancy, Nancy. Art Nouveau.

713. **Daum** and **Louis Majorelle** , glass factory
founded in 1878 and 1859-1926, French.
_Prickly Pear_ , 1902. Patinated bronze and glass.

Musée de l'École de Nancy, Nancy. Art Nouveau.

714. **Koloman Moser** , 1868-1918, Austrian.
Cabinet for the Moser House, 1901. Soft wood,
painted white (originally white and blue), iron mount,

95.5 x 111 x 54 cm. Österreichisches Museum

für angewandte Kunst, Vienna. Viennese Secession.

**Koloman Moser**

**(Vienna, 1868-1918)**

Kolosam Moser was born in Vienna in 1868. He studied painting at the Academy of Fine Arts in Vienna, and later at the University of Applied Arts in Vienna, where he was a student of Gustav Klimt. In this time, Moser also befriended the architects and decorators Joseph Maria Olbrich and Josef Hoffmann.

From the beginning of the 1890s, whilst still working as an illustrator, Moser began to develop an innovative and individual variation of Art Nouveau.

In 1897, he, with Klimt, Olbrich, and Hoffmann, founded a new alliance of artists and architects to promulgate a new aesthetic ideal, with which they revolutionised art. The result was the Vienna Secession, the proud Viennesse counterpart of Art Nouveau. Moser designed, for the house designed by Olbrich, the glass windows and the textiles, and produced furniture and various decorative objects, done primarily in glass.

In 1900, Moser organised the 6th Secession exhibition (20 January – 15 February) as a articulation of Art Nouveau, for which he worked as a set designer.

Later Moser worked in various countries (France, Germany, Switzerland, the Netherlands, and Belgium), and most specifically in the cities of Bern, Hamburg, and Paris. Moser took part, with Klimt and Josef Hoffman, of the much-celebrated project for the now famous Stoclet Palace in Brussels. He left the Secession the same year, and the Wiener Werkstätte two years later. His style changed radically, from a Belgian- and French-influenced Art Nouveau with endless dancing arches to a prosaic version of Art Nouveau with long and geometric forms.

From 1907, Moser worked exclusively as a painter.

He died in October 1918 at the age of fifty from larynx cancer.

He was fascinated by numerous aspects of art, from painting to interior decoration, from drawing to carpentry. He is therefore the embodiment of artistic production, a main tenent of Art Nouveau.

---

715. **Charles Rennie Mackintosh** , 1868-1928,
Scottish. Chair, 1904. Oak.

Glasgow School of Art, Glasgow. Art Nouveau.

716. **Henry Van de Velde** , 1863-1957, Belgian.
Desk, 1901-1902. Wood. Österreichisches Museum

für angewandte Kunst, Vienna. Art Nouveau.

717. **Koloman Moser** , 1868-1918, Austrian.
Secretary and chair, 1903. Cedar, inlay, copper,

and gilding, 145.5 x 119.4 x 60 (secretary);

70 x 60 x 60 cm (chair). Victoria and

Albert Museum, London. Art Nouveau.

718. **Koloman Moser** , 1868-1918,
Austrian. Patterned cabinet, before 1904.

Rosewood and satinwood inlaid with rosewood,

maple and pearl, 138.5 x 98.8 x 49.5 cm.

Sammlung der Fondation Kamm,

Kunsthaus Zug, Zug. Viennese Secession.

719. **Richard Riemerschmid** , 1868-1957,
German. Tankard, 1902. Salt-glazed stoneware,

cast body, with applied decoration and feet,

painted in blue, pewter lid, 14 x 15 x 11.5 cm.

Victoria and Albert Museum, London. Art Nouveau.

720. **René Lalique,** 1860-1945, French.
Brooch, _The Kiss_ , c. 1904-1906. Thorned mount:

patinated and engraved silver; intaglio plate:

embossed glass relief, patinated, 4.9 x 7 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

721. **Koloman Moser** , 1868-1918,
Austrian. Pendant for children, 1904.

Enamel on silver plate, copper, 2.7 x 3 cm.

Leopold Museum, Vienna. Viennese Secession.

722. **Koloman Moser** , 1868-1918, Austrian.
Lamp with glass rod for the Schwestern
Flöge in Vienna, 1904. Nickel silver

and glass, 37.5 x 18.5 x 18.5 cm.

Private collection. Viennese Secession.

723. **Koloman Moser** , 1868-1918,
Austrian. Fruit basket, 1904.

Silver, 5.4 x 16.4 x 16.4 cm.

Private collection. Viennese Secession.

724. **Koloman Moser** , 1868-1918, Austrian.
Vase, 1904. Silver, 21.5 x 8.6 x 8.6 cm.

Leopold Museum, Vienna. Viennese Secession.

725. **Koloman Moser** , 1868-1918, Austrian. Reliefs for
local metal workshops in Vienna, Neustiftgasse 32-34,

Vienna 7, 1904. Gilded silver in a wooden frame,

15 x 14.8 cm (each piece). Wien Museum Karlsplatz,

Vienna. Viennese Secession.

726. **Koloman Moser** , 1868-1918, Austrian.
Reliefs for Dr Hermann Wittgenstein's living room, 1904.

Gilded copper, 22.6 x 22.5 cm (each piece).

Wien Museum Karlsplatz, Vienna. Viennese Secession.

727. **Koloman Moser** , 1868-1918, Austrian.
Drawing for stained glass window of Am Steinhof Church,

1905-1906. Pencil, ink, opaque colours, 86 x 114 cm.

Österreichisches Museum für angewandte Kunst,

Vienna. Viennese Secession.

728. **Koloman Moser** , 1868-1918,
Austrian. Eastern window, lit by sunlight.

Am Steinhof Church, Vienna. Viennese Secession.

729. **Jacques Gruber** , 1870-1936, French.
Veranda, known as _La Salle_ , 1904. Multi-layered glass,

painted glass, American chenille glass, American iridescent

stretch glass, acid etching, 243 x 344 cm. Musée de

l'École de Nancy, Nancy. Art Nouveau.

730. **Louis Majorelle** , 1859-1926, French.
_Water Lillies_ , 1905-1909. Bed: mahogany and

serpentwood, inlay of various woods, gilded and

chased bronze. Musée d'Orsay, Paris. Art Nouveau.

**Louis Majorelle**

**(Toul, 1859 – Nancy, 1926)**

Louis Majorelle was born in 1859 in Toul in the Meurthe-et-Moselle department of France. He began his art education at the École nationale supérieure d'art in Nancy and continued it in 1877 at the École nationale supérieure des Beaux-Arts in Paris. Two years later, Majorelle returned to Nancy, as his father laid on his deathbed. He inherited, with his brother, the family's furniture and porcelain manufacturing firm.

Louis Majorelle followed in his father's footsteps, in that he produced Rococo-inspired furniture to sell in France and its colonies. After Emile Gallé converted him to the principles of Art Nouveau in 1894, Majorelle would become one of the most important followers of this art style within the school at Nancy.

He would be inspired by then dominating principles of Naturalism and Symbolism. He gained much recognition for his furniture pieces, inlaid with straight-lined water lilies.

At the same time, Majorelle began to decorate furniture with metal and bronze, as a means to reinforce architecture lines or specific decorative elements. In 1898, he asked the architect Henri Sauvage to design his house in Nancy. The Villa Majorelle or Villa Jika (for the initial of his wife Jeanne Kretz) was the work of one artist for another. The house, in its architectural design, as well as its interior decor, epitomises the Art Nouveau ideals.

Majorelle's collaboration with the glass manufactory of the Daum brother resulted in an original combination of colours and shapes. His work later evolved to contain fine and easy lines, which although not part of Art Nouveau, implied the arrival of Art Deco of the 1920s.

Louis Majorelle was one of the most important and most celebrated manufacturers of Art Nouveau furniture at the time of his death in 1926. His legacy lies in his elegant but original style, which swayed in rhythm with nature.

---

731. **Bruno Paul** , 1874-1968, German.
Armchair, Germany, 1905. Beech frame with

satinwood veneer, inlaid in oak, with original

raw-silk upholstery, height: 100 cm.

Victoria and Albert Museum, London.

732. **Louis Süe** , **Paul Huillard** , **Damon** , and **Berteaux** ,
1875-1968 and 1875-1966, French. Chair, 1912.

Gold beech, lacquered in green and red,

arms and seat of green leather, 87 x 53 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

733. **Eugène Gaillard,** 1862-1933,
French. Small round table with stools, c. 1913.

Main piece of padauk, stools veneered in

Madagascan palisander, height: 71 cm; diameter: 70 cm.

Musée des Arts décoratifs, Paris. Art Nouveau.

734. **Louis Comfort Tiffany** , 1848-1933, American.

Bowl with silver rim in grapevine pattern, 1907.

Cameo glass, sterling silver, 12 x 27.3 cm.

The Chrysler Museum of Art, Norfolk (Virginia). Art Nouveau.

735. **Koloman Moser** , 1868-1918, Austrian.
Tin with lid, 1906. Sammlung der Fondation Kamm,

Kunsthaus Zug, Zug. Viennese Secession.

736. **Bertold Löffler** , 1874-1960, Austrian.
Torn fan for the Cabaret Fledermaus, c. 1908.

Quisquilien Sammlung, Österreichisches Theatermuseum,

Vienna. Viennese Secession.

737. **Koloman Moser** , 1868-1918, Austrian.
Poster for a soiree of _Sonaten von Beethoven_ , 1908.

Coloured lithograph, 95.3 x 31.8 cm.

Wien Museum, Vienna. Viennese Secession.

738. **Georges Lepape** , 1887-1971, French.
Plate, illustration from _Les choses de_
_Paul Poiret vues par Georges Lepape_ , 1911.

Calotype, letterpress, line block and stencil.

Victoria and Albert Museum, London.

739. **Koloman Moser** , 1868-1918, Austrian.
Cover sheet of the score of Julius Bittner's opera
_Der Musikant_ , 1909. Typography, 28 x 20.5 x 3 cm.

Galerie Pabst, Munich. Viennese Secession.

740. **Ditha Moser** , 1883-1969, Austrian.
Tarot cards, 1908. Coloured lithograph,

11.5 x 5.5 cm. Universität für angewandte

Kunst Wien, Vienna. Viennese Secession.

741. **Koloman Moser** , 1868-1918, Austrian.
Poster for Jacob & Josef Kohn for an
auction in Russia, c. 1904. Coloured lithograph,

94.7 x 62.6 cm. Österreichisches Museum

für angewandte Kunst, Vienna. Viennese Secession.

742. **Ditha Moser** , 1883-1969, Austrian.
Card game Whist, 1910. Prints on red

and black cards, 8 x 5 cm. Österreichisches Museum

für angewandte Kunst, Vienna. Viennese Secession.

743. **Ditha Moser** , 1883-1969, Austrian.
_Year 1913 Calendar_ , 1913. Coloured lithograph,

13.1 x 8.3 cm. Österreichisches Museum

für angewandte Kunst, Vienna. Viennese Secession.

744. **Antoni Gaudí** ,1852-1926, Spanish.
_Casa Milà_ , 1905-1910. Barcelona.

745. **Joseph Maria Olbrich** , 1867-1908, German.
Wedding Tower in Mathildenhöhe in Darmstadt, 1908.

Photograph by Jürgen Schreiter, 2009.

Städtische Kunstsammlung Darmstadt,

Mathildenhöhe Darmstadt, Darmstadt. Viennese Secession.

**Joseph Maria Olbrich**

**(Opava, 1867 – Düsseldorf, 1908)**

The Opava-born Joseph Maria Olbrich was a student of Otto Wagner, who opened the young student's mind and cultivated his talent. As the eldest son, his parents set a rigidly-academic plan for him. Instead he became a bricklayer before enrolling a vocational school in Vienna at age fifteen, where he enrolled in architecture courses. Four years later, he would graduate with the best possible marks.

After a temporary stay in Opava, he began his studies at the University of Applied Arts in Vienna. Otto Wagner noticed Olbrich, and hired the now mid-twenty year old at his architectural firm.

Olbrich did not limit himself as an architect, instead he designed furniture and ceramic dishware. He and another were responsible for the interior decoration of the then prestigious German liner, _SS Kronprinzessin Cecilie_.

His fame would reach the US, where he corresponded with members of the American Institute of Architects. The project list from 1900-1908 is unbelievably long, and alongside all these activities, he managed to publish on his architectural theories in _Ideen von Olbrich_ (1900) and _Architektur von Olbrich_.

It is as though, with his unrest and his unbelievably many projects, he knew of his short life span. Joseph Maria Olbrich died of leukaemia on 8 August 1908 in Düsseldorf.

---

746. **Charles** and **Henry Greene** , 1868-1957 and 1870-1954,
American. _The Gamble House_ , 1908-1909.

Pasadena (California). Arts and Crafts Movement.

747. **Charles** and **Henry Greene** , 1868-1957 and 1870-1954,
American. _The Gamble House_ , main entrance, 1908-1909.

Pasadena (California). Arts and Crafts Movement.

748. **Frank Lloyd Wright** , 1867-1959, American.
_Robie House_ , 1908-1910. Chicago.

**Frank Lloyd Wright**

**(Richland Center, 8 June 1867 – Phoenix, 9 April 1959)**

Frank Lloyd Wright was born on 8 June 1867 in Richland Center, Wisconsin. Influenced by the English Arts and Crafts Movement, Frank Lloyd Wright, was the creator of many museums, churches, hotels, and especially many houses. He started alongside Louis H. Sullivan, the first American Art Nouveau architect who took Wright under his wing.

His first important work was his own house in Oak Park. Frank Lloyd Wright discovered Japanese architecture at the Columbian Exposition in Chicago in 1893. It was a revelation. Afterwards, he made many trips to Japan. The same year, he received his first commission, the Winslow House.

By 1897, his style asserted itself more and more with the construction of _Prairie Houses_ , on which he played with the natural elements of the landscape. One of the leading examples is the Fallingwater House, built in 1934-1937, in Pennsylvania. But before was Wright's Robie House realised in 1908-1910, in Illinois, an elevated and large house.

In 1909, Frank Lloyd Wright travelled to Europe. He attended and influenced avant-garde architects in Austria, such as Gropius and Mies Van der Rohe. Upon his return in 1911, he settled in Wisconsin. During the crisis of 1929, he moved to Phoenix, and took the lead of a large agency with more than fifty workers after the Second World War.

In 1934, he began a series called _Usonian Homes_ for the middle class, generally L-shaped and designed to be practical.

Frank Lloyd Wright was one of the first to integrate the interior in his architectural design. He designed more than 800 projects, half of which were realised. Wright created simple shapes, stone and wooden houses, and with geometric and bass elements. Furniture, architecture, and lifestyle should coincide.

The Guggenheim Museum in New York, opened in 1959, remains as his major work.

---

749. **Frank Lloyd Wright** , 1867-1959, American.
Window for the living room in _Francis W. Little House_ ,

1912-1915. Lead glass, 136.5 x 288.9 cm.

The Metropolitan Museum of Art, New York.

750. **Hector Guimard** , 1867-1942, French.
Vase, c. 1910. Patinated bronze and ceramic,

height: 26 cm. Robert Zehil Collection. Art Nouveau.

751. **Albert Dammouse** , 1848-1926, French.
Dishes, c. 1910. Molten embossed glass,

height: 8.8 and 6.5 cm. Musée des

Arts décoratifs, Paris. Art Nouveau.

**Albert Dammouse**

**(Paris, 1848-1926)**

Son of the sculptor and manufacturer-decorator Pierre Adolphe Dammouse, Albert Dammouse studied in Paris at the École nationale des Arts Décoratifs and the Académie des Beaux-Arts. He opened his workshop in Sèvres in 1871 and began working with porcelain, which he decorated and heated under a large fire to obtain sensitive-coloured reliefs. He worked his entire life with numerous artists and provided models of manufacture for Limousine, Pouyat, and Dubreuil, who turned to him to finish parts for the World Exhibition in 1878, earning him numerous awards. Already a gold medallist in 1874 from the Union Centrale des Arts, he had a great success at the World Exhibition in 1878, and received a gold medal anew in 1889.

In 1892, he built his own oven in Sèvres, and developed the method of 'pâte-sur-pâte'. Moving toward earthenware, he could express his talent as a decorator and colourist through a wide range of colours.

The career of Albert Dammouse reflects the evolution of the ceramic art, since the Second Empire until the time of Art Nouveau. His work is rich and varied, influenced by the artistic trends of his time (Naturalism, Japonism) and by the appearance of other well-known Sèvres artists such as Félix Bracquemond or Ernest Chaplet.

---

752. **Josef Hoffmann** , 1870-1956,
Austrian. Service including a shot glass, wine glass,

pitcher, and flute, 1911. Dr Ernst Ploil Collection,

Vienna. Viennese Secession.

**Josef Hoffmann**

**(Brtnice, 15 December 1870 – Vienna, 7 May 1956)**

Josef Hoffmann was an Austrian architect of the 20th century. After studying at the University of Vienna, Hoffmann went to Italy where he discovered a geometric and richly-ornate style. He was a member of the Vienna Secession in 1897, with Gustav Klimt, Koloman Moser, and Josef Olbrich, a combination of Art Nouveau and Art Deco. They completed architectural projects or furniture and were recognised for their rectilinear geometric style. He was considered the Viennese architect par excellence.

In 1903, with Olbrich, Klimt, and Moser, he founded the Wiener Werkstätte for decorative arts.

He designed not only in France but also abroad, particularly in Brussels, where he completed the Stoclet Palace, and exhibited at pavilions in Cologne, Paris, or Venice. As avant-garde architect, Robert Mallet-Stevens and Ruhlmann were great influences. Throughout his career, he combined simplicity and refinement. He was a pioneer of modernism and the Art Deco movement.

---

753. **Léon Bakst** , 1866-1924, Russian.
Costume of an Indo-Persian dancer
for the ballet _Cleopatra_ , 1909.

Watercolour and gold on paper,

48 x 31 cm. Private collection, Paris.

754. **Léon Bakst** , 1866-1924, Russian.
Cover page for the official program of the Ballet Russes
(Bacchante in the production of _Narcissus_ ), 1911.

31 x 20 cm. Private collection.

755. **Léon Bakst** , 1866-1924, Russian.
Costume design for the ballet _Le Dieu Bleu_ , 1912.

Watercolour, graphite, accented with gold colour on paper,

43 x 28 cm. Musée national d'Art moderne,

Centre Georges Pompidou, Paris.

756. **Léon Bakst** , 1866-1924, Russian.
Costume design for the Firebird for the
ballet _The Firebird_ , 1910. Watercolour and

gouache on paper. Private collection.

757. **Léon Bakst** , 1866-1924, Russian.
Cover page of the _Comœdia Illustré_ (1912), 1912.

The Queen Thamar and the Prince from the ballet _Thamar_.

National Gallery of Australia, Canberra.

758. **Léon Bakst** , 1866-1924, Russian.
The blue god's costume for the ballet
_Le Dieu Bleu_ , 1912. Silk, satin, and sequins.

National Gallery of Australia, Canberra.

**Léon Bakst**

**(Grodno, 9 May 1866 – Paris, 27 December 1924)**

Léon Baskt (born as Lev Samoilovich Rosenberg) was born on 9 May 1866 in Grodno (currently Belarus) in a middle-class Jewish family.

He studied painting at the Academy of Fine Arts in St Petersburg. Bakst began his artistic career as an illustrator for various magazines and made the acquaintance of Alexandre Benois, who introduced him to the European artistic circles. He later studied at the Académie Julian in Paris. On his return to St Petersburg in 1896, his career was gaining momentum after the publication of his first books on scenography and his portraits. In 1898, he became the co-founder, with Alexandre Benois and Serge Diaghilev, of _Mir Iskusstva_ (The World of Art).

Around 1902-1903, he began his career as a designer at the Hermitage Theatre and Alexandrinsky Theatre in St Petersburg. He then received many orders from the Mariinsky Theatre. He also taught drawing at the prestigious school of painting Yelizaveta Zvantseva where he had Marc Chagall as a student and organised the Russian section of the annual art exhibition of the Salon d'Automne in Paris.

He returned to France in 1908 and worked with Serge Diaghilev to create the dance company _Les Ballets Russes_. His creations, brilliant and exotic, had a decisive influence on fashion and decorative arts. His most admired costumes are no doubt those he created for Diaghilev's ballets: _Scheherazade_ (1910) and T _he Afternoon of a Faun_ (1912). Diaghilev appointed him Director of Arts in 1911. The lavish sets created by Bakst earned him an international reputation very quickly. Expelled from Russia due to his Jewish origins, he decided to permanently settle in Paris and in 1912 and in 1920, was the editor of _Vogue_ magazine. Condé Nast persuaded him to publish one of his drawings for a cover. He died in Paris on 27 December 1924, at the age of fifty-eight.

---

759. **Léon Bakst** , 1866-1924, Russian. Nymphs' costumes
for the ballet _The Afternoon of a Faun_ , 1912.

Silk, lamé fabric, ribbon, and wool.

National Gallery of Australia, Canberra.

760. **Léon Bakst** , 1866-1924, Russian.
The Queen's costume for the ballet _Thamar_ , 1912.

Silk, wool, lamé fabric, shawl, metal medallions,

jewellery. National Gallery of Australia, Canberra.

761. **Jean Dunand** , 1877-1942, French.
Pocket watch, 1914-1918. Stainless steel coated

with gold and silver, height: 6 cm; diameter: 4.5 cm.

Musée des Arts décoratifs, Paris.

762. **Louis Comfort Tiffany** , 1848-1933,
American. Venetian rectangular box, c. 1915.

Gilded bronze with sigil cover, geometric strips and rosettes.

The interwoven bands represent false hinges,

height: 12.5 cm. Private collection. Art Nouveau.

763. **Louis Comfort Tiffany** , 1848-1933,

American. Vase, 1913.

Favrile glass, 52.5 x 13 cm.

The Museum of Modern Art, New York.

764. **Jaap Gidding** , 1887-1955, German.
Lobby at the Pathé Tuschinski,

movie theatre, 1918-1921. Amsterdam.

765. **Sonia Delaunay** , 1885-1979, French.
Illustration for Blaise Cendrars' _La prose du_
_Transsibérien et de la Petite Jehanne de France_ , 1913.

Watercolour, text imprinted on Japanese paper,

book cover with coloured parchment, 199 x 36 cm,

measurements of the closed work: 18 x 11 cm.

The Hague, Netherlands. Art Deco.

**Sonia Delaunay**

**(Gradischsk, Odessa region, 14 November 1885 – Paris, 1979)**

Born in Ukraine in 1888, Sofia Ilinitchna Terk came from a working class family. Adopted by her uncle, she spent her childhood in St Petersburg and travelled to Finland, Switzerland, Italy, and Germany. In 1903, she studied drawing in Karlsruhe, Germany before going to Paris with her uncle, where she studied at the Académie de la Palette. She discovers Gauguin, Bonnard, and Vuillard, and completes her first painting in 1907, _Jaune Finlandaise_. In order to stay in France, she married Wilhelm Uhde in 1908 but divorced soon thereafter. She met Robert Delaunay and assumed the name Sonia Delaunay in 1910. After the birth of her son Charles in 1911, she began her first projects, the _robes simultanées_.

During the First World War, they both sought refuge in Spain and Portugal. In 1918, she worked in Madrid with Diaghilev's _Les Ballets Russes_. During the 1920s, she focuses mainly on decorative arts and fashion, designing scarves, coats, and fabrics for apparel and furnishing, but also theatre and cinema costumes, posters, poems, and objects.

In 1925, she participated in the Exposition des Arts décoratifs and opened, at the same time, a shop with Jacques Heim. She returned to painting in the 1930s, and joined with Robert Delaunay Abstraction-Création group. The group realised murals for the pavilions for aviation and railways for the World Exhibition of 1937. In 1939, together they organised the _Salon des Réalités nouvelle_ at the Galerie Charpentier.

Robert died in 1941, and Sonia moved to Grasse, where she lived with Hans and Sophie Arp until 1944. Without Robert, she continued to produce abundantly and received the Legion of Honor in 1975.

---

766. **Hedwig Jungnik** , German.
Rug with abstract forms, 1921-1922. Linen, cotton,

wool, silver ribbons, and artificial silk, 90 x 125 cm.

Klassik Stiftung Weimar, Weimar. Bauhaus.

767. **Eileen Gray** , 1878-1976, Irish.
Rectangular rug, c. 1923. Wool,

geometric motifs in night blue and black,

154 x 128 cm. Private collection.

768. **Anonymous.** Shawl, c. 1925.

Handsewn velvet and silk.

Victoria and Albert Museum, London.

769. **Émile Gallé,** 1846-1904, French.
Vase with tree and sea motifs, 1919-1935.

Glass, height: 51 cm. Musée de l'École

de Nancy, Nancy. Art Nouveau.

770. **Émile Gallé,** 1846-1904, French.
Vase, depicting the Guanabara Bay in Rio,

1919-1935. Glass, height: 46 cm. Musée de

l'École de Nancy, Nancy. Art Nouveau.

771. **Otto Prutscher** , 1880-1949, Austrian.
Coffee and tea service, c. 1920.

Silver and ivory, 2 x 59 x 46 cm (tray).

Victoria and Albert Museum, London.

772. **Eileen Gray** , 1878-1976, Irish.
Lounger, c. 1919-1920. Lacquered wood

with silver leaf, 72 x 270 x 64.9 cm.

Virginia Museum of Fine Arts, Richmond.

**Eileen Gray**

**(Enniscorthy, 9 August 1878 – Paris, 31 October 1976)**

Eileen Gray was born on 9 August 1879 in Enniscorthy, Ireland. She studied at the Slade School of Art and arrived in Paris in 1902 to take courses at the Académie Julian, as well as the Académie Colarossi. From the beginning, Gray showed a special interest in the technique of lacquer and returned to London in 1907 to further her art. She relocated permanently to Paris in 1937.

Gray's exhibition in 1913 at the Salon des Artistes décorateurs was a success. She completed decorative panels combining lacquer and rare wood with Japanese-inspired motifs, attracting the attention of art collector Jacques Doucet, who ordered the three panels including the famous screen _Le Destin_. Eileen Gray realised her own furniture for a long time for Inagaki, a Japanese craftsman and specialist in ivory and lacquer work.

In 1922, she opened her own gallery, the Galerie Jean Désert in the Faubourg Saint-Honoré and set out a number of her works: screens, curtains, carpets, mirrors, etc. The gallery would attract a chic clientele, but was abandoned in 1930.

In 1923, she designed the _Boudoir de Monte-Carlo_ for the 14th Salon des Arts décoratifs. It attracted the attention of the de Stijl movement, including of its leader J.J. Oud. Grey, with Breuer, Rietveld, and Perriand pioneered steel tube furniture.

Thereafter, encouraged by the Romanian architect Jean Badovici, Eileen Gray turned to architecture. Both worked hard on the villa called E -1027, located in Roquebrune, for which Le Corbusier painted new mural works.

Around 1930-1932, Gray built, whilst respecting the five points of modern architecture set by Le Corbusier, her own villa _Tempe Pailla_ in Castellar, in southern France. A villa with ultra-modern furniture, gadgets, consoles drawers, cupboards, etc.

After the war, well ensconced in the architectural environment, Gray continued her work. In 1973, several retrospective exhibitions were held, including at the Royal Institute of British Architects and at the Architectural League of New York.

Eileen Gray died at the age of ninety-eight years.

---

773. **Paul Theodore Frankl,** 1886-1958,
Austrian. Pair of bookshelves, 'skyscrapers' model,
end of the year 1920. California sequoia wood and

veneer in nickelled stainless steel, height: 228.6 cm.

Cincinnati Art Museum, Cincinnati (Ohio).

774. **Marcel Breuer** and **Gunta Stölzl** , 1902-1981
and 1897-1983, German. African chair, 1921.

Enamelled oak, cherry wood, hemp, wool, cotton,

silk, 179.4 x 65 x 67.1 cm. Bauhaus-Archiv

Museum für Gestaltung, Berlin. Bauhaus.

775. **Jacques-Émile Ruhlmann,** 1879-1933,
French. 'Cabanel' commode, c. 1921-1922.

Veneer in ivory from Macassar, glass, ivory,

133.5 x 75.5 x 39.5 cm. Private collection.

**Jacques-Émile Ruhlmann**

**(Paris, 28 August 1879 – Paris, 15 November 1933)**

Jacques-Émile Ruhlmann, son and grandson of industrialists, who owned a painting firm, was born on 28 August in Paris. After completing his military service, he began designing his own furniture and visited the shops of cabinetmakers in his neighbourhood: Gevens, Stauffacher, etc. On the death of his father in 1907, Ruhlmann took hold of the industrial firm.

He exhibited wall papers at the Salon d'Automne in 1910 and at the Salon des Artistes décorateurs, and participated in major exhibitions in France and abroad, thereby acquiring fame.

The State commissioned him for projects, and the Metropolitan Museum of Art in New York and the Egyptian Museum in Cairo acquired furniture from him. His taste for luxury, the refinement of his furniture, as well as its aesthetic usefulness and their pure form, reflect the personal style of Ruhlmann. He only used rare and refined materials, the Macassar ebony, Cuban mahogany, kingwood, amboine, and many others.

The 1925 exhibition steered Ruhlmann to the forefront of the French movement of Decorative Arts. His building 'L'Hôtel du Collectionneur' was a success. That same year, he was awarded the Legion of Honour and Officer in 1932.

Ruhlmann also completed a variety of supplies for Jacques Neubauer's shop and a piano for Pleyel.

Jacques-Émile Ruhlmann died at the age of fifty-four on 15 November 1933. His company was subsequently dissolved.

---

776. **Jacques-Émile Ruhlmann,** 1879-1933, French.
'État rectangle' cabinet, c. 1922-1923. Veneer in kingwood,

ivory and ebony inlay, gilded bronze, interior of velvet,

126.7 x 84 x 31.5 cm. Musée des Arts décoratifs, Paris.

777. **Jean Dunand** , 1877-1942, French.
Screen, _Huts_ , c. 1921. Mahogany, lacquer,

metal, six partitions, 180 x 50 cm (each).

Musée des Arts décoratifs, Paris. Art Nouveau.

778. **Adelaïde Alsop Robineau** , 1865-1929,
American. _Fox and Grapes_ , 1922. Pot coated with

engraved and enamelled porcelain, height: 18.4 cm.

Jordan-Volpe Gallery Collection,

New York. Arts and Crafts Movement.

**Adelaïde Alsop Robineau**

**(1865-1929)**

Adelaïde Alsop Robineau was an American painter from New York. She was one of the most important ceramists of her generation. One of the few women of the American Arts and Craft Movement, she became noteworthy for making her pots from 'clay to finish'.

Adelaïde became interested in Chinese painting and married Samuel E. Robineau in 1899 in France. The same year, the couple launched _Keramic Studio_ for ceramic artists and potters.

She trained at Alfred University with Charles Binns, an American potter, and was part of art academy of People's University, an institution founded by Edward Gardner in Missouri.

There is a picture of her from 1910 showing her with her famous pot _Scarab Vase_ , which earned her international recognition.

---

779. **Jais Nielsen** , 1885-1961, Danish.
Vase, 1924. Enamelled sandstone,

height: 54 cm; diameter: 37 cm.

Musée des Arts décoratifs, Paris.

780. **Gerhard Henning** , 1880-1967,
Swedish. _The Chinese Bride_ ,

Denmark, 1922. Painted porcelain.

Royal Porcelain Factory, Copenhagen.

781. **Max Krehan** and **Gerhard Marcks** ,
1875-1925 and 1889-1981, German.
Jar with handle, 1922. Private collection. Bauhaus.

**Max Krehan**

**(11 July 1875 – 16 October 1925)**

Max Krehan was a German potter. In 1900, after obtaining the status of master potter, he entered the Krehan Pottery, led by his father in Dornburg. In 1919, when the Bauhaus in Weimar opened, its founder, Walter Gropius, established a workshop for pottery manufacture, with the intent to have it located in Weimar. Gropius proposed that Max Krehan join the Bauhaus to teach pottery, he refused for not wanting to leave his hometown. He did agree to teach students at his workshop in Dornburg, about fifteen miles from the Bauhaus. Krehan was then instructor of craftsmanship and encouraged his students to produce traditional pottery.

He died at the age of fifty in 1925.

---

782. **Josef Hartwig** , 1880-1956, German.
Bauhaus chess set, 1923-1924. Solid wood (pear),

cardboard, paper, 5.5 x 12.5 x 12.5 cm. Musée national

d'Art moderne, Centre Georges Pompidou, Paris. Bauhaus.

**Josef Hartwig**

**(Munich, 1880-1956)**

Munich-born sculptor Josef Hartwig was a member of the generation of teachers of the Bauhaus in Weimar. At the age of thirteen, Josef Hartwig began an apprenticeship in the studio of sculptor Simon Korn. There he created plaster models for architectural projects which allowed him to come into contact with famous architects such as Theodor Fischer.

Josef Hartwig then studied sculpture at the Academy of Fine Arts in Munich, led by Balthasar Schmidt from 1904 to 1906. By working as an architectural sculptor, he managed to pay for his studies and also took courses in architecture, design, and art history.

He moved to Berlin in 1910, where he worked as a sculptor for some eleven years.

In 1921, Walter Gropius called him to the Bauhaus in Weimar and made him head of the sculpture workshop of stone and wood. In this workshop, Hartwig produced plastic walls, based on projects by Oskar Schlemmer. These works, installed in the staircase of the building of the workshop, would be removed in 1928 because they were considered "useless ornaments."

Josef Hartwig also taught sculpture, geometry, and perspective at the school of art in Frankfurt.

In the following years, Hartwig worked with major artists such Gerhard Marcks, Georg Kolbe, Toni Stadler, and Richard Scheibe. In addition to sculpture, Hartwig also showed an interest in restoration. Since 1938 until the end of World War II, he worked in the restoration workshop of the Städtische Skulpturengalerie in Frankfurt am Main.

After 1945, he became master of the restoration workshop of the Frankfurt Liebieghaus.

Josef Hartwig died at the age of seventy-six years.

---

783. **Theodor Bogler** and **Aelteste Volkstedter Porzellanmanufaktur** ,
1897-1968 and 1900 - currently active, German.
Moka pot consisting of six parts, 1923.

Klassik Stiftung Weimar, Weimar. Bauhaus.

784. **Eileen Gray** , 1878-1976,
Irish. _Brick_ screen, c. 1923-1925.

Wood lacquered in black, 196.5 x 32 cm

(each partition). Private collection.

785. **Francis Barry Byrne** , 1883-1967,
American. Entrance with ceramic,
St Thomas Apostle, Chicago, 1923-1925. Chicago.

**Francis Barry Byrne**

**(Chicago, 19 December 1883 – Evanston, 18 December 1967)**

Son of a blacksmith, Francis Barry Byrne was forced to leave school at age fourteen, after the death of his father. Without special experience, he became an apprentice in the office of architect Frank Lloyd Wright in 1902. He remained there for five years before moving to Seattle in 1908, where he joined Andrew Willatzen who had also completed an apprenticeship with Wright. Together, they built more than fifty residential and commercial buildings. After a period of working with Wright's sons in San Diego, he was appointed Director by Walter Burley Griffin in Chicago and opened his own practice after the Second World War. From this period, he would focus exclusively on projects of religious buildings. He was the only member of the group of architects from the Prairie School to build in Europe, namely the Church of Christ the King in Cork, Ireland in 1928. He continued to accept orders until his death in 1967.

---

786. **Gerrit Rietveld** , 1888-1965, Dutch.
Rietveld Schröder House, 1924. Utrecht. De Stijl.

787. **Rudolf Steiner** , 1861-1925, Austrian.
_Goetheanum_ , 1924-1928. Dornach.

788. **Pierre Legrain** , 1889-1929,
French. Table and bench, c. 1924.

Lacquered wood, silver, black and chrome.

789. **Armand Albert Rateau** , 1882-1938,
French. Bathroom, c. 1924-1925.

Marble, bronze, glass, staff, and stucco.

Musée des Arts décoratifs, Paris.

790. **Pierre Legrain** , 1889-1929, French.
Tabouret, c. 1923. Lacquered wood,

gilded horn, 52 x 26.7 x 64.1 cm.

Virginia Museum of Fine Arts, Richmond.

**Pierre Legrain**

**(Levallois-Perret, 10 February 1889-1929),**

Pierre Legrain was an important artist in the movement of the decorative arts. Born in 1889, son of a rich industrialist, Pierre Legrain became interested in drawing at the age of twelve. He attended the _École des arts appliqués Germain Pilon_ and joined the Paul Iribe's workshop in 1908.

He revered the art of bookbinding by Jacques Doucet, who entrusted him with the creation of bindings for his collection of manuscripts. This successful venture led him to open his own studio in 1919.

Legrain is also a furniture designer, he produced about 1,200 furniture pieces. Most of his pieces were inspired by Africa or Cubism, and were executed in exotic materials such as wood, metal, or ivory.

In 1925 he was commissioned to decorate Doucet's studio in Neuilly.

Legrain is known for his very personal geometric styles. His work shaped his virtuosity and use of rare materials, without great ornamentation.

His inspiration comes undeniably from avant-garde artists of the early 20th century.

In 1929, whilst he was at the peak of his career, co-founder of the UAM (Union des artistes modernes), Pierre Legrain died at the age of forty.

---

791. **Edgar Brandt** , 1880-1960, French.
Screen, _Oasis_ , c. 1924. Iron and brass,

181.6 x 63.5 cm (each partition).

Private collection, Paris. Art Deco.

**Edgar Brandt**

**(Paris, 24 December 1880 – Collonge-Bellerive, 8 June 1960)**

Edgar Brandt was the greatest blacksmith of the early 20th century. He left the École professionnelle de Vierzon with training metalworker and is recognised for his skill and ingenuity. He finished military service in Nancy and travelled to Paris in 1902 in hopes of opening a workshop. Through his gold and silver jewellery manufacturing, Edgar exercised the modern style and received many commissions, even from the provinces. He was appreciated as a young artist. During the Exposition internationale des arts décoratifs et industriels modernes, Edgar worked as an ironworker and had his own pavilion to exhibit. On 10 December 1925, Brandt opened his gallery, the first Art Deco gallery in Paris and produces ironwork, furniture, decorative objects, and sculptures. He collaborated with Daum, Lalique, and Ruhlmann.

His fame took an international turn, as his Art Deco works reached the United States and Canada. More and more young artists began to imitate him.

Among his most famous works are the colourful ramp of the main staircase of the Town Hall in Euville, a fireplace in the lounge at the Salon Grands Voyageurs, the Gare de l'Est in Paris, and the ironwork at the CIC bank in Nancy.

The works of Edgar Brandt, long forgotten, continue to attract new attention.

---

792. **Anonymous.** Poster for _La Croisière noire_ , 1925.

Coloured lithograph. Musée du quai Branly, Paris.

793. **Joost Schmidt** , 1893-1948, German.
Poster for the _Bauhaus_ exhibition in Weimar, 1925.

Bauhaus-Archiv Museum für Gestaltung, Berlin. Bauhaus.

**Joost Schmidt**

**(1893-1948)**

Joost Schmidt was a typographer and sculptor. Shortly after its founding, he entered the Bauhaus in Weimar and completed his studies as a sculptor under the guidance of Johannes Itten and Oskar Schlemmer. His remarkable performance immediately attracted attention. Whilst an apprentice, he was responsible for the Bauhaus exhibition of 1923, located in the hall of the main building. Schmidt also distinguished himself in the field of graphics, as shown in the poster he created for the exhibition of the Bauhaus in Weimar.

In 1925, shortly after completing his degree in sculpting, Joost Schmidt became a teacher at the Bauhaus, being given the leadership of the sculpture studio. Schmidt also taught at the print shop.

In 1935, several years after the closure of the Bauhaus (1933), Joost Schmidt taught at the Reimann School in Berlin. In 1946, he participated in the organisation of events and exhibitions for the USA Exhibition Center and began a book on the Bauhaus.

Joost Schmidt died in 1948.

---

794. **Robert Bonfils** , 1886-1972, French.
Poster for the _Exposition internationale_
_des arts décoratifs de Paris_ , 1925.

Colour woodblock poster, 65.1 x 39.7 cm.

Victoria and Albert Museum, London.

795. **Emil Bisttram** , 1895-1976, American.
_Pearls and Things and Palm Beach_ , 1925.

Watercolour, 42.5 x 29.5 cm.

Susan and Herbert Adler Collection.

796. **Cartier** , founded in 1847, French.
Brooch, 1914. Carved rubies and onyx,

teardrop pearl, tourmaline, diamonds,

onyx, and briolette. Private collection.

797. **Louis Vuitton** , founded in 1854, French.
Travel bag or nécessaire 'Marthe Chenal',
exhibited in Paris in 1925.

Musée Louis Vuitton, Asnières.

798. **Anonymous.**
Handbag with a small mirror, c. 1924.

Felt, leather, satin, brass, and tapestry.

Victoria and Albert Museum, London.

799. **Jean Dunand** , 1877-1942, French.
Screen with two partitions, c. 1925.

Lacquer and ivory. Exhibited at the

_Salon des Artistes décorateurs_ in 1928. Art Deco.

800. **Paul Manship** , 1885-1966,
American. _Dancer and Gazelle_ , 1916.

Bronze, 81.9 x 88.9 x 27.9 cm.

The Metropolitan Museum of Art, New York.

801. **Carl Milles** , 1875-1955,
Swedish. _Dancing Maenad_ , 1912.

Bronze, 71 x 50 x 10 cm.

Carl Milles Museum, Stockhlom. Art Nouveau.

802. **Paul Manship** , 1885-1966, American.
_Actaeon_ , 1925. Bronze, 48 x 52 cm.

Smithsonian American Art Museum,

Washington, D.C. Realism.

Photograph: Edward Owen.

803. **Carl Milles** ,1875-1955, Swedish.
_Europa and the Bull_ , 1923-1924.

Bronze, 78.1 x 66.7 x 33 cm.

Tate Collection, London.

Photograph: Christie's, New York.

804. **Paul Manship** , 1885-1966, American.
_Diana_ , 1925. Bronze, 124.4 x 109.3 cm.

Smithsonian American Art Museum,

Washington, D.C. Realism.

**Paul Manship**

**(Saint Paul, Minnesota, 25 December 1885 – New York, 31 January 1966)**

Paul Howard Manship was born on Christmas Day in St Paul, Minnesota. He began his studies at the Institute of Arts and Sciences and continued his training in New York in 1903. Colourblind, he first attempted painting, but then turned to sculpting. In New York, he enrolled at the Art Student League and found a place in the workshop of the sculptor Solon Borglum whom Manship would always refer to as his greatest influence.

He then became apprentice to Isidore Konti, who pushed him to participate in the Prix de Rome. In 1909, at twenty-three years old, he became the youngest American sculptor to win the Prix de Rome. It was during his stay in Europe, particularly in Italy and Greece, that Manship refined his style, combining ancient Greek and Roman influences, neoclassicism, and modernism.

Returning to New York in 1912, he married Isabel McIlwaine on 1 January 1913, with whom he had four children, two of whom will become artists. The same year in February, an exhibition dedicated to him was held at the Architectural League of New York. This critical success would be the first in a long line.

Until the end of Second World War, he continued to receive commissions. He then became a member of the National Academy of Fine Arts in Buenos Aires in 1944, the Académie des Beaux-Arts in Paris in 1945, and the Academy of St Luke in Rome in 1952. He received the gold medal in sculpture from the National Institute of Arts and Letters in 1945.

After the Second World War, his works were criticised as ultra-conservative, and his popularity began to drop. He believed that contemporary sculpture expressed nothing significant, that it only directed to a self-proclaimed elite and depicted only the ideas of the artist.

However, he continued to work until his death in 1966, but his works no longer appeared in the press.

---

805. **Jacques-Émile Ruhlmann, Jean Dunand** ,
and **Jean Lambert-Rucki** , 1879-1933, 1877-1942,
and 1888-1967, French and Polish. Furniture, 1925.

Black lacquer and carved decorations in silver.

DeLorenzo Gallery, New York. Art Deco.

806. **Sir Edward Maufe** , 1883-1974, English.
Desk, 1925. Mahogany carcase, with ebony writing

and top surfaces, gessoed and gilded with white gold,

with haldu wood footrest and feet, and ivory,

rock crystal and silk handles, 107 x 134.3 x 53 cm.

Victoria and Albert Museum, London. Art Deco.

807. **Pierre Legrain** , 1889-1929, French.
Reading chair, c. 1925-1928. Satin,

mahogany and burl veneer, silver metal,

braided leather, 115 x 59 x 45 cm.

Musée des Arts décoratifs, Paris.

808. **Pierre Chareau** , 1883-1950, French.
Telephone table 'MB152', c. 1925.

Walnut, 80 x 104 x 64 cm.

Private collection, Paris. Art Deco.

809. **Jacques-Émile Ruhlmann** ,1879-1933, French.
Pair of armchairs, c. 1925. Macassar ebony

and bronze with Aubusson tapestry.

Private collection. Art Deco.

810. **Eileen Gray** , 1878-1976, Irish.
Dressing table, 1926-1929. Oregon pine,

plywood, cork, aluminium, glass, traces of

turquoise blue, 161 x 60 x 165 cm.

Musée des Arts décoratifs, Paris. Art Deco.

811. **Charlotte Perriand,** 1903-1999,
French. Small round table, 1927.

Nickelled glass and brass on four-edged base,

height: 71 cm; diameter: 65 cm.

Private collection. Art Deco.

**Charlotte Perriand**

**(Paris, 24 October 1903 – 27 October 1999)**

Charlotte Perriand was a French designer and architect, born to a father who was a tailor and a mother who was a _haute couture_ seamstress. Graduating from UCAD (Union Centrale des Arts décoratifs), in 1927 she joined her cousin, the famous architect Le Corbusier, and Pierre Jeanneret, and completed several metal furniture, including highly-recognised, adjustable chair. She, with Pierre Chareau, became a founding member of UAM (Union des Artistes Modernes) in 1929, chaired by Robert Mallet-Stevens. This movement aimed to exploit new materials and new technology.

After the Second World War, Charlotte Perriand played an important role in the creation of the Radiant City (Ville Radieuse), designed by Le Corbusier. Her career allowed her to travel around the world, particularly to Japan in the 1940s where she was an industrial art advisor to the Ministry of Trade and Industry. Her style was greatly influenced by her travels, and Perriand turned her mind to wood. Straw, bamboo, tree branches became elements of choice.

Charlotte Perriand died in 1999 at the age of eighty-six.

---

812. **Eileen Gray** , 1878-1976, Irish.
'Bibendum' chair, c. 1926-1929.

Cover of ivory-coloured linen, chrome,

63 x 88 cm. Private collection. Art Deco.

813. **Franz Hagenauer** , 1906-1986,
Austrian. Mirror, c. 1925.

Copper and reflective glass.

Bröhan-Museum, Berlin. Art Deco.

814. **Maison Boucheron** , founded in 1858,
French. Decoration for a corsage, 1925. Lapis lazuli,

coral, jade and onyx set with rhinestones and gold,

turquoise pendant, diamonds, and platinum.

Boucheron SAS, Paris. Art Deco.

**Maison Boucheron**

**(Paris, 1858 – currently active)**

Artisan and talented artist, Frédéric Boucheron founded the House of Boucheron in 1858 in the Galerie de Valois, at Palais-Royal, before transferring to 26 Place Vendôme in 1893. The House of Boucheron has five lines of products: jewellery, fine jewellery, watches, perfumes, and glasses. Originality, mystery, sensuality, and extreme refinement characterise the famous jewellery.

The jewellery created was largely inspired by nature, which explains why gems are regularly accompanied by animals (snakes, frogs, owls, or even dragonflies). This passion for nature is still present today.

The House of Boucheron quickly gained an international reputation and won numerous awards, including a gold medal at the World Exhibition in 1867, the Grand Prix at the World Exhibition in 1878, and gold medal at the World Exhibition of Paris in 1900.

Frédéric Boucheron disappeared in 1902 leaving the family company to his son Louis. The House of Boucheron was sold in 2000.

---

815. **Maison Boucheron** , founded in 1858,
French. Brooch, 1925. Platinum, onyx,

coral, and diamonds, 10.8 x 5.2 cm.

Musée des Arts décoratifs, Paris. Art Deco.

816. **Edgar Brandt** , 1880-1960,
French. Entrance door, Madison Avenue,

New York, c. 1925. Wrought iron with

bronze applications. Art Deco.

817. **René Lalique** , 1860-1945, French.
_Suzanne Bathing,_ 1925. Glass.

Private collection, Japan. Art Nouveau.

818. **François Décorchemont,** 1880-1971, French.
Large vase with two leaf-shaped handles, 1925.

Glass paste moulded by low-cast waxing;

height: 24 cm; diameter with handles: 25 cm.

Musée des Arts décoratifs, Paris. Art Deco.

**François Décorchemont**

**(Conches-en Ouche, 26 May 1880 – 19 February 1971)**

The father of the French François Décorchemont was a sculptor, and so François Décorchemont became a ceramist and glassmaker. He began his training at the École nationale des Arts décoratifs. His technique of using a fine glass paste that kept the glass together and was sheer, made him internationally renowned. His style, his finesse, simple and colourful results reflected his desire to give his creations sculptural effects, and in the shapes and the lines of his designs are represented a new ornamental design concept. Décorchemont turned then to stained glass window in the 1930s. Religious iconography dominates the second part of his career, and he worked in about thirty churches.

---

819. **Pierre Chareau** , 1883-1950, French.
Pair of sconces, 'LA272', c. 1926.

Flange and alabaster, 60 x 16 x 11 cm.

Private collection, Paris. Art Deco.

**Pierre Chareau**

**(Bordeaux, 1883 – New York, 1950)**

Chareau began his career in 1903, as designer for the French office of Waring & Gillow, which he left in 1914. In 1919, he opened his own architecture and design agency, and designed modern piece following his acquaintance with Louis Dalbet. This collaboration led to several works, works that are today masterpieces of 20th century arts, namely a 1923 lamp, entitled _La Religieuse_.

His main work was _La Maison de verre_ , which he completed with Annie and Jean Dalsace between 1928 and 1932. Done over three stories, the facade of the interior courtyard was made entirely of glass. The structure was realised by the confidence of the designers and the use of logistical piping decorative elements. He produced furniture made of metal and wood and a series of lamps with alabaster shades, whose shapes epitomise a unique and true 'Chareau style'. In 1939, he moved to the US and died in New York, in 1950.

---

820. **Jacques-Émile Ruhlmann** , 1879-1933,
French. 'Fan' wall light, c. 1925.Alabaster and

chromed bronze, 45.8 x 69.5 x 37 cm.

Private collection. Art Deco.

821. **Pierre Chareau** , 1883-1950, French.
Standard lamp, 'Religieuse SN31',

c. 1927. Indian rosewood, alabaster,

wrought iron patinated black, 186.5 cm.

DeLorenzo Gallery, New York. Art Deco.

822. **Donald Deskey** , 1894-1989, American.
Table lamp, c. 1927. Chrome and glass,

33 x 11.1 x 13.3 cm. Museum of Fine Arts, Boston.

Courtesy of the Museum of Fine Arts, Boston. Art Deco.

823. **Maison Paul** and **Raymond Templier** , 1891-1968,
French. Bracelet with brooch, c. 1925-1930.

Silver, platinum, gold, onyx, and diamonds.

Virginia Museum of Fine Arts, Richmond. Art Deco.

824. **Jan** and **Joël Martel** , 1896-1966,
French. _Musical Saw Player_ , 1927.

Sculpture of zinc, 77.5 x 46 x 36 cm.

Private collection. Abstract art.

825. **René Lalique** , 1860-1945, French.
Lamp, 'Two Peacocks', 1920 (design).

Glass with moulded and carved decoration,

on bakelite base, height: 45.1 cm. Victoria and

Albert Museum, London. Art Nouveau.

826. **René Paul Chambellan** , 1893-1955,
American. Entrance to the luxury suite of
Chanin Building, New York, 1928.

Wrought iron and bronze. Cooper-Hewitt,

National Design Museum, Smithsonian Institution,

New York. Art Deco.

**René Paul Chambellan**

**(West Hoboken, 15 September 1893 – 29 November 1955)**

Sculptor, designer, and architect, Rene Paul Chambellan studied at the Académie Julian in Paris and worked in New York and New Jersey. Specialist in architectural sculpture, Chambellan made many ornate works, including the Rockefeller Center in New York for which he created a bronze door and a fountain called _La Source_ , the New York State Office Building in 1929, and the Tribune Tower in Chicago in 1935. He participated in many development projects, such as town halls, banks, hospitals, shops, churches, etc. and renovated a permanent exhibition of arts and crafts decorative in Radio City building.

---

827. **Cartier** , founded in 1847, French.
'Egyptian Temple Gate' Clock, 1927.

Gold, silver-gold, ivory, coral, enamel,

lapis lazuli, carnelian, emeralds.

Cartier Collection, Geneva. Art Deco.

**Cartier**

**(Paris, 1847 – currently active)**

Founded in 1947 by Louis-François Cartier, the company Cartier designs, manufactures, and sells jewellery and luxury watches. The family company, under the management of the son Alfred Cartier, relocated Rue de la Paix (its current address) in Paris in 1899 and was made famous by his grandson Louis Cartier. It expanded to London in 1902 and New York in 1909.

The talent of Louis-François and Alfred attracted wealthy houses and acquired them a worldwide reputation. Characterised by its know-how and inspired by cultures worldwide, the company, in the early 20th century, was a precursor of Art Deco jewellery, seen in its bright colours and stylised shapes.

La Maison Cartier has more than 300 shops and 5,500 employees worldwide. It now belongs to the group Richemont, headquartered in Geneva.

---

828. **Paul Theodore Frankl** , 1886-1958,
Austrian. 'Puzzle' desk, c. 1927.

Red lacquer, silver leaf, silvered handles,

height: 83.8 cm. Art Deco.

829. **Gérard Sandoz** , 1902-1995,
French. _Semaphore_ brooch, c. 1928.

White gold, yellow gold, platinum, onyx,

coral, and diamonds, 8.7 x 5 cm.

Private collection, London. Art Deco.

830. **Gérard Sandoz** , 1902-1995, French.
Cigarette case marked with 'Black,

Starr & Frost', c. 1927. Silver, red,

black, and ecru lacquer.

Private collection. Art Deco.

831. **Gérard Sandoz** , 1902-1995,
French. Ring, 1928. Gold, silver,

red, black, and ecru enamel.

Jean-Pierre Malga Collection. Art Deco.

832. **Gustave Miklos** , 1888-1967,
French. _Sun God_ , 1928.

Gilded plaster, 66 x 16 cm.

Private collection. Art Deco.

833. **Paul Manship,** 1885-1966,
American. _The Rape of Europa_ , 1925.

Bronze. Lionel and Geraldine

Sterling Collection, USA.

834. **Rudolf Belling** , 1886-1972,
German. _Sculpture 23_ , 1923.

Brass, 48 x 19.7 x 21.5 cm. The Museum

of Modern Art, New York. Abstract art.

**Rudolf Belling**

**(Berlin, 28 August 1886 – Krailling, 9 June 1972)**

Rudolf Belling was a major supporter of modernism in Germany. After attending school in Steglitz, he received placement to learn craftsmanship. He undertook drawing classes in 1909 and worked in a workshop for sculpture. In 1911, he studied at art school in Berlin. During the First World War, he was sent to Adlershof.

In 1923, he made twenty-three sculptures, which reveal the sophisticated integration cubist and futurist principles. The head was produced by a conjoining of different geometric shapes, each having an almost mechanical precision and efficiency.

Active in the organisation to help spread the Modernism throughout German-speaking countries, Belling was labelled as a 'degenerate artist' by the Nazi regime, and was dismissed from his teaching position. He was eventually exiled and moved to New York. The Nazi regime forbade him from returning home. In 1937, he went to Turkey. In 1955, he was made a Grand Officer of the Order of Merit of the Federal Republic of Germany.

---

835. **Erik Magnussen** , 1884-1961, American.
Tea service: _The Lights and Shadows of Manhattan_ , 1927.

Burnished silver with gold panels and oxidized grey metal.

Charles H. Carpenter Jr Collection. Art Deco.

836. **Marianne Brandt** , 1893-1983,
German. Teapot, c. 1924. Silver and ivory,

height: 7.3 cm. The Metropolitan

Museum of Art, New York. Bauhaus.

837. **Cassandre (Adolphe Mouron)** , 1901-1968,
Ukrainian. Poster for the _Nord Express_ , 1927.

Colour lithograph, 105.4 x 75 cm.

Victoria and Albert Museum, London. Art Deco.

**Cassandre (Adolphe Jean Marie Mouron)**

**(Charkiw, 24 January 1901 – Paris, 17 July 1968)**

Adolphe Jean Marie Mouron was born in Ukraine on 24 January 1901. He studied at the École des Beaux-Arts in Paris before joining the Académie Julian. French graphic designer, poster artist, stage designer, lithographer, painter, and typographer, Cassandre grew interested in the Bauhaus movement, and would be greatly influenced by it.

In 1922, he signed his works with his artist name 'Cassandre', and made his first advertising work. "Posters offer the painter a means of connecting with the man in the street," he said.

In 1925, Cassandre received the grand prize at the Exposition internationale des Arts décoratifs for his advertisement _Le Bûcheron_ , made for a furniture store in 1923.

In 1927, he produced posters for _L_ _'_ _Étoile du Nord, Le Nord Express,_ and _L_ _'_ _Intran._

Also decorator, Cassandre made his first theatre set in 1933 for Jean Giraudoux's _Amphitryon 38_. Additionally, he taught courses at the École nationale supérieure des arts décoratifs. Deeply influenced by cubism and purism, he was also inspired by the Italian Futurists. Moreover, his style was defined by simplicity and geometrical shapes, clean lines, and an emphasis on typography. He created many posters for ocean liners including that of _Normandie_ , made in 1930.

In 1936, the Metropolitan Museum of Art in New York held a retrospective of Cassandre's posters. He then signed a contract with _Harper_ _'_ _s Bazaar_ and moved to the United States. Cassandra focused, thereafter, on theatre sets and painting.

In 1950, a second retrospective of his work took place at the Musée des Arts décoratifs.

Cassandre commited suicide at the age of sixty-seven, on 17 June 1968.

---

838. **Rogers Broders** , 1883-1953, French.
Poster for _Le Tour du mont Blanc_ , 1927.

Lithograph, 101.6 x 63.5 cm.

Victoria and Albert Museum, London. Art Deco.

839. **Cassandre (Adolphe Mouron)** , 1901-1968, Ukrainian.
Poster for _L_ _'_ _Oiseau bleu, Train Pullman_ , 1929.

Colour lithograph, 100 x 61.6 cm.

Museum of Fine Arts, Boston. Art Deco.

840. **Edward McKnight Kauffer** , 1890-1954,
American. Book cover for _The Bleston Mystery_

by Robert Milward Kennedy, 1928.

Engraving with coloured lines.

Victoria and Albert Museum, London. Art Deco.

841. **Theyre Lee-Elliott** , 1903-1988, English.
Book cover for _Pastel_ by Georgette Heyer, 1929.

Engraving with coloured lines.

Victoria and Albert Museum, London. Art Deco.

842. **Henri Laurens** , 1885-1954, French.
Bas-relief, 1928. Coloured terracotta, height: 93 cm.

Lille métropole musée d'Art moderne, d'Art contemporain

et d'Art brut, Villeneuve-d'Ascq. Cubism.

**Henri Laurens**

**(Paris, 1885-1954)**

Henri Laurens was one of the first sculptors to operate and develop the innovations of Cubism. His early works, like many sculptures produced in the early 1900s, were strongly influenced by Rodin. He turned first to the French-Romanesque and Gothic sculpture as a means to escape the penetrating pathos of Rodin. The intimate friendship he developed with Georges Braque in 1911, the same time that analytic Cubism gave way to synthetic Cubism with the introduction of collage, helped him to make effective progress. Since one of his legs had been amputated in 1909, Laurens was exempted from military service, which ended the career of Braque. During the First World War, he expressed his new Cubist ideas in a series of sculptures entitled _Constructions_ , made of wood and polychrome plaster, through which he explored typically cubist themes, such as fragmented nudes and still lifes of ordered workshops ( _Bottle and Glass_ , 1917 and _Guitar_ , 1917-1918). At that time, Laurens, along with Picasso, Braque, Gris, and Léger, was represented by the dealer Leonce Rosenberg. Like most of them, he parted from Rosenberg at the end of the war, and for a time gave in to the dealer Daniel-Henry Kahnweiler. A token of appreciation and a sign of his status as a vogue artist, in 1924 the Russian impresario Serge Diaghilev commissioned him to decorate the stage for the ballet _Le Train bleu_ , which took place on a beach in the south of France. There he met the music of Darius Milhaud, costumes of Coco Chanel, and a curtain of Picasso.

From the mid-1920s, Laurens moved away from the angular aspect of his cubist style and adopted a more gentle way, more sensual and organic, focusing on the theme of the female nude.

---

843. **Jean Dunand** , 1877-1942, French.
Panel: _Veiled Josephine Baker_ , 1927.

Lacquer. The Dunand Family Collection.

844. **Auguste Lazo**. Tile with Mayan motif, 1928.

Sandstone. John P. Axelrod Collection,

Boston. Cubism.

845. **Paul Colin** , 1892-1985, French.
_Josephine Baker_ , plate from
_Tumulte noir_ , 1927. Lithograph.

846. **William van Alen** , 1883-1953, American.

Entrance hall at the Chrysler Building, 1927-1930.

New York. Art Deco.

847. **Edgar Brandt,** 1880-1960, American.
Lift panel, _The Storks of Alsace_ , 1928.

Lacquer, iron, bronze, and wood, 195 x 151 cm.

Victoria and Albert Museum, London. Art Deco.

848. **William van Alen** , 1883-1953, American.
Lift door, Chrysler Building, New York, 1927-1930.

Metyl-wood veneer. Art Deco.

**William van Alen**

**(New York, 10 August 1883 – 24 May 1953)**

William van Alen was a recognised American architect having made the Chrysler Building in New York. Van Alen studied at the Pratt Institute in Brooklyn before working in the office of Clarence True. In 1911, Van Allen collaborated with H. Craig Severance to build multi-levelled shopping malls that broke with the conventional rules of material. He was subsequently contacted by Walter Chrysler to build a skyscraper in the glory of the tycoon. He wanted to have the tallest building in the world. Van Allen imagined a stainless steel spear 58.4 metres high, resting atop of the building. The first stone was laid on 19 September 1928 and the inauguration of the building took place on 27 May 1930. The title of tallest building in the world remained in force for only one year since the following year the Chrysler Building was surpassed by the Empire State Building, measuring 381 metres.

---

849. **René Paul Chambellan** and **Jacques Delamarre** ,
1893-1955 and 1906-1986, American.
Frieze in the Chanin Building, 1929.

Repoussé copper. Art Deco.

850. **Heinsbergen Decorating Company (Anthony Heinsbergen),**
1894-1988, American. Design for the ceiling at the
Pantages Theater, Los Angeles, c. 1929.

Watercolour on paper. Art Deco.

851. **Le Corbusier** , 1887-1965, French.
_Villa Savoye_ , 1928-1929. Poissy-sur-Seine. Purism.

**Le Corbusier**

**(La Chaux-de-Fonds, 6 October 1887 – Roquebrune-Cap-Martin, 27 August 1965)**

The architect, painter, and sculptor Charles-Édouard Jeanneret-Gris was born in Switzerland. He studied at his local art school before completing his training with August Perret between 1908-1909. At the age of fifteen, he completed his first graphic work, for which he was distinguished at the exhibition of decorative arts in Turin in 1902.

After travelling through Italy, Austria, southern Germany, and eastern France, Le Corbusier met Eugène Grasset, from whom he learned the characteristics of technical drawing for reinforced concrete engineering. He then worked as designer at Peter Behrens's architectural firm.

In 1917, he moved to Paris. Perret introduced him to Amédée Ozenfant, who in turn introduced him to oil painting. Together, they would develop the foundation of Purism. In their opinion, art should awaken the spirit of austerity and should condemn opulance. This aspect would resurface in the works of Le Corbusier. In 1920, Le Corbusier, together with poet Paul Dermée and Ozenfant, founded the magazine _L_ _'_ _Esprit Nouveau_ , where he signed under his pseudonym Le Corbusier for the first time. In 1922, he built his first house in Paris, and then that of Amédée Ozenfant.

Later, he merged with his father Pierre Jeanneret and founded an agency in Paris. He designed numerous villa and workshops, including the Villa Stein in 1927 and the Villa Savoye in 1929. In the late 1920s, he designed furniture, and he founded the Union des Artistes Modernes (UAM). In the 1930s, protected by the economy, he participated in various international competitions, making an international name for himself. He devoted himself to the study of the urban planning of North Africa, Brazil, Argentina, etc.

After the war, he reconstructed the city centre in Marseille and the Notre Dame du Haut in Ronchamp with changes to a less-harmonious style than that of previous years. As promoter of modernity, Le Corbusier defines the history of architecture and the 20th century.

---

852. **Frank Lloyd Wright** , 1867-1959, American.
_Falling Water_ , 1934-1937. Pennsylvania.

853. **Maurice Marinot** , 1882-1960, French.
Small bottle, _The Golden Parrot_ , 1928.

Handblown glass, shaped hot, metallic bubbles,

and coloured interlayers between three

layers of transparent glass, 15.5 x 12 cm.

Musée des Arts décoratifs, Paris.

854. **Otar,** American. Inkwell, c. 1928.
Copper and brass, height: 11.4 cm.

Mitchell Wolfson Jr Collection,

Miami Dade Community College, Miami.

855. **Gilbert Rohde** , 1894-1944, American.
Tea service, c. 1928. Tin plated with silver

and blackened wood, height: 6.9 cm;

diameter of the tray: 19.7 cm.

Miles J. Lourie Collection. Art Deco.

856. **Tiffany & Co.**, 1837 - currently active,
American. Desk clock. Silver, jade, quartz,

black onyx, and enamel, signed, height: 12.7 cm.

Location unknown. Art Deco.

857. **Jean Goulden** , 1878-1946,
French. Clock, 1928.

Silvered bronze and enamel.

Stephen E. Kelly Collection. Art Deco.

858. **Paul Theodore Frankl** , 1886-1958,
Austrian. Clock, 1928-1929.

Polished and burnished silver.

Art Institute of Chicago, Chicago. Art Deco.

859. **Gérard Sandoz** , 1902-1995,
French.Pendant with chain, c. 1929.

Pink gold, white gold, yellow gold,

silver, and labradorite, 10.3 x 3.6 cm.

Private collection. Art Deco.

860. **Raymond Templier** , 1891-1968,
French. Cigarette case, 1928.

Silver, eggshell, and lacquer, enamel interior.

Bröhan-Museum, Berlin. Art Deco.

**Raymond Templier**

**(Paris, 21 April 1891-1968)**

Raymond Templier, the son and grandson of jewellers, whose family name also is 'jewellery sculptor', was one of the greatest Art Deco artists. From 1909 to 1912, he studied at the École Nationale Supérieure des Arts Décoratifs. Soon after his graduation, he participated in various exhibitions, in particular in the salon Artistes Décorateurs of 1911, the Salon d'Automne, and the Tuileries.

In 1929, Raymond Templier, with Robert Mallet-Stevens, Jean Puiforcat, and Pierre Chareau, founded the Union des Artistes Modernes (UAM). He was the first to incorporate a strict style, with slender shapes, geometric lines, and used innovative materials, like black-lacquered silver, typical for the new Art Deco style, to which critics and buyers responded to well.

---

861. **Raymond Templier** , 1891-1968,
French. Brooch, 1929. Platinum, onyx,

frosted crystal, diamonds, 4.5 x 4.5 cm.

Musée des Arts décoratifs, Paris. Art Deco.

862. **Jean Dunand** , 1877-1942, French.
Bracelet, c. 1930. Rosewood, cedar burl,

nickel, and lacquer, 4.2 x 17.2 cm.

Mrs Eva Chow Collection. Art Deco.

**Jean Dunand**

**(Lancy, 20 May 1877 – Paris, 7 June 1942)**

Jean Dunand was born on 20 May 1877 in Lancy, Switzerland. His father was a gold smelter for watchmaking.

In 1891, he entered a sculpture class in the school for industrial design in Geneva. In 1896, he received a stipend to travel to Paris, where he was an apprentice to the sculptor Jean Dampt, who taught him to sculpt in different materials, such as plaster, bronze, stone, and ivory. Jean Dunand would be chosen by Dampt as one of three students to visit his estate in Touraine, to further learn about sculpting.

Dunand presented at the World Exhibition as a Swiss artist, and won the gold medal for his sculpture _Quo Vadis._

From 1903 to 1906, he collaborated with Dampt to design the mansion of the Viscountess of Béarn and realized sculptures for panelling, door frames, and furniture.

He turned completely to the decorative arts in 1905. Dunand discovered Japanese lacquer craftsmanship, attracted to its brilliance and vibrant colours. He learned this technique from the Japanese Sougawara, who worked with Eileen Gray.

In August 1914, he enrolled as a volunteer to the French Red Cross. Upon his return, still fascinated by lacquer, Dunand continued his research and experiences and also participated in many fairs and exhibitions gaining fame. His style evolved into simple, geometric shapes.

On 1 November 1919, he was made Chevalier of the Legion of Honour.

In 1923, he accentuated his geometric designs with contrasting colours, Japanese red on black.

In collaboration with the coachbuilder Henri Labourdette, he realised interiors for limousines, using lacquer and eggshell.

In 1927, Dunand participated in the decoration of the liner _Île de France_ and in 1928 designed the programme for Josephine Baker's first 'farewell', done for her audience. He then worked on the interior design of the steamer _L_ _'_ _Atlantique_ , whose theme was revolved around the fauna and flora of tropical regions. The boat burned and all lacquers by Dunand were destroyed.

Jean Dunand died on 7 June 1942 at the age of sixty-five.

---

863. **Gérard Sandoz** , 1902-1995,
French. Cuff links, c. 1929.

Silver, red, black, and eggshell lacquer.

Historical Design, New York. Art Deco.

864. **Jean Dunand** , 1877-1942, French.
Commode, 1928. Lacquered wood and

black lacquer, 85 x 170.2 x 84.5 cm.

Private collection. Art Deco.

865. **Jean Dunand** , 1877-1942, French.
Large and small sideboard, commissioned by

Templeton Crocker, c. 1928. Lacquered wood.

Peter and Sandra Brant Collection. Art Deco.

866. **Jean Dunand** , 1877-1942, French.
Dining room table with eight chairs,
commissioned by Templeton Crocker, c. 1928.

Lacquered wood and eggshell.

Peter and Sandra Brant Collection. Art Deco.

867. **Robert Mallet-Stevens** , 1886-1945, French.
Desk with leather surface with built-in,

nickelled pencil cases, c. 1928 and chair of lacquered

stainless steel tubes by Labormétal, c. 1929. Art Deco.

**Robert Mallet-Stevens**

**(Paris, 4 March 1886 – Paris, 8 February 1945)**

Robert Mallet-Stevens was born 4 March 1886 in Paris. Architect, designer, teacher, he was one of the key figures of modern architecture. By 1905, he studied at the École Spéciale d'Architecture.

Mallet-Stevens mainly drew architectural designs and interior designs and undergoes for many years, the influence of Josef Hoffmann. After the war, he created a number of private residences, theatres, cinemas, offices, and public gardens. In 1923-1924, Mallet-Stevens realised sets for Marcel l'Herbier's movie _L_ _'_ _Inhumaine_.

As regards to the field of architecture, Villa Paul Poiret and Villa des Frères Martel remain two of his major works. Robert Mallet-Stevens created furniture in simple shapes, without ornament, using mostly wood and metal. Lighting played an important role in his interiors.

In 1929, he became president of the Union des Artistes Modernes (UAM) which united avant-garde designers and architects.

Appointed Director of Fine Arts in Lille in 1930, he then took part in the exhibition in Brussels in 1935 and at the Universal Exhibition of 1937, where he received numerous commissions.

During the occupation, he took refuge in western France and died in Paris in 1945, after a long illness.

---

868. **Robert Mallet-Stevens** , 1886-1945,
French. Dressing table, 1929-1932.

Sycamore and aluminium veneer, 110 x 113 cm.

Private collection. Art Deco.

869. **Heinsbergen Decorating Company** ( **Anthony Heinsbergen** ), 1894-1988,
American. Two designs for the ornamentation of the Pantages Theater,
Los Angeles, c. 1929. Watercolour on paper. Upper part of the

frieze mounted on the safety curtain by the proscenium. Art Deco.

870. **Raymond Hood,** 1881-1934, American.
Entrance of the McGraw-Hill building,

New York, 1930. Art Deco.

871. **Robert S. Degolyer** and **Charles L. Morgan** ,
1890-1947 (Morgan), American. Entrance of

the apartment complex 'Powhatan', Chicago, 1929. Art Deco.

872. **William F. Lamb** , 1883-1952,
American. Empire State Building,

New York, 1929-1930. Art Deco.

**William F. Lamb**

**(Brooklyn, 21 November 1883 – 8 September 1952)**

Born in Brooklyn in 1883 and of Scottish origin, William Frederick Lamb, son of an architect, studied architecture at Columbia University in New York, and graduated from the École des Beaux-Arts in Paris in 1911. The same year, he joined the architectural firm Carrère & Hastings, where he met the man who would become his partner: Richard H. Shreve. Together they founded Shreve & Lamb and Shreve, Lamb & Harmon in 1929. Following a commission from John J. Raskob, Lamb drew plans for what will remain for decades the tallest skyscraper in world. On 1 May 1931, the Empire State Building was completed. He participated in the realisation of many other skyscrapers such as 14 Wall Street, headquarters for _Forbes_ magazine, and 500 Fifth Avenue.

---

873. **Wirt Rowland** , **Smith** , **Hinchman & Grylls Associates Inc**.
and **Thomas di Lorenzo** , 1878-1946 (Rowland), American.
Main foyer at the Guardian Building, Detroit, 1929.

Black marble from Belgium and red marble from Numidia,

Mankato stone, and Rookwood ceramic. Art Deco.

874. **Rubush & Hunter**, American.
Vestibule at the Circle Tower, Indianapolis, 1929-1930.

Chiselled hot stones and bronze doors. Art Deco.

875. **Anonymous.** Swimming pool, 1929-1944.

Umaid Bhawan Palace, Jodhpur. Art Deco.

876. **Anonymous.** The Maharajah's bathroom,

beginning of the year 1930.

Umaid Bhawan Palace, Jodhpur. Art Deco.

877. **Anonymous.** The Maharajah's bedroom,

1931-1940. New Palace, Morvi. Art Deco.

878. **Clarice Cliff,** 1899-1972,
English. Vase, _Sunray_ , c. 1929.

Stoneware painted with enamels.

Victoria and Albert Museum, London. Art Deco.

**Clarisse Cliff**

**(Tunstall, 20 January 1899 – 23 October 1972)**

Queen of decorative art, Clarisse Cliff was an active English ceramist between 1922 and 1963. Born into a working class family, she began to work from the age of thirteen years in the pottery industry. She was gilder at first and then began to paint by hand. In 1916, she joined the factory AJ Wilkinson's Royal Stattfordshire Pottery. Her talent did not go unnoticed. She attended evening classes at the Burslem School of Art and learned sculpture at the Royal College of Art in London. Clarisse Cliff was the first woman to mass produce her own hand-painted creations. Cliff ceramics are defined by very bright colours with designs never seen before, a stark contrast with those of the time, done in traditional, white porcelain. Described as fantastic or bizarre, works by Cliff surprised the audience because of their communicative joy and explosive colours. She later became artistic director, and her production explodes. Unfortunately after the war, production decreases and Clarisse Cliff retired in 1963. Eleven years later, she died sitting in her garden, listening to the radio. Clarisse Cliff works are now highly sought after.

---

879. **Wilhelm Kage** , 1889-1960, Swedish.
Silvered vase, Sweden, c. 1930.

Silver-coated sandstone, height: 20.4 cm.

Victoria and Albert Museum, London.

880. **Rockwood Pottery Company** and **Wilhelmine Rehm** ,
founded in 1880 and 1899-1967, American.

Vase, 1930. Height: 16.5 cm.

John P. Axelrod Collection. Art Deco.

881. **Thelma Frazier Winter** , 1908-1977,
American. Octagonal plate, 1930.

Diameter: 33.1 cm.

Martin Eidelberg Collection. Art Deco.

882. **Jean Fouquet** , 1899-1984,
French. Pendant, c. 1930. White gold,

yellow gold, and citrine, 8 x 7 cm.

Private collection, Paris. Art Deco.

883. **Robert Lallemant** , 1902-1954,
French. Ball vase, c. 1930.

Enamelled ceramic, height: 16 cm.

Private collection. Art Deco.

884. **Thelma Frazier Winter** , 1908-1977,
American. Vase, _Amazon_ , 1930.

Grey enamel, white relief, height: 25.4 cm.

Cowan Pottery Museum, Rocky River (Ohio). Art Deco.

885. **Anonymous.** Liquor service,
Czech Republic, c. 1930. Dark smoked glass.

Museum of Decorative Arts, Prague. Art Deco.

886. **Robert Lallemant,** 1902-1954,
French. Roll vase, c. 1930.

Emanelled ceramic, decorated with

golden cloud-shaped dots, height: 17 cm.

Private collection. Art Deco.

887. **Jean Dunand** , 1877-1942, French.
Vase, 1931. Lacquered brass.

Musée d'Art moderne de la

Ville de Paris, Paris. Art Deco.

888. **Ruth Reeves** , 1892-1966,
American. Hanging: _Manhattan_ , 1930.

Printed cotton voile, length: 87 cm.

Victoria and Albert Museum, London. Art Deco.

889. **Ruth Reeves** , 1892-1966, American.
_The American Scene_ , 1930. Block-printed cotton,

plain weave; lined with cotton,

plain weave, 215.9 x 106.7 cm.

Museum of Fine Arts, Boston. Art Deco.

890. **Charles Follot Manufactory** and **Henri Stéphany** ,
founded in 1859 and 1880-1934, French.
Wallpaper, ' _Décor floral_ ', 1930. Wallpaper done

with rotary printing press, 186 x 75 cm.

Musée des Arts décoratifs, Paris. Art Deco.

891. **Jean Dunand** , 1877-1942, French.

Lacquered panel and gold leaf, 1930.

892. **Jean Dunand** ,1877-1942, French.
_The People of Africa (Cameroon)_ and _The_
_People of Asia (Indochina)_ , 1930.

Lacquered aluminium panels.

Musée du quai Branly, Paris.

893. **Ivan da Silva Bruhns,** 1881-1980, French.
Rugs (manufactured by the Savigny Workshop), c. 1930.

Wool. Galerie Camoin Demachy, Paris.

894. **Hélène Henry,** 1891-1965, French.
Aubusson tapestry, c. 1930. Wool,

276 x 196 cm. Private collection.

895. **Fernant Léger** , 1881-1955,
French. 'Paris' tapestry, c. 1930.

Wool, 236.7 x 126.4 cm.

Private collection.

896. **Jean Carlu** , 1900-1997, French.
Poster for the second exhibition of
_Union des artistes modernes_ at the
Galerie Georges Petit, 1930. Colour lithograph.

Musée des Arts décoratifs, Paris. Art Deco.

897. **Demetre Chiparus** , 1886-1947, Romanian.
_Les Girls_ , c. 1930. Bronze and ivory.

Private collection.

898. **Raoul-Eugène Lamourdedieu** , 1877-1953,
French. Lamp, c. 1930.Bronze,

marble, and glass, 42.8 x 35 cm.

Victoria and Albert Museum, London.

899. **Jan** and **Joël Martel** , 1896-1966,
French. _The Holy Trinity_ , c. 1930.

Bronze over black patina,

height: 105.5 cm. Private collection.

**Joël and Jan Martel**

**(Nantes, 5 March 1896 – 16 March and 26 September 1966)**

Martel twin brothers were born in Nantes in 1896. Sculptors, they also realised memorials, decorative bas-reliefs for public buildings and even a baptismal font, which they would sign with their family name. In 1925, they were discovered at the Internationale des Arts décoratifs et industriels modernes by Robert Mallet-Stevens, after he saw their cubist trees for the tourist pavilion. They built a studio house in Paris that was classified as a historical monument in 1990. They also contributed to the Union des Artistes Modernes, a group of French architects and decorators. Throughout their careers, they remained attached to their regional traditions, and would even create a folk group that recorded more than one hundred and fifty popular songs.

---

900. **Jan** and **Joël Martel** , 1896-1966,
French. _Nude_ , c. 1930.

Sculpture of silvered Lakarmé,

height: 200 cm. Private collection.

901. **Pierre Chareau** , 1883-1950, French.
Double bed, c. 1930. Palisander from Rio

and wrought iron, patinated black, 59 x 205 x 190 cm.

Galerie L'Arc en Seine, Paris. Art Deco.

902. **Jean Dunand** , 1877-1942, French.
Bed, 1930s. Wood and lacquer.

Private collection.

903. **Pierre Chareau** , 1883-1950, French.
Three-part mirror with lighting, 'MG820/21', c. 1930.

Folding screen patinated black, alabaster plate,

roll-out mirror: 56 x 87 cm. Private collection. Art Deco.

904. **Robert Mallet-Stevens** , 1886-1945,
French. Coffee table, c. 1930.

Walnut veneer, height: 60 cm;

diameter: 90 cm. Private collection. Art Deco.

905. **Jacques-Émile Ruhlmann** , 1879-1933,
French. Game table, 'Dubly', 1933.

Macassar ivory veneer, white sharkskin,

silvered bronze, 74 x 84.5 cm. Private collection.

906. **Jean Dunand** , 1877-1942, French.
Screen, 1931. Black chinese lacquer,

gold leaf, and red lacquer, 298 x 54 cm

(each partition). Private collection. Art Deco.

907. **Paul Theodore Frankl** , 1886-1958, Austrian.
Cabinet for men, c. 1930. Red wood and

black lacquer inlaid with silver and gold

plated round shapes, silver leaf on upper

part and gold leaf on the base, mahogany interior.

Cincinnati Art Museum, Cincinnati (Ohio). Art Deco.

908. **Donald Deskey,** 1894-1989, American.
Screen, c. 1930. Wood, canvas, metal fittings,

aluminum leaf, and paint, 194.3 x 148.6 cm.

Museum of Fine Arts, Boston. Art Deco.

909. **John Vassos** , 1898-1985, American.
Portable phonograph, Victor Special model, 1930.

Metal and plastic. Victoria and Albert Museum, London.

910. **Stewart & McGuire**,
American. Nut vending machine,
end of 1930. Height: 48.3 cm.

Ronald and Norma Keno Collection.

911. **Kem Weber** , 1889-1963,
German. Coffee pot, c. 1930.

Plated silver and rosewood,

height: 26.7 cm. Alan Moss Collection.

**Kem Weber**

**(Berlin, 1889-1963)**

Designer and architect, Karl Emanuel Martin Weber was born in 1889. He began by attending Eduard Schultz's cabinetmaking workshop, and then enrolled at the School of Decorative Arts, where he studied with Bruno Paul. He travelled to San Francisco in 1915 to oversee the German pavilion at the Panama Pacific International Exposition. He then moved to Santa Barbara, where he taught art and opened a workshop. He became an American citizen in 1924. Weber then worked in industrial design and established his design studio in Los Angeles in 1927. Many projects are controlled by him, including film sets.

Two of his works are particularly renowned: the clock _Zephyr_ , made around 1934 and found at the Metropolitan Museum in New York, considered a work of 'Streamline Moderne', a popular style, inspired by the aesthetics of Art Deco that burgeoned in the 1920s. The second famous piece being the chair _Airline_ , made to furnish Disney studios.

Kem Weber is also recognised as the architect of the Walt Disney Studios complex in Burbank, California.

---

912. **Peter Müller-Munk,** 1907-1967,
American. Water pitcher, _Normandie_ , 1935.

Chrome-plated brass, 30.5 x 7.6 x 23.8 cm.

The Metropolitan Museum of Art, New York.

913. **Norman Bel Geddes** , 1893-1958,
American. Cocktail service, _Manhattan_ , 1937.

Chrome-plated brass, shaker: 33 x 8.3 cm;

cups: 11.4 x 6.4 cm; tray: 36.8 x 29.2 cm.

The Metropolitan Museum of Art, New York.

914. **Peter Müller-Munk** , 1907-1967,
American. Kettle on stand with burner, 1931.

Silver and ivory, kettle: 14.9 x 26.7 x 9.5 cm;

tray: 2.5 x 62.9 x 34.9 cm.

The Metropolitan Museum of Art, New York.

915. **Tamara de Lempicka** , 1898-1980,
Polish _Self-Portrait in the Green Bugatti_ , 1929.

Oil on wood panel, 35 x 27 cm.

Private collection. Art Deco.

**Tamara de Lempicka**

**(Warsaw, 16 May 1898 – Cuernavaca, 18 March 1980)**

Tamara de Lempicka is the most famous Polish Art Deco painter of the period. She was born into a wealthy bourgeois Polish family. Tamara discovered her passion for art in 1911 during a trip to Italy with her grandmother. In 1917, Bolsheviks came into power in Russia following the revolution and established a new regime. Tamara and her husband Tadeusz managed to flee the country and lived in Paris for twenty years.

In 1920, she took painting lessons with Maurice Denis and André Lhote and chose to name Tamara de Lempicka. She started to develop a style that was fashionable, trendy, as well as erotic and revealed her creations to the public for the first time at the Salon d'Automne in Paris in 1922. Lempicka's name was also listed as a presenter at the exhibition at the Bottega di Poesia in Milan in 1925, and the first world exhibition of Art Deco held in Paris. German fashion magazine _Die Dame_ ordered one of her most famous works, an self-portrait entitled _Tamara in the Green Bugatti._

The artist received commissions from the Boucard family and painted a portrait of her husband Tadeusz, shortly before their divorce that same year. She met Baron Raoul Kuffner and moved into a luxury apartment on the Rue Méchain, designed by modern architect Robert Mallet-Stevens. Her work and creativity suffered from Hitler's rise to power and the ensuing serious realities, and the stock market crash on Wall Street. She entered a long period of depression. In 1939, Lempicka and Kuffner departed to the United States and settled in Los Angeles. Lempicka continued to paint and was easily seduced by the sensual world and attracting high society of Hollywood. They then moved to NewYork. Her new life in the high society of New York was reflected in her work. Her figurative paintings and experiences with abstract impressionism aroused little interest. Her career began to falter. Tamara de Lempicka began to sink slowly in the dark.

In 1962, following the death of Baron Kuffner, she moved to Houston with her daughter and son.

In 1973, a retrospective exhibition was devoted to her at the Galerie du Luxembourg, an exhibition that was a great success. Having found fame once again, she moved with her daughter in 1974 to Cuernavaca, Mexico, where she spent the rest of her life, constantly marred by her inability to live in peace with her family and others.

Tamara de Lempicka died on 18 March 1980.

---

916. **Jean Dunand** , 1877-1942, French.
Proposed panels for a pair of
lacquered doors, c. 1930. Art Deco.

917. **Rapp & Rapp Architects**, American.
Auditorium for the Paramount Theater, 1931.

Aurora (Illinois). Courtesy of

Paramount Arts Center. Art Deco.

918. **Arthur E. Harvey** , 1884-1971, American.
Detail of clay coating, enamelled and blackened, 1931.

Crocker Citizens National Bank,

now Spring Arts Tower, Los Angeles. Art Deco.

919. **K. M. Vitzthum & J. J. Burns architects**,
American. Reception at the Field Building,

Chicago, c. 1930. Chicago.

920. **Jean Desprès** , 1889-1980, French.
Brooch, c. 1932. Silver, lacquer,

painted and engraved varnish, 5.9 x 3.1 cm.

Musée des Arts décoratifs, Paris. Art Deco.

921. **Wells Coates** , 1895-1958, Canadian.
_Ekco AD-65_ , radio, 1932. Bakelite, 39.5 x 40.5 x 21 cm.

Victoria and Albert Museum, London.

922. **René Herbst** , 1891-1982, French.
Dressing table, 1931. Chromed stainless steel, glass,

lacquer, three-part mirror, built-in lamp, 71.5 x 109 x 60 cm.

Musée des Arts décoratifs, Paris. Art Deco.

923. **Denham Maclaren** , 1903-1989,
English. Chair, Great Britain, c. 1930.

Glass and zebra print, 68 x 57 x 85 cm.

Victoria and Albert Museum, London.

924. **Poul Henningsen** , 1894-1967, Danish.
Baby grand piano, _Mira Flygel_ , c. 1931.

Chrome metal, golden lacquer, red leather,

black-lacquered wood, keys of ivory and ebony,

94 x 141.5 cm. Private collection.

925. **Kurt Umen** , 1901-1997, American.
Table lamp with detachable lampshade, 1934.

Copper and chrome. Allan Moss Associates Ltd Collection.

926. **André Hermant** , 1908-1978,
French. Library table, 1937.

Painted sheet steel, glass, 92 x 200 x 65 cm.

Musée des Arts décoratifs, Paris.

927. **Hildreth Meiere** , 1892-1961, American.
_Dance_ , art deco rondel, 1932.

Metal. Radio City Music Hall facade,

Rockefeller Center, New York. Art Deco.

928. **Alfred Janniot** , 1889-1969, French.
_Tahiti_ , 1931. Plate from the bas-relief for
Jean Charbonneaux's musée des Colonies.

Sculptural decoration for the musée des Colonies,

palais de la Porte Dorée. Art Deco.

929. **Rayner Hoff** , 1894-1937, English.
_Sacrifice_ , 1934. Bronze.

Central sculpture in the Hall of Silence,

ANZAC Memorial, Sydney.

930. **Anonymous.**
Pair of ear clips, 'Crest' or 'Helmet', 1931-1934.

White gold, platinum, sapphire, and lacquer.

Primavera Gallery, New York. Art Deco.

931. **Georges Fouquet** , 1858-1929,
French. Brooch, 1931. White gold,

blue enamel, and diamonds.

Private collection. Art Deco.

932. **Jean Mayodon** , 1893-1967,
French. Brooch, c. 1938.

Silver and gold, enamelled ceramic.

Private collection.

**Jean Mayodon**

**(Sèvres, 1893 – Paris, 1967)**

****

Jean Mayodon lived his childhood in the arts since his father was an amateur painter and sculptor. He entered in the Bracquemond workshop, where he met Rodin, Monet, Gauguin, and the dancer Isadora Duncan, whose dancing he portrayed on his vases. He produced a ceramic with figural decoration in the ancient taste. Antiquity was depicted by round newts, sirens, dancers, gods and heroes.

Mayodon lived and worked most of his life in his workshop in Sèvres. In 1919, he exhibited twenty polychrome ceramics at the Musée Galliera.

During the 1930s, he became interested in architectural decorating and realised monumental works (decorative panels, sculptures, fountains, fireplaces). He was knighted Legion of Honour in 1931 and officer in 1954 and became director of the Sèvres Manufactory from 1940 to 1942. His works show an undeniable technical quality.

---

933. **Jean Lambert Rucki, Maison Georges Fouquet,**
and **Charles Girard** , 1888-1967 (Rucki) and
1895-1936 (Fouquet), Polish and French.

Clip, 1937. Gold, 6.5 x 6 cm.

Musée des Arts décoratifs, Paris.

934. **Jean Fouquet** , 1899-1984,
French. Clip, 1937. Gold, lacquer,

diamonds with old brilliant cut, 6.2 x 3.9 cm.

Musée des Arts décoratifs, Paris.

935. **Raymond Templier** and **Joseph Csaky** ,
1891-1968 and 1888-1971, French and Hungarian.

Pendant, _Kneeling Woman_ , 1940. Gold, silver,

and ivory. Mme Cheska Vallois Collection, Paris.

936. **Air King Product Company** , American.
Radio, _Air King_ model, 1934.

Red coating with inscription: 'Air King

Product Co B'Klyn N.Y. USA',

height: 10.5 cm. Private collection.

937. **Kem Weber** , 1889-1963, German.
_Zephyr_ , electronic clock, c. 1934.

Brass and bakelite, 8.3 x 20.3 x 7.9 cm.

The Metropolitan Museum of Art,

New York. Streamline Moderne.

938. **Walter Dorwin Teague** , 1883-1960, American.
Camera _KodakBantam Special_ , 1933-1936.

Chromed metal branded 'Kodal Bantam Special,

made in USA Eastman Kodak Company, Rochester,

N.Y.', height: 7.6 cm. Mitchell Wolfson Jr Collection,

The Wolfsonian-Florida International University, Miami Beach.

939. **Ronson Company** , American.
Lighter, _Touch Tip_ , 1935. Enamelled copper, height: 8.9 cm.

Mitchell Wolfson Jr Collection, The Wolfsonian-Florida

International University, Miami Beach. Streamline Moderne.

940. **Sidney Biehler Waugh** , 1904-1963,
American. _Mariner_ _'_ _s Bowl_ , 1935.

Glass, 5.7 x 39.4 cm. Brooklyn Museum, New York.

941. **Séraphin Soudbinine** , 1867-1944,
French, born in Russia. Bottle, c. 1935.

Enamelled porcelain, height: 28.5 cm;

diameter: 12 cm. Musée des Arts décoratifs, Paris.

942. **Sidney Biehler Waugh** , 1904-1963,
American. 'Gazelle' bowl, 1935.

Glass, 18.4 x 17.8 cm. The Metropolitan

Museum of Art, New York.

943. **Séraphin Soudbinine** , 1867-1944, French,
born in Russia. Pot with cover, 1935.

Enamelled sandstone, height: 44.2 cm;

diameter: 31 cm. Musée des Arts décoratifs, Paris.

**Séraphin Soudbinine**

**(Nizhny Novgorod, 1867-1944)**

Of Russian origin, Seraphim Soudbinine remained in Rodin's studio for ten years. He discovered in 1923, during a trip to the United States with the painter Sorine, a collection of ceramics from the Far East at the Metropolitan Museum in New York. On his return to France, he gave up sculpture and devoted himself to ceramics. After years of work, Soudbinine became master in the field and opened his studio in Rue Broca in Paris, destroyed during the Second World War. Soudbinine also worked at the Sèvres Manufactory. His inspiration came from the East, from China to Korea. Robustness, ruggedness, and refinement, matt and glazed stoneware are characteristic of the sculptor's art.

This covered pot was donated by the artist to the Musée des Arts décoratifs in Paris. The animal carved on the lid recalls the influence of oriental art.

---

944. **Elsa Schiaparelli** , 1890-1973,
Italian. Evening coat, 1939.

Scarlet taffeta. Victoria and

Albert Museum, London.

**Elsa Schiaparelli**

**(Rome, 10 September 1890 – Paris, 13 November 1973)**

Elsa Schiaparelli was an Italian fashion designer. Her father was an Egyptologist, and she was the wife of the theosophist Count William de Wendt de Kerlor.

After studying philosophy at the University in Rome, she opened her first shop in Paris in 1927. She completed a collection of jumpers patterned with tie and knot shapes, becoming a huge success.

In 1928, she included in her repertoire a collection of sportswear. In the 1930s, she collaborated with Salvador Dalí, Jean Cocteau, and Alberto Giacometti. All created patterns, objects, or decorative pieces for Schiaparelli. She manufactured her own perfume _Shocking_! in 1936. She designed costumes for films, including the films _Femmes and Every Day_ _'_ _s a Holiday_.

Eventually, she travelled to the United States. Financial difficulties forced her to move to New York. Her shop closed in 1954.

---

945. **Jean Patou** , 1880-1936, French.
Evening gown, 1932-1934.

Tulle with pearls.

Victoria and Albert Museum, London.

946. **Charles James** , 1906-1978,
American. Evening gown, 1937.

Black satin decorated with silk ribbon.

Victoria and Albert Museum, London.

947. **Jeanne Lanvin** , 1867-1946,
French. Evening gown, 1935.

Mauve-coloured satin.

Victoria and Albert Museum, London.

**Jeanne Lanvin**

**(Paris, 1 January 1867 – Paris, 6 July 1946)**

Jeanne Lanvin was a well-known French seamstress. At age thirteen, she began to work at a hat shop, and trained as a seamstress and milliner. In 1885, she opened her own fashion workshop in Faubourg Saint-Honoré and her first shop in 1889. The birth of her daughter Marie-Blanche, for whom she designed much clothing, inspired her to start a collection for children. Her fashion is known for, above all, its elegance and quality. Jeanne Lanvin had four favourite colours: Lanvin blue, Velasquez green, Polignac pink, and black.

Later, she designed cloth and perfumes (beginning with the perfume _Arpège_ ), as well as a sportswear collection.

Following Jeanne Lanvin's death in 1946, her daughter Margaret assumed control of the company, bought by L'Oréal in 1990. Lanvin fashion house was famous for its "chic à la française".

---

948. **Jean Mayodon** , 1893-1967,
French. Vase with top, c. 1937.

Faience, height: 34 cm; diameter: 27.5 cm.

Musée des Arts décoratifs, Paris.

949. **Jean Besnard** , 1889-1958, French.
Plate, 1937. Faience, partially enamelled,

height: 6 cm; diameter: 32.5 cm.

Musée des Arts décoratifs, Paris.

950. **Anne Dangar** , 1885-1951, Australian,
born in Ireland. _Plate with the Virgin_
_Mary and Christ Child_ , c. 1937.

Faience, diameter: 47 cm.

Musée des Arts décoratifs, Paris.

**Anne Dangar**

**(Kempsey, New South Wales, 1887 – Sablons, 1951)**

Anne Dangar was Australian with Irish roots. She studied at the art school in Sydney and was, for nine years, assistant to John Ashton, an Impressionist painter. In 1926, she moved to Paris and studied under André Lhote at the Academy in Montparnasse. She learned also of ceramic art. Upon discovering Albert Gleizes's book _La Peinture et ses lois_ , Anne Dangar experienced a revelation, and she decided to move to Moly in 1930. She remained there for twenty years, whilst creating ceramics with the potter Nicholas de Saint-Désirat and Bert à Roussillon. Dangar applied local clay and natural colours, in order to lend her milk tankards, plates, and jugs a rustic shape. She had her unique style and perfectly dominated Cubism. Inspired by the work of Gleizes, she produced large stoneware tableware with mythological and religious themes. Today, some of her works can be found at the Musée des Arts décoratifs. Anne Dangar died on 1951 in Sablons.

---

951. **Émile Decoeur** , 1876-1953, French.
Bowl, 1938. Cast sandstone, enamelled,

monogrammed in the impression in the base,

height: 5.9 cm; diameter: 11.1 cm.

Musée des Arts décoratifs, Paris **.**

952. **Joan Miró** , 1893-1983, Spanish.
Vase, 1941. Enamelled sandstone,

height: 28.5; diameter: 29 cm.

Musée des Arts décoratifs, Paris **.**

953. **Raoul Dufy** , 1877-1953, French.
_Vase with Bathers on a Black Background_ , 1938.

Enamelled faience, height: 23.5 cm; diameter: 23 cm.

Musée des Arts décoratifs, Paris.

**Raoul Dufy**

**(Le Havre, 1877 – Forcalquier, 1953)**

The French artist was born in Le Havre in 1877. At the beginning of his career, he was significantly influenced by the Fauve movement and his colourful works with bold contours reflect this approach. He attended the École des Beaux-Arts in Le Havre where he met Othon Friesz. In later years, his forms became geometric, the space structured – clear signs of Cubism. Later, he developed a very personalised style with easy lines, light colours, and strong ornamental character. He enjoyed painting flowers, fashionable tennis courts, views of the French Riviera, and elegant parties. Raoul Dufy died in 1953.

---

954. **Gilbert Poillerat** , 1902-1988, French.
Table, 1943. Table legs of wrought iron,

moulded tabletop, 73 x 288 x 110 cm.

Musée des Arts décoratifs, Paris.

955. **René Coulon** , 1908-1997,
French. Chair, 1938. Polished glass surface,

bent and tempered, leather seat, 86 x 59 x 56 cm.

Musée des Arts décoratifs, Paris.

956. **Jean Prouvé** , 1901-1984,
French. Amphitheatre chair, 1952.

Metal, wood, and aluminium, 92 x 70 x 60 cm.

Musée des Arts décoratifs, Paris.

957. **Charlotte Perriand** , 1903-1999, French.
Lounger made of bamboo, 1941.

Unique model, 74 x 140 x 52 cm.

Musée des Arts décoratifs, Paris.

958. **Bruno Mathsson** , 1907-1988,
Swedish. 'Pernilla' chair, 1943. Birch,

webbing of vegetable fibres, 90 x 71 x 102 cm.

Musée des Arts décoratifs, Paris.

959. **Georges Serré** , 1889-1956,
French. Buddha's head, c. 1937.

Sandstone, height: 49.6 cm; diameter: 25.6 cm.

Musée des Arts décoratifs, Paris.

960. **Jean Émile Puiforcat** , 1897-1945,
French. Vase, 1945. Silver,

height: 16 cm; diameter: 15.5 cm.

Musée des Arts décoratifs, Paris.

961. **Pablo Picasso** , 1881-1973,
Spanish. Vase with flowers, 1948.

Faience engobed and enamelled,

height: 56 cm; diameter: 33.5 cm.

Musée des Arts décoratifs, Paris. Cubism.

**Pablo Ruiz Picasso**

**(Malaga, 25 October 1881 – Mougins, 8 April 1973)**

Pablo Ruiz Picasso was born in Spain in 1881 and was a very productive artist. It so happens that his interest lied in painting, sculpture, drawing, as well as ceramic. After his arrival in Paris in 1904, he met the jeweller and ceramist Paco Durrio. He began to work with clay and completed _Femme agenouillée se coiffant_. From 1946 to the late 1960s, Picasso created mostly ceramics. During a visit to the pottery fair in Vallauris, he met Suzanne and Georges Ramie. The couple owned a ceramic workshop. The latter procured him a place in the Madoura Workshop, which would become exclusive vendor to his pottery. The production of ceramics during the 'Vallauris period' stands between 4,000 to 4,506 pieces. As honorary citizen of the city, Picasso made Vallauris popular for ceramic.

---

962. **Suzanne Ramié** and **Madoura Workshop** ,
1905-1974 and workshop founded in 1938, French.

Three-legged vase, 1950. Enamelled faience,

height: 73 cm; diameter: 29 cm.

Musée des Arts décoratifs, Paris.

963. **Georges Jouves** , 1910-1964,
French. _Woman_ jug, c. 1946.

Enamelled faience, 43.5 x 32 x 25.5 cm.

Musée des Arts décoratifs, Paris.

964. **Odette Lepeltier** , 1914-2006,
French. _Motherhood_ , c. 1947.

Enamelled faience, height: 40.4 cm.

Musée des Arts décoratifs, Paris.

965. **Frank Lloyd Wright** , 1867-1959, American.
Guggenheim Museum, 1943-1959. New York.

966. **Le Corbusier** , 1887-1965, Swiss.
Notre Dame du Haut, 1950-1955. Ronchamp.

967. **Jorn Utzon** , **Hall** , **Todd** and **Littlemore** ,
1918-2008 (Utzon), Sydney Opera House,

1957-1973. Sydney.

968. **Jean Royère** , 1902-1981, French.
'Liane' lamp, c. 1950-1955. Metal tube,

original lampshade in Rhodoid, 250 x 240 cm.

Musée des Arts décoratifs, Paris.

969. **Viviana Torun** , 1927-2004, Swedish.
Necklace, _Body Sculpture_ , 1951-1958.

Silver, rutile quartz, glass, 20 x 10 cm.

Musée des Arts décoratifs, Paris.

970. **Alexander Calder** , 1898-1976,
American. Brooch, c. 1955.

Hammered silver, 13 x 9.5 cm.

Musée des Arts décoratifs, Paris.

971. **Line Vautrin** , 1913-1997, French.
Necklace, _Leapfrog_ , 1950-1955. Gilded bronze,

enamel, length: 24 cm; diameter: 13 cm.

Musée des Arts décoratifs, Paris.

972. **Jean Schlumberger** , 1907-1987,
French. Clip, _Fish_ , 1956. Gold, amethyst,

rubies, aquamarine, red lacquer, 6.4 x 4.6 cm.

Musée des Arts décoratifs, Paris. Art Deco.

973. **Jean Lurçat** , 1892-1966, French.
Pendant, _Face of the Moon_ , 1959-1960.

Hammered 24-carat gold, 9.5 x 6.5 cm.

Musée des Arts décoratifs, Paris. Art Deco.

**Jean Lurçat**

**(Bruyères, 1 July 1892 – Saint-Paul-de-Vence, 6 January 1966)**

The painter Jean Lurçat was a creator of tapestries, as well as ceramics. In 1912, he and his brother André moved to Paris. He enrolled at the Académie Colarossi and later learned at the workshop of the graphic designer Bernard Naudin. There, he discovers Matisse and Cézanne. Subsequently, he became a painting apprentice to the fresco painter Jean-Paler Lafitte. In 1917, Jean Lurçat, under the patronage of his mother, completed his first canvas. Afterwards, he took many trips to Berlin, Rome, Naples, and Palermo, eventually settling in Paris, where he exhibited at the Salon des Indépendants. He was the first, in 20th century tapestry, to unite architecture with contemporary art.

In the late 1930s, Lurçat entered the workshop of Louis Delachenal in Sèvres. Jean Lurçat had a deeply-personalised style with stark colour contrast and vivid motifs, also seen in his tapestries. In the last years of his life, he worked in the famed porcelain manufactory Haviland & Co. in Limoges, and he completed models of great finesse. He was one of the most important actors in the revitalisation of the art of the 20th century.

---

974. **Jean Schlumberger** , 1907-1987,
French. Hat part, c. 1938.

Gilded metal, coral, enamel, 17 x 4 cm.

Musée des Arts décoratifs, Paris.

975. **Saara Hopea-Untracht** , 1925-1984,
Finnish. Ring, 1960. Silver,

spheres of white coral, 3.3 x 2.6 cm.

Musée des Arts décoratifs, Paris.

976. **Georges Braque** , 1882-1963, French.
Clip, _Hera_ , c. 1962. Figure in gold,

waves in sapphire over platinum, 4.3 x 6 cm.

Musée des Arts décoratifs, Paris. Cubism.

977. **Roger Tallon** , 1929-2011, French.
Service '3T', 1967. Ceramic porcelain made by

Raynaud porcelain; crystal glass made by Daum;

stainless steel cutlery made by Ravinet d'Enfert.

Musée des Arts décoratifs, Paris.

**Roger Tallon**

**(Paris, 6 March 1929 – 20 October 2011)**

Born in Paris in 1929, the designer Roger Tallon made an international career for himself and is regarded a pioneer of industrial design in France. After his studies in engineering, Tallon joined an office for technical and aesthetic studies Technès, founded by the father of industrial design Jacques Viénot. Before Roger Tallon assumed control of the company in the wake of Viénot's death in 1959, he taught at the art school in Paris, where he offered the first courses in design throughout all of France. In 1963, he went even further, in that he founded a department of design at the École Nationale Supérieure des Arts Décoratifs in Paris. At the same time, he met with avant-garde artists and collaborated with his friends Yves Klein, Arman, or Caesar. As explorer and designer, he produced more than 400 projects between 1953 and 1973, such as the portable TV _Télévia P111_ , a slide projector for Kodak, and a graphic system for the magazine _Art Press_. Roger Tallon quickly designed objects for all areas, such as the coral-red train car for SNCF, the furnicular railway in Montmartre, and the Eurostar project. With good reason, he received in 1992 the title Commandeur des Arts et des Lettres. Before his death in 2011, he bequeathed his complete archive to the Musée des Arts décoratifs in Paris. Besides an impressive career, Roger Tallon established the job of industrial designer.

---

978. **Jean Dubuffet** , 1901-1985, French.
_Paysage portatif_ ( _Portable Landscape_ ), 1968.

Transferred onto polyester, 80 x 130 x 75 cm.

**Jean Dubuffet**

**(Le Havre, 1901 – Paris, 1985)**

The French sculptor Jean Dubuffet was born into a family of wine dealers. After completing a night course at the art school in Le Havre, he travelled to Paris in 1918, where enrolled at the Académie Julian, discontinuing his studies just six months later. In 1924, he stopped painting for the next eight years, in order to continue his father's shop.

He finally decides in 1942, after several interruptions, to focus entirely on painting. His work was exhibited in Paris, New York, and Basel and caused much controversy. In 1965, he began to make sculptures out of foamed polystyrene and painted with vinyl. Starting in 1969, he received more commissions for public work, such as _The Group of Four Trees_ at the One Chase Manhattan Plaza in New York in 1969 and the sculpture _La Tour Aux Figures_ for the French state, located in the city of Île Saint-Germain since 1983. Jean Dubuffet considered these monumental sculptures as cell proliferation, a continuation in the space between place, figure, and object. In those given three-dimensional space, he allowed his graphics to escape from the sheet and invade monumental elements in the surrounding.

---

979. **Jean Lurçat** , 1892-1966, French.
Baroque vase, c. 1960. Enamelled faience,

height: 38.5 cm; diameter: 31 cm.

Musée des Arts décoratifs, Paris.

980. **Gabriel-Sébastien Simonet** , known as **Sébastien** ,
1909-1990, French. _Tree with Branches_ , c. 1960.

Terracotta, partially engobed, base of wood,

height: 33.5 cm; length: 31 cm.

Musée des Arts décoratifs, Paris.

981. **Jean** and **Jacqueline Lerat** , 1913-1992
and born 1920, French. Anthropomorphic vase, 1974.

Sandstone, burned wood, 45 x 30 cm.

Musée des Arts décoratifs, Paris. Expressionism.

982. **Gilbert Portanier** , born 1926.
Vase, 1964. Red terracotta,

enamelled and engobed, height: 95 cm.

Musée des Arts décoratifs, Paris.

983. **Antoine Phlippon** and **Jacqueline Lecoq** , 1930-1995
and born 1932, French. TV cabinet, turntable and bar, 1959.

Post-formed formica, polished brass, chrome steel,

120 x 60 cm (each component). Musée des Arts décoratifs, Paris.

984. **Clive Barker** , born 1952,
American. _Van Gogh_ _'_ _s Chair_ , 1966.

Chromed stainless steel, height: 86.4 cm.

Sir Paul McCartney Collection.

985. **Joe Colombo** , 1930-1971, Italian.
_Tube Chair_ , Italy, 1969. Four PVC cylinders,

coated with red Arex Lasckina Softalon,

six metal seals with twelve rubber balls,

original cover, 60 x 47 cm.

Musée des Arts décoratifs, Paris.

986. **Jean Dinh Van** , born 1927,
French. Ring, 1966.

Gold, pearls, 2.5 x 1.2 cm.

Musée des Arts décoratifs, Paris.

**Jean Dinh Van**

**(born 11 September 1927 )**

JeanVan Dinh has a Vietnamese father and a French mother. In 1950, he began his studies of applied arts and jewellery making in Paris and joined Cartier, where he learned the craft of jewellery. His work is influenced by Chinese symbols. In 1965, he founded his own studio and completed in 1967, the famous ring with two pearls, signed by Pierre Cardin and currently found at the Musée des Arts décoratifs. Recognised worldwide, Dinh Van collaborates with Cartier and signs his rings 'Cartier-Dinh Van'. In the late 1970s, he opened new stores on Madison Avenue and in Geneva and Brussels. In 2008, he opened another on Champs-Elysées in Paris. In the early 2010s, he established the brand _Pi Independent_ in collaboration with the Italian designer Lapo Elkann. Many jewellery pieces by Dinh Van are exhibited at the Musée des Arts décoratifs.

---

987. **Jean Dinh Van** , born 1927,
French. Pendant, _Razor Blade_ , 1972.

Gold, 4.5 x 2.3 cm.

Musée des Arts décoratifs, Paris.

988. **Mutsuo Yanagihara** , born 1934,
Japanese. Vase, 1985. Enamelled sandstone,

height: 43.5 cm; width: 7 cm.

Musée des Arts décoratifs, Paris.

989. **Richard Meitner** , born 1949, Dutch.
Vases, _Violation du fond_ ( _Breaching the Depths_ ), 1984.

Handblown glass, enamelled and painted wood,

65 x 100 x 10 cm. Musée des Arts décoratifs, Paris.

990. **Ettore Sottsass** , 1917-2007,
Italian. Vase from the series _Yantra_ , 1969.

Enamelled faience, height: 43 cm; width: 25 cm.

Musée des Arts décoratifs, Paris. Minimalism.

991. **Henri Gargat** , born 1928,
French. Bracelet, 1984.

Brushed aluminium, gold, diameter: 10 cm.

Musée des Arts décoratifs, Paris.

992. **Niki de Saint Phalle** , 1930-2002, French.
Chairs, _Clarice_ and _Charley_ , 1981-1982.

Painted polyester resin, _Clarice_ : 121 x 113 x 84 cm;

_Charley_ : 121 x 120 x 80 cm. Musée des

Arts décoratifs, Paris. New Realism.

**Niki de Saint Phalle**

**(Paris, 1930 – San Diego, California, 2002)**

The French sculptor Niki de Saint Phalle spent her childhood in New York. A self-taught artist, she began painting in 1950. In 1952, she returned to Paris, and after 1960, lived with the sculptor Jean Tinguely. In 1961, she began to create her shot-reliefs, artworks where she used a shotgun to pierce suspended paint cans located over an assembly of different materials found in relief; whilst emptying these bags, the paint would finish the work. Her first solo exposition took place at the Alexander Iolas's Gallery in New York in 1961. During this time, she joined the New Realist group in Paris and began creating slightly more conventional sculptures, many of them made to express a political intention. She later began making extremely large artworks, including _She_ from 1966, showing a woman lying down with entrails including film projections, installations and machines that can be seen through a small opening between her legs. Later in her career, Saint Phalle wrote plays, directed films, created architectural projects, and continued to sculpt. A large retrospective of her work was organised in Munich in 1987.

---

993. **Henry Moore** , 1898-1986, English.
_Lying Woman with Child_ , 1983.

Bronze, 139.7 x 265.4 x 144.8 cm.

Yorkshire Sculpture Park, Wakefield. Abstract art.

**Henry Moore**

**(Castleford, Yorkshire, 1898 – Hertfordshire, 1986)**

The British sculptor Henry Moore is considered one of the most important sculptors of the 20th century. His bronze and stone sculptures constitute the major 20th-century manifestation of the humanist tradition in sculpture. The son of a Yorkshire coal miner, he was enabled to study at the Royal College of Art by a rehabilitation grant after being wounded in the First World War. His early works were strongly influenced by the Mayan sculpture he saw in a Paris museum. From around 1931 onwards, he experimented with abstract art, combining abstract shapes with human figures, at times leaving the human figure behind altogether. Much of his work is monumental, and he is particularly well-known for a series of reclining nudes. These female figures, echoing the forms of mountains, valleys, cliffs and caves, extended and enriched the landscape tradition which he embraced as part of his English artistic heritage.

---

994. **Kimpei Nakamura** , born 1935,
Japanese. Sculpture, 1985.Porcelain,

partially enamelled, gold application,

42.5 x 35 cm. Musée des Arts décoratifs, Paris.

995. **Wayne Fischer** , born 1953,
American. Vase, 1997.

Enamelled porcelain, 53 x 36 x 35 cm.

Musée des Arts décoratifs, Paris.

996. **Pierre Bayle** , 1945-2004, French.
Alabaster, 1985-1987. Engobed and

burned terracotta, height: 58 cm; width: 13.5 cm.

Musée des Arts décoratifs, Paris.

997. **Élisabeth Garouste** and **Mattia Bonetti,**
born 1949 and 1952, French and Swedish. Cabinet,

_Hell_ , 1998. Wrought iron and enamelled terracotta,

103 x 135 x 48 cm. Musée des Arts décoratifs, Paris.

998. **Alison Britton** , born 1948,
English. _Green Striped Pot_ , 1999.

Enamelled faience, height: 48 cm;

width: 27 cm. Musée des Arts décoratifs, Paris.

999. **Shiro Kuramata** , 1934-1991,
Japanese. _Acrylic Stool_ , Japan, 1990.

Acrylic, aluminum, feathers, finished in

colourful alumina, 54 x 33 cm; diameter: 33 cm.

Musée des Arts décoratifs, Paris.

1000. **Frank Gehry** , born 1929, Canadian-American.
Vitra Design Museum, 1987-1989. Weil am Rhein.

### Glossary

**A**

**A** **bstract Art**

International, 20th century.

Artistic style started in 1910. Involves the renunciation of naturalistic representations, and creates art without references to figurative reality. The term is also used to describe different movements of Abstraction, such as those of Geometric Abstraction, Abstract Expressionism, and Lyrical Abstraction.

**Aiguière**

(French for water jug) a name for a water container, in the time from the Middle Ages to the Baroque period.

**Alabaster**

Name applied to two distinct mineral substances, the one a hydrous sulphate of lime and the other a carbonate lime. The former is the alabaster of the present day, the latter is generally the alabaster of the ancients. The two kinds are readily distinguished from each other by their relative hardness (the ancient alabaster being harder than the modern one). Highly esteemed in the ancient times, it was used for perfume bottles, sculptures and even sarcophagi.

****

**Aluminium**

Most abundant metal in the earth's crust where it always occurs in combination, malleable, ductile, light, with high resistance to oxidation. It has a bluish silver-white colour.

**Armature**

Iron skeleton with stout bars for the arms and legs fixed in the pose of the future figure.

**Art Deco**

International art style from the early 1920s, a style in design, sculpture, painting, and architecture.

**Art Nouveau**

International, late 19th century and beginning of the 20th.

Painting characterised by decorative motifs, with shapes inspired by vegetation, sinuous curves, simple compositions, and a denial of volume. Style influencing painting, sculpture, architecture, and design.

****

**Arts and Crafts Movement**

Reform movement from England, starting around 1860. It can be seen as the English counterpart to the French Art Nouveau.

**B**

**B** **aptismal font**

Vessel used in churches to hold the water for the Christian baptism. Located in a baptistery (separate hall or chapel where baptisms occur), baptismal fonts belong to a period when adults were baptised by immersion.

**Baroque**

Europe, 17th and first half of the 18th century.

In opposition to intellectualism and the coldness of mannerism, Baroque has a more immediate iconography. Characterised by dramatic light effects, dynamic movements, contrasting forms, and optical illusions. A style found in furniture, architecture, and sculpture.

**Byzantine**

European style from the 5th to the 15th century. The style derived from a frontal representation of identified Paleo-Christian iconography.

**C**

**C** **abinet**

Furniture piece, luxury closet composed of many drawers; but also depository for various types of precious objects (curiosity cabinet).

**Cameo**

Term applied to engraved works executed in relief on hard or precious stones.

**Ceramic**

Objects made of clay and burned in the oven at high temperature, such as stoneware or clay jugs. Porcelain objects are also considered ceramic pieces.

**Classicism**

Europe, 17th century.

Style aiming for an ideal of beauty inspired by Greco-Roman Antiquity. Carracci developed it in Italy, while it was imported to France by Poussin and Le Lorrain. Emphasises the perfection of the drawing and the superiority of historic painting.

**Clay**

Fine-grained, almost impalpable substance, very soft, more or less coherent when dry, plastic and retentive of water when wet. It consists essentially of hydrous aluminium silicate with various impurities. Modelled to make a sculpture, it can also be used for casts.

**Crater**

A special jar used in Ancient Greece to mix water and wine.

**E**

**E** **namel**

An opaque or glassy substance applied to metals or ceramic.

**Expressionism**

Germanic countries, early 20th century.

Works of a great expressivity, characterised by thick outlines, strong colours, anatomic and spatial distortions. Associated with the _Der Blaue Reiter_ and _Die Brücke_ groups.

**G**

**G** **othic**

Europe, from 13th to early 16th century.

Style characterised by an organisation of space and more dynamic represen-tations. An international gothic style of great ornamental wealth emerged in Burgundy, Bohemia, and Italy (14th-15th century).

**Gypsum**

An abundant mineral consisting of hydrated sulfate, mostly white or colourless, grainy to lumpy. The Romans discovered that through heating, the resulting substance could be mixed with water to harden and make plaster.

**H**

**H** **ammered work**

Plates of bronze hammered over a wooden core, rudely cut into the required shape, giving shape and strengthening the thin metal.

**I**

**I** **vory**

Term confined to the material deriving from the tusk of the elephant.

**L**

**L** **apis lazuli**

Jewellery stone composed of a blue-glazed mineral mixture, used for over 7,000 years in jewellery-making, as well as in the decoration of mosaics and sculptures.

****

**Limestone**

Sedimentary rock, composed mainly of calcite and aragonite. Used frequently as building material for its easy malleability.

**Low relief (basso relieve)**

The relief is wholly attached and may scarcely rise above the surface, or it may exceed in projection to about a half the proportionate depth (or thickness) of the figure or object represented.

**M**

**M** **annerism**

Europe, 1525-1600.

Elegant and refined style, dominated by secular subjects, complex compositions, long, muscular and stylised bodies, captured in complex poses, and having an abundance of precious details.

**Marble**

Term applied to any limestone or dolomite which is sufficiently close in texture to admit of being polished. Famous quality marbles are Pentelic marble in Ancient Greek sculptures or Carrara marble from the Renaissance period until now.

**Metalwork**

Gold, silver, and bronze worked in several different ways, for example: moulded into a certain shape then adorned through hammer and embossing (repoussé).

**Minimalism**

USA, late 1960s.

Based on a reduction of historic content and expressive in a minimum degree. Geometric and tall, simplified forms.

**Modelling**

1. In painting and sculpting, the object or person used as an example.

2. Preliminary sculpture made in malleable material (wax, clay, plaster).

**Mosaic**

A picture or pattern composed by arranging small (and coloured) pieces of stone or glass. Mosaics were used during the Roman period, the Middle Ages, and in particular during the Byzantine period, and would be further developed by Art Nouveau artists.

**N**

**N** **aturalism**

Europe, 1880-1900.

Extension of realism, Naturalism praises an even more realistic approach of nature.

**P**

**P** **ortal**

In architecture, the word "portal" designates an elevated structure serving as a façade or as a main entrance to a large building in front of the door. It often takes the form of a splay in front of the main doors of an edifice, forming an overhanging shelter. The portal is built around the doors themselves. This distinguishes it from a porch, which extends outward from the building. The portal is the frame of the door and the arch which extends from it, either corbelled or supported by buttresses or columns.

**R**

**R** **ealism**

France, middle of the 19th century.

The rendering of everyday characters, subjects and events in a manner close to reality, in contrast to classical, idealised forms. It inspired Corot, Millet and the Barbizon School of painters.

**Renaissance**

Europe, c. 1400-1520.

Period of great creative and intellectual activity, breaking away from the restrictions of Byzantine Art. Study of anatomy and perspective through an appreciation and understanding of the natural world.

**Retable**

A frame or shelf enclosing decorated panels above and behind an altar.

**Rococo**

Europe, 1700-1770.

An exuberant style which began in France, characterised by great displays of ornamentation; tumultuous compositions; light, delicate colours; and curving forms.

**S**

**S** **andstone**

Consolidated sand rock built up of sand grains held together by a cementing substance.

**Sarcophagus**

Name given to a coffin in stone, which, on account of its caustic qualities, according to Pliny, consumed the body forty days; also by the Greeks to a sepulchral chest, in stone or other material, which was more or less enriched with ornaments and sculptures.

**Secretary**

A writing desk with shelves on top. There are several shapes and types of secretaries.

**Sideboard**

Furniture piece with cupboards and drawers, placed along a wall and used for storing dishes, glasses, and table linen. Developed during the Renaissance.

**T**

**T** **erracotta**

Originally used to define clay sculptures 'sun-dried' only. Can also be used to define fired clay. This word comes from the Italian 'terra cotta', literally 'baked earth'.

**V**

**V** **ienna Secession**

Austrian art movement that arose from the coalition of several avant-garde artists at the end of the 19th century. This Art Nouveau movement is more geometric in style. The leader is Gustav Klimt.

**W**

**W** **ood**

Solid compact or fibrous substance forming the trunk, branches an droots of voluminous plants. Lighter and more malleable than stone, it was often used for sculptures of small scale or in regions where sculptural stone was not easy to find.

### List Of Illustrations

**A**

Acrylic Stool, Shiro Kuramata

Actaeon, Paul Manship

Adam, Anonymous

Adjustable chair, Morris, Marshall, Faulkner & Co

Adoration of the Magi, Anonymous

Adornments belonging to Queen Arnegundem, Anonymous

African chair, Marcel Breuer and Gunta Stölzl

Alabaster, Pierre Bayle

Alsatian chest, Anonymous

Altar of Santa Maria de Taüll, Anonymous

Altar table and cloth, Philip Speakman Webb (design) and John Garrett & Son (manufacturing)

Altarpiece from the Church of St Maria zur Wiese, The Holy Trinity, Virgin Mary, and John the Baptist, Anonymous

Altarpiece of the Annunciation. Simone Martini and Lippo Memmi

Altarpiece with the Passion and Childhood of Christ, Anonymous

The American Scene, Ruth Reeves

Amphitheatre chair, Jean Prouvé

Amphora in Tang style, Anonymous

Ampulla with a cross, Anonymous

Anthropomorphic vase, Jean and Jacqueline Lerat

Apse in the Cathedral of Monreale: Christ Pantocrator, Virgin and Child, Archangel, Apostle, and Saints, Anonymous

Aquamanile, Anonymous

Arc quadrant, Anonymous

The Archangel Gabriel, Anonymous

The Archangel St Michael, Anonymous

Ariadne, Maenad, Satyr, and Eros, Anonymous

Arles commode, Anonymous

Arm reliquary of St Louis of Toulouse, Anonymous

Amchair, Bruno Paul

Armchair of Hetepheres, Anonymous

Armchair with frame, back in curved medallion shape, Anonymous

Armchair with heart-shaped back, Anonymous

Armillary sphere, Anonymous

Armour belonging to Henry II, Anonymous

Armour belonging to Henry II (detail), Anonymous

Amour of Henry's heir apparent, Francesco Negroli and his brothers

Ascension of Jesus, Anonymous

Astrolabe, Anonymous

Astronomical clock, Claude-Siméon Passement, Claude Dauthiau, and Philippe Caffieri

At Water's Edge, Hippolyte Lucas

Aubazine cabinet, Anonymous

Aubusson tapestry, Hélène Henry

Auditorium for the Paramount Theater, Rapp & Rapp Architects

Automaton clock, Antoine Morand

**B**

Baby grand piano, Mira Flygel, Poul Henningsen

Ball vase, Robert Lallemant

Banner for the Caliph Al-Mustali, known as the Veil of St Anne, Anonymous.

Baptismal basin of St Louis (Louis IX), Anonymous

Baptismal font, Anonymous

Baptismal font, Master Roberto

Belgian, Renier de Huy

Baroque vase, Jean Lurçat

Basin and ewer, François Briot

Bas-relief, Henri Laurens

The Bath, part of The Splendid Life, Anonymous

Bathroom, Armand Albert Rateau

Bat-shaped ring, René Lalique

Battle of Motte and Bailey Castle (top), Harold Pledges to Support William's Claim to the Throne (bottom), Anonymous

The Battle of Zama, After Jules Romain

Bauhaus chess set, Josef Hartwig

Bearing of the Cross, Anonymous

Bed, Jean Dunand

Bed belonging to Hetepheres, Anonymous

Bed of Madame Récamier, Jacob Frères

Bed table with toiletries, Guillaume Martin Biennais

Bedroom furniture: bed, Gustave Serrurier-Bovy

Beer jug decorated with carnations and leaves, Anonymous

Bee-shaped pendant, Anonymous

Belt, Anonymous

Belt buckle, Anonymous

Belt in gold with precious stones, Anonymous

'Bibendum' chair, Eileen Gray

Bible Historiale, Guyart des Moulins

Bible Historiale, Guyart des Moulins

Bloemenwerf, Henry Van de Velde

Blois pitcher, Sèvres Manufactory

Blue bowl, Anonymous

The blue god's costume for the ballet Le Dieu Bleu, Léon Bakst

Blue plate, Anonymous

Book cover, Anonymous

Book cover: Christ Enthroned, Anonymous

Book cover: The Crucifixion and Symbols of the Evangelists, Anonymous

Book cover for Pastel by Georgette Heyer, Theyre Lee-Elliott

Book cover for The Bleston Mystery by Robert Milward Kennedy, Edward McKnight Kauffer

Book cover with flaps, Anonymous

Book of Hours of Anne of Brittany and Mary Tudor, Anonymous

A Book of Verse, William Morris

Bottle, Anonymous

Bottle, Anonymous

Bottle, Anonymous

Bottle, Séraphin Soudbinine

Bottle with plum blossoms, Anonymous

Bottle with the crest of Catherine de' Medici, Anonymous

Bowl, Anonymous

Bowl, Émile Eecoeur

Bowl from the tomb of Bernardini, Anonymous

Bowl with silver rim in grapevine pattern, Louis Comfort Tiffany

Bowl with the figure of a seated prince, Anonymous

Bowl with the The Martyrdom of St Cecilia, Casa Pirata Workshop

Bowl, decorated with two princes observing a pond with two fish, Anonymous

Bowl, military battle scene of horsemen, Anonymous

Bowls belonging to Hetepheres, Anonymous

Bows brooch, Anonymous

Box, Anonymous

Box with games, Anonymous

Box with print depicting the Martyrdom of St Sebastian, Anonymous

Bracelet, Anonymous (1)

Bracelet, Anonymous (2)

Bracelet, Anonymous (3)

Bracelet, Anonymous (4)

Bracelet, Jean Dunand

Bracelet, Henri Gargat

Bracelet model, Morel and Cie (Jean Valentin Morel and Henri Duponchel), Jean-Baptiste Klagmann, and Milleret

Bracelet with an agate stone, Anonymous

Bracelet with brooch, Maison Paul and Raymond Templier

Bracelets from the tomb of Djer, Anonymous

Breakfast dishes, Meissen Manufactory

Breviarium ambrosianum, known as Il Beroldo, Giovanni de' Grassi

Brick screen, Eileen Gray

Bronze razor, Anonymous

Bronze-plated torque with lapis lazuli, turquoise, and coral, Anonymous

Brooch, Alexander Calder

Brooch, Anonymous

Brooch, Cartier

Brooch, Georges Fouquet

Brooch, Jean Desprès

Brooch, Jean Mayodon

Brooch, Maison Boucheron

Brooch, Maison Soufflot fils

Brooch, Maison Soufflot fils and Robert

Brooch, Raymond Templier

Brooch, Blackthorn and Wasps, René Lalique

Brooch, Orchid, Georges Fouquet.

Brooch, The Kiss, René Lalique

Brooch with Winged Snake, Georges Fouquet

Buddha's head, Georges Serré

Building of the Viennese Secession Exhibition, Josef Maria Olbrich

**C**

'Cabanel' commode, Jacques-Émile Ruhlmann

Cabinet, Anonymous (1)

Cabinet, Anonymous (2)

Cabinet, Charles Rennie Mackintosh

Cabinet, Melchior Baumgartner and Hans Lencker (attributed to)

Cabinet for men, Paul Theodore Frankl

Cabinet for the Moser House, Koloman Moser

Cabinet, Hell, Élisabeth Garouste and Mattia Bonetti

Cabinet of ebony, Anonymous

Cabinet on stand, Pierre Gole

Cabinet with decoration in form of umbellifer or acanthus, Japanese-style door and vases, Émile Gallé

Cabinet 'with riders', Anonymous

Camera KodakBantam Special, Walter Dorwin Teague

Candelabra, Fernand Dubois

Candelabra, Henry Van de Velde

Candelabra, Juste-Aurèle Meissonnier and Claude Duvivier

Candlestick: Woman Horseback Riding, Anonymous

Canopy bed from the Castle of Effiat, Anonymous

Carafe for water or wine, Keller Brothers

Card game Whist, Ditha Moser

Casa Milà, Antoni Gaudí

Casa Vicens, Antoni Gaudí

Casket and cabinet, Pierre Gole (attributed to)

Castel Béranger, Hector Guimard (1)

Castel Béranger, Hector Guimard (2)

Cauldron, Anonymous

Celadon vase, Anonymous

Ceremonial glass, Émile Gallé

Ceremonial hatchet of Ahmose, Anonymous

Chains with amulets and clasp, Anonymous

Chair, Anonymous (1)

Chair, Anonymous (2)

Chair, Anonymous (3)

Chair, Sylvain-Nicolas Blanchard

Chair, Arthur Heygate Mackmurdo

Chair, Charles Rennie Mackintosh (1)

Chair, Charles Rennie Mackintosh (2)

Chair, Denham Maclaren

Chair, Henry Van de Velde

Chair, Jacob-Desmalter

Chair, Jean-Baptiste-Claude Sené

Chair, Louis Süe, Paul Huillard, Damon, and Berteaux

Chair, René Coulon

Chair belonging to Princess Satamun, Anonymous

Chair from Red Lion Square, William Morris, Edward Burne-Jones, and Dante Gabriel Rossetti

Chair, from a room occupied by Madame Récamier, Jabob Frères

Chair, 'Pernilla', Bruno Mathsson

Chairs, Clarice and Charley, Niki de Saint Phalle

Chairs with arms, Anonymous

Chalice belonging Romanos II, Anonymous

Chariot for worship, Anonymous

Chayère, Anonymous (1)

Chayère, Anonymous (2)

Chest, Anonymous (1)

Chest, Anonymous (2)

Chest, Anonymous (3)

Chest, Anonymous (4)

Chest, Anonymous (5)

Chest, Anonymous (6)

Chest belonging to Bishop François d'Estaing of Rodez, Anonymous

Chest, known as 'The Holy Reliquary', Anonymous

Chest on a console base, André-Charles Boulle

Chest plate with mythological creatures: Playing Cherubs (detail), Anonymous

Chest: The Story of Psyche, Jacob Meyer-Heine

Chest: The Victory Parade of Two Emperors (lid), The Lion Hunt (sides), Anonymous

Chinese antique vase Mythology, Auguste Rodin and the Sèvres Manufactory

The Chinese Bride, Gerhard Henning

Chinese lacquered coffin decorated with birds and dragons, Anonymous

Choir stalls, Anonymous

Christ as a Warrior, Anonymous

Christ Blesses the Praying Virgin, Jean I Pénicaud

Ciborium from the treasury of the Order of the Holy Spirit, Anonymous

Cigarette case, Raymond Templier

Cigarette case marked with 'Black, Gérard Sandoz

Clasp of a reliquary, Anonymous

Clip, Jean Fouquet

Clip, Jean Lambert Rucki, Maison Georges Fouquet, and Charles Girard

Clip, Fish, Jean Schlumberger

Clip, Hera, Georges Braque

Clock, F.L. Godon, Relojero de Camara de S.M.C. and Coteau

Clock, Jean Goulden

Clock, Paul Theodore Frankl

Clock and Sphinx chatelaine, Alphonse Fouquet

Clock, Sacred Fire chatelaine, Jean-Démosthène Dugourc, Louis-Simon Boizot, Pierre-Philippe Thomire, and Robert Robin

'Clodion' vase, Jean-Charles Develly

Coal oven, Anonymous

Cocktail service, Manhattan, Norman Bel Geddes

Cocorico, Alphonse Mucha

Coffee and tea service, Otto Prustscher

Coffee pot, Kem Weber

Coffee table, Robert Mallet-Stevens

Coins from Vetulonia, Anonymous

Commode, André-Charles Boulle (attributed to)

Commode, Bernard II van Risen Burgh

Commode, Charles Cressent

Commode, Jacques-Philippe Carel

Commode, Jean Dunand

Commode, Thomas Hache

Commode (detail), Georges Jacob

Commode of Madame du Barry, Martin Carlin (attributed to)

Commode of Madame Victoire, Martin Carlin

Commode of the Prince of Condé, Jean-François Leleu

Compilation in honour of St Denis, Anonymous

Console, part of a pair, Anonymous

Corner cabinet, Christofle Manufactory and Émile Reiber (design)

The Coronation of the Virgin, Master of the Triptych of Louis XII

Corridor in the living quarters, Philip Speakman Webb (original idea)

Costume design for the ballet Le Dieu Bleu, Léon Bakst

Costume design for the Firebird for the ballet The Firebird, Léon Bakst

Costume of an Indo-Persian dancer for the ballet Cleopatra, Léon Bakst

Cover of a book belonging to St Blaise, Anonymous

Cover of the gospel, Anonymous

Cover page for the official program of the Ballet Russes (Bacchante in the production of Narcissus), Léon Bakst

Cover page of the Comœdia Illustré (1912), Léon Bakst

Cover sheet of the score of Julius Bittner's opera Der Musikant, Koloman Moser

The Creation of Eve, 1130-1143.

Cross, Anonymous

Cross of Justin II (or Crux Vaticana), Anonymous

Cross-shaped reliquary of the True Cross, Anonymous (1)

Cross-shaped reliquary of the True Cross, Anonymous (2)

The Crucifixion, Anonymous (1)

The Crucifixion, Anonymous (2)

The Crucifixion, Léonard, known as Nardon Pénicaud

The Crucifixion, Book cover (?), Anonymous

The Crucifixion, St Calminius reliquary (detail), Anonymous

The Crucifixion: Roman Captain Recognises the Divine Nature of Christ, 1502 (?), Jean Barbe (attributed to)

Cuff links, Gérard Sandoz

Cup, Anonymous

Cup, Charles Duron and Sollier Frères

Cup, Sèvres Manufactory

Cup belonging to Lycurgus, Anonymous

Cup on a pedestal, Anonymous

Cupboard panel, Odysseus' Departure, Guidoccio Cozzarelli

Cupola, with Genesis, Anonymous

The Orchard, c. 1880-1890.

Cylinder seal of Annipi, King of Sidon and son of Addume, Anonymous

Cylinder-shaped secretary in Louis XIV's office in Versailles, Jean-François Oeben and Jean-Henri Riesener

**D**

Dagger and sheath, Anonymous

Dagger belonging to Princess Ita, Anonymous

Dance, art deco rondel, Hildreth Meiere

Dance Palace. Poster for the official dance theatre at the World Exhibition of 1900, Manuel Orazi

Dancer and Gazelle, Paul Manship

The Dancing Dog, Étienne Maurice Falconet

Dancing Maenad, Carl Milles

Decoration for a corsage, Maison Boucheron

Decorative flower garland and stylised foliage, Anonymous

Decorative panel, Anonymous

The Departure of a Hunting Party, part of The Splendid Life, Anonymous

The Descent from the Cross, Léonard Limosin

Design for a bedroom, Anonymous

Design for decorative vase, Auguste Rodin and Jules Desbois

Design for the ceiling at the Pantages Theatre, Heinsbergen Decorating Company (Anthony Heinsbergen)

Desk, Henry Van de Velde

Desk, Sir Edward Maufe

Desk clock, Tiffany & Co.

Desk with leather surface with built-in, nickelled pencil cases, Robert Mallet-Stevens

Detail of a ceiling painting from the state house of the Countess of Verrue in Paris, Anonymous

Detail of clay coating, enamelled and blackened, Arthur E. Harvey

Detail of Love Fulfilled, Poem from A Book of Verse, William Morris

Diana, Paul Manship

Dining room table with eight chair, Jean Dunand

Diptych panel in five parts: The Emperor Triumphant (Justinian?), Anonymous

Dipylon vase, Anonymous

Dish with turquoise rosettes, Anonymous

Dishes, Albert Dammouse

Dishes, Anonymous

Document holder with three dividers, Louis Comfort Tiffany

Don Quixote: The Ball in Barcelona, Anonymous

Door knocker with lion, Anonymous

Double bed, Pierre Chareau

Double commode with corner mountings, Anonymous

Double gourd-shaped bottle, Anonymous

Dragonfly-shaped brooch, René Lalique

Drawing board, Anonymous

Drawing for stained glass window of Am Steinhof Church, Koloman Moser

Dresser with harpies, Anonymous

Dressing gown, Anonymous

Dressing table, Antoni Gaudí

Dressing table, Eilleen Gray

Dressing table, René Herbst

Dressing table, Robert Mallet-Stevens

Dressing table and chair, Anonymous

Drop earrings, Anonymous

Duke of Bordeaux's ceremonial cradle, Félix Rémond, Jean-François Denière, and François Thomas Matelin

Duplessis sauceboat, Sèvres Manufactory

**E**

Ear sofa, Anonymous

Earring, Anonymous

Earring, Eugène Fonteway

Earrings, Anonymous (1)

Earrings, Anonymous (2)

Earrings, Anonymous (3)

Earrings, Anonymous (4)

Earrings, Anonymous (5)

Earrings, Anonymous (6)

Earrings, Eugène Fontenay

Eastern window, lit by sunlight, Koloman Moser

'Egyptian Temple Gate' Clock, Catier

Ekco AD-65, radio, Wells Coates

El Capricho, Antoni Gaudí

Eleusis Amphora: The Blinding of the Cyclops Polyphemus by Odysseus, Anonymous

Embellished bottle, Anonymous

Embellished vase, Anonymous

Embellishment on the tomb of a woman from Waldalgesheim, Anonymous

Embroidery with Leopards, Anonymous

Emperor Constantine IX and Empress Zoe with Christ Enthroned, Anonymous

Empire State Building, William F. Lamb

Empress Eugénie's bonheur-du-jour writing desk, Alphonse Giroux and Cie

Empress Eugénie's crown, Alexandre-Gabriel Lemonnier

Empress Eugénie's standing mirror, Alexandre Georges Fourdinois

Enseigne à l'arbalète: Vierge et Saint Hermès (Crossbow emblem: Virgin and St Hermes), Anonymous

Enthroned Virgin Mary, Anonymous

Entrance door, Madison Avenue, Edgar Brandt

Entrance hall at the Chrysler Building, William van Alen

Entrance of the apartment complex 'Powhatan', Robert S. Degolyer and Charles L. Morgan

Entrance of the McGraw-Hill building, Raymond Hood

The entrance of the metro station at Porte Dauphine, Hector Guimard

Entrance to the luxury suite of Chanin Building, New York, René Paul Chambellan

Entrance with ceramic, St Thomas Apostle, Francis Barry Byrne

'État rectangle' cabinet, Jacques-Émile Ruhlmann

Europa and the Bull, Carl Milles

Eusebian Canons, Anonymous

Evening coat, Elsa Schiparelli

Evening gown, Charles Schiparelli

Evening gown, Jean Patou

Evening gown, Jeanne Lanvin

Ewer and basin, François-Thomas Germain

Ewer and basin, said to have belonged to Charles V, Anonymous

Ewer with the Letter G, Saint-Porchaire's Workshop

Exaltation of the Work of the Dominicans, Andrea Bonaiuti, known as Andrea da Firenze

**F**

Fabric with warriors and prisoners, Anonymous

Faith, Hope, and Charity, Edward Burne-Jones

Falling Water, Frank Lloyd Wright

'Fan' table, Anonymous

'Fan' wall light, Jacques-Émile Ruhlmann

Farnese cabinet, Anonymous

The Fates, Germain Pilon

Final Design for the Allegory 'Tragedy', Gustav Klimt

Fire incense burner, François-Thomas Germain

Fish-shaped snuff box, Anonymous

Flame, Ryijy tapestry, Akseli Gallen-Kallela

Fluted ewer, Anonymous

Folding headrest, Anonymous

Fountain of Diana, Anonymous

Four glass vials, Anonymous

The Four Seasons, Anonymous

Fox and Grapes, Adelaïde Alsop Robineau

Fragment of a curtain from The Stories of Virtuous Women: Penelope at Her Loom, Anonymous

Fragment of a sheath, Anonymous

Francis I's salt shaker, Benvenuto Cellini

Frieze from the Castle of Vélez Blanco: The Birth of Hercules, Anonymous

Frieze in the Chanin Building, René Paul Chambellan and Jacques Delamarre

Fruit basket, Anonymous

Fruit basket, Koloman Moser

Funeral mask, known as 'Mask of Agamemnon', Anonymous

Funerary spirit, Germain Pilon

Furniture, Jacques-Émile Ruhlmann, Jean Dunand, and Jean Lambert-Rucki

**G**

Gallery of Psyche, David Orders Jacob to Assemble the Army, tapestry of David and Bathsheba, Anonymous

Gallery of Psyche, David's Army Gathers Strength for the Siege of Rabbah, tapestry of David and Bathsheba, Anonymous

Gallery of Psyche, tapestries of David and Bathsheba, Anonymous

The Gamble House, Charles and Henry Greene (1)

The Gamble House, Charles and Henry Greene (2)

Game table, 'Dubly'. Jacques-Émile Ruhlmann

Game table from the baroque period, Anonymous

'Gazelle' bowl, Sidney Biehler Waugh

Gilded chamber in the Rochegude mansion in Avignon, Anonymous

Glass chalice, Anonymous

Glasses, Koloman Moser

Glasses with heraldic decoration, Émile Gallé

Goetheanum, Rudolf Steiner

Golden chest belonging to Anna of Austria, Anonymous

Golden rose, Minucchio da Siena

Golden Vaphio cup, Anonymous

The Good Shepherd, Anonymous

The Good Shepherd, Anonymous

Grand piano, Edward Burne-Jones (designer), Kate Faulkner (decorator), and John Broadwood (manufacturer)

Green Striped Pot, Alison Britton

Grisaille panel, Anonymous

Guggenheim Museum, Frank Lloyd Wright

**H**

Haircomb, Daphnis and Chloe, Paul and Henri Vever

Haircomb, Lily of the Valley, René Lalique

Haircomb, Mistletoe, Paul and Henri Vever

Hairpin, Anonymous

Handbag with a small mirror, Anonymous

Hand mirror, Félix Bracquemond and Auguste Rodin

Hanging: Manhattan, Ruth Reeves

Hat part, Jean Schlumberger

Headpiece with a serapi figure, Anonymous

Healing the Bleeding Woman, Anonymous

Helmet-shaped ewer, Sèvres Manufactory

Hercules Strangling the Nemean Lion, Anonymous

Hercules Wrestling Antaeus, Euphronios

High-spouted ewer, Anonymous

Hinged chest, Anonymous

Holland Park, William Morris

The Holy Trinity, Jan and Joël Martel

A Holy Woman, Anonymous

Hôtel Solvay, Victoria Horta

Hôtel Tassel, Victoria Horta

Hôtel van Eetvelde, Victoria Horta (1)

Hôtel van Eetvelde, Victoria Horta (2)

**I**

Ice box, Anonymous

Icon in lapis lazuli, Anonymous

Illustrated cup, The Labours of Hercules, Anonymous

Illustration for Blaise Cendrars' La prose du Transsibérien et de la Petite Jehanne de France, Sonia Delaunay

Incense burner, Anonymous

Incense burner in the shape of a Lian house, Anonymous

Initial of the second Book of Kings, Bible with prologue, Anonymous

Ink bottle, Anonymous

Inkwell, Otar

Inkwell, Henri Dasson

Inlaid panel of a soundboard from a lyre, Anonymous

Iris bracelet, René Lalique

Ivory chest, Anonymous

**J**

Jar, Arts and Crafts, Lucien Falize

Jar from Pompeii, Day, Auguste Rodin and the Sèvres Manufactory

Jar with handle, Max Krehan and Gerhard Marcks

Jason and Medea, Anonymous

Jewelled upper cover of Lindau Gospels, School of the Court of Charles the Bald

Josephine Baker, plate from Tumulte noir, Paul Colin

Jug, Anonymous (1)

Jug, Anonymous (2)

Jug, Anonymous (3)

Jug, Anonymous (4)

Jug, Anonymous (5)

Jug, Anonymous (6)

Jug, decorated with a flute player and a mythical creature, Anonymous

Jug for rituals, Anonymous

Jug in the shape of an elephant, Anonymous

Jug with bird feet, Anonymous

Jug with the crest of Anne of Brittany, Anonymous

Jug with the crest of Pierre Tallon, Anonymous

Jug with the face of a goddess, Anonymous

Jupiter, Pierre Courteys

Jupiter, Alessandro Vittoria

**K/L**

Kettle on stand with burner, Peter Müller-Munk

King Hunting Rams, Anonymous

King Louis XIII's armour, Anonymous

King Solomon's Amphora, Emile Gallé

Knife and fork, Anonymous

Labels for vases, Anonymous

Lacquered panel and gold leaf, Jean Dunand

The Lady of the Castle, Bianca Cappello, Alphonse Fouquet, Paul Grandhomme, and Charles Béranger

The Lamentation of Christ, Germain Pilon

Lamp, Raoul-Eugène Lamourdedieu

Lamp, Daffodil, Louis Comfort Tiffany

Lamp from a mosque, Anonymous (1)

Lamp from a mosque, Anonymous (2)

'Liane' lamp, Jean Royère

Lamp, Mushroom, Émile Gallé

Lamp, Nautilus, Gustav Gurschner

Lamp with the figure of the god Bes, Anonymous

Lamp, 'Two Peacocks', René Lalique

Lamp, Wisteria, Tiffany & Co.

Lamp with glass rod for the Schwestern Flöge in Vienna, Koloman Moser

Large and small sideboard, Jean Dunand

Large panoramic image depicting the Bosphorus shore, Anonymous

Large serving platter, Ateliers Clérissy

Large vase with two leaf-shaped handles, François Décorchemont

Large writing table, Jacques Dubois

Le Montreur d'images. François Boucher

Lecture, Nicola Pisano

Leda and the Swan, Girolamo della Robbia

Leo VI in Proskynesis before Christ Enthroned, Anonymous

Leopards and Centaurs, Anonymous

Les Girls, Demetre Chiparus

Liane de Pougy at the Folies Bergère, Paul Berthon

Library table, André Hermant

The Life of St Denis: The Entrance of St Denis into Paris, Yves, monk of the Abbey of St Denis

Lift door, Chrysler Building, William van Alen

Lift panel, The Storks of Alsace, Edgar Brandt

Lighter, Touch Tip, Ronson Company

Lion and Gazelle, Anonymous

Liquor service, Anonymous

Litter belonging to Hetepheres, Anonymous

Lobby at the Pathé Tuschinski, movie theatre, Jaap Gidding

Locket of Empress Maria, Anonymous

Louis XIII's colletin, Anonymous

Lounger, Eileen Gray

Lounger made of bamboo, Charlotte Perriand

Low cabinet, Jean-Henri Riesener

Lower part of a quiver from Lorestan (Iran), Anonymous

Lustre, Anonymous

Lying Woman with Child, Henry Moore

**M**

Mädchenkopf (Young Girl's Head), Koloman Moser

Magot figure, Villeroy Manufactory

Main foyer at the Guardian Building, Wirt Rowland, Smith, Hinchman & Grylls Associates Inc. and Thomas di Lorenzo

Main reliquary of St Stephen of Muret, Anonymous

The Maharajah's bathroom, Anonymous

The Maharajah's bedroom, Anonymous

Majesty of Sainte Foy, Anonymous

Mantle piece detail, Diana and Actaeon, Anonymous

Mariner's Bowl, Sidney Biehler Waugh

Martorana Dome, Christ Pantocrator Surrounded by Four Archangels, Anonymous

Mary of Egypt, Anonymous

Master Alpais' ciborium, Master Alpais (?)

Mazarin desk with seven drawers, Anonymous

Medal of Emperor Constantine the Great, Anonymous

Medal of Emperor Constantine the Great and the sun god, Sol, Anonymous

Medallion depicting a griffin, Anonymous

Medallion of Louis XII (recto) and Anne of Brittany (verso), Anonymous

Medallion with The Triumph of the Emperor Qalaat al-Marqab, Anonymous

Medallion: Self-Portrait, Jean Fouquet

Medallion: St Demetrius, Anonymous

Memnon Pieta, Douris

Middle piece of a bracelet, Anonymous

Minerva, Anonymous

Miniature illustration of Vergilius Vaticanus, Anonymous

The Miracles of the Blessed Virgin Mary, a representation of the story of the damnation of a money lender and the redemption of a beggar who accompanied the Blessed Virgin Mary, Gautier de Coinci

Mirror, Gabriel Viardot (attributed to)

Mirror, Franz Hagenauer

Mirror depicting sea creatures, Anonymous

Mirror from Tuscany, Anonymous

Mirror illustrating The Nursing of Hercules, Anonymous

Mirror with a winged genius, Anonymous

Mirror with eight protrusions, Anonymous

Mirror with the twelve zodiac signs, Anonymous

Missorium, Hercules Strangling the Nemean Lion, Anonymous

The Missorium of Theodosius, Anonymous

Moka pot consisting of sis parts, Theodor Bogler and Aelteste Volkstedter Porzellanmanufaktur

Moon-shaped jug with a painting of a dragon, Anonymous

Moralised Bible: Blanche of Castile and King Louis IX of France; Author Dictating to a Scribe, Anonymous

Motherhood, Odette Lepeltier

Mural, Christ in Glory, Anonymous

Music cabinet, Anonymous

Musical Saw Player, Jan and Joël Martel

Mustard pot, Sèvres Manufactory and Asselin de Villequier (decoration)

Mystical Marriage of St Catherine, Anonymous

**N**

Naiad, Anonymous

Narcissus, Anonymous

Navel-shaped plate, Autruche Manufactory (attributed to)

Necklace, Anonymous

Necklace, Body Sculpture, Viviana Torun

Necklace, Dragonfly, René Lalique

Necklace, Leapfrog, Line Vautrin

Necklace with cross and pendants, Anonymous

Necklace with pectoral, dedicated to Sesostris II, Anonymous

Nessus and Deianeira, Jean Boulogne

Nœud (node) brooch, Anonymous

Notre Dame du Haut, Le Corbusier

Nude, Jan and Joël Martel

Nut vending machine, Stewart & McGuire

Nymph and Triton Jean Goujon

Nymphs' costumes for the ballet The Afternoon of a Faun, Léon Bakst

**O/P**

Octagonal plate, Thelma Frazier Winter

Octagonal folding table, Anonymous

'Octopus' Vase, Anonymous

Odes of Horace, William Morris

The Offering of a Heart, Anonymous

Ormolu polychrome mounted Boulle commode with two drawer, Noël Gérard

Ornate corsage, Anonymous

Ornate door, Anonymous

Our Lady Queen of Heaven, Anonymous

Painted chest, Anonymous

Pair of armchairs, Jacques-Émile Ruhlmann

Pair of bookshelves, 'skyscrapers' model, Paul Theodore Frankl

Pair of ear clips, 'Crest' or 'Helmet', Anonymous

A pair of funnel-shaped vases and a pair of water pitchers, Saint-Cloud Manufactory

A pair of Medici vases, Bercy Manufactory (?)

A pair of mirrors: Christ between John the Baptist and Charlemagne and The Virgin between St Catherine and John the Baptist, Anonymous

Pair of sconces, André-Charles Boulle (attributed to)

Pair of sconces, Pierre Chareau

Pala d'Oro, Anonymous

Panel trim (detail), Anonymous

Panel: Veiled Josephine Baker, Jean Dunand

'Paris' tapestry, Fernant Léger

The Parting of Lot and Abraham, Auguste Rodin

Passover Lamb pendant, Anoymous

Pastoral from Fenaille Album, Auguste Rodin

Paten, with Christ blessing, Anonymous

Patera from Cherchell, Anonymous

Patterned cabinet, Koloman Moser

Paysage portatif, Jean Dubuffet

Peacock-shaped snuff box, Anonymous

Pearls and Things and Palm Beach, Emil Bisttram

Pear-shaped vase, Anonymous

Pedestal, Gustave Serrurier-Bovy

Pedicle cross, Hector Rayronie

Peleus and Thetis, Surrounded by Other Sea Nymphs, Marsyas Painter

Pencil holder, Anonymous (1)

Pencil holder, Anonymous (2)

Pendant, Anonymous

Pendant, Jean Fouquet

Pendant, Paul and Henri Vever

Pendant belonging to Mereret, Anonymous

Pendant depicting The Assumption of the Virgin Mary, Anonymous

Pendant, Face of the Moon, Jean Lurçat

Austrian. Pendant for children, Koloman Moser

Pendant, Head of a Woman Wearing Two Poppy Flowers, René Lalique

Pendant in the shape of a shell, Anonymous

Pendant, Kneeling Woman, Raymond Templier and Joseph Csaky

Pendant, Razor Blade, Jean Dinh Van

Pendant, Roosters, René Lalique

Pendant, Sylvia, Henri Vever

Pendant, The Awakening, Paul and Henri Vever

Pendant with Annunciation and Nativity, Anonymous

Pendant with chain, Gérard Sandoz

Pendant, Imdugud, the Lion-Headed Eagle, Anonymous

The People of Africa (Cameroon) and The People of Asia (Indochina), Jean Dunand

Perfume container, Anonymous

Peter the Apostle, Léonard Limosin

Piece of a belt, probably from Ziwiye, Anonymous

A pilgrim's water pitcher, Anonymous

Pitcher, Anonymous (1)

Pitcher, Anonymous (2)

Pitcher, Anonymous (3)

Pitcher belonging to Hephaistos, Anonymous

Pitcher with the crest of Catherine de Foix, Anonymous

Plaque of the harness of a horse of Henry II , The Death of Cleopatra, Anonymous

Plaque, Young Woman and Child or Brother and Sister, Auguste Rodin and the Sèvres Manufactory

Plate, Anonymous (1)

Plate, Anonymous (2)

Plate, Sèvres Manufactory

Plate, Jean Besnard

Plate, Air and Water, Auguste Rodin and the Sèvres Manufactory

Plate from the service of Caroline of Naples, Sèvres Manufactory

Plate, illustration from Les choses de Paul Poiret vues par Georges Lepape, Georges Lepape

Plate painted with twelve colours, Anonymous

Plate: Virgin and Child, Unicorn, Anonymous

Plate with a prince hunting lions, Anonymous

Plate with butterflies and peachtree branches, Anonymous

Plate with Month of September, the Harvest, Pierre Reymond

Plate with The Clever Virgins and the Foolish Virgins, Suzanne de Court

Plate with the figure of a bird, Anonymous

Plate with the Virgin Mary and Christ Child, Anne Dangar

Platter, Louis-François Lécot and François-Antoine Pfeiffer

Player of the Spanish Bagpipe, Anonymous

Pocket watch, Jean Dunand

Virgin and Child Surrounded by Saints, Antonio de Carro

Pomona, Edward Burne-Jones, William Morris and Morris & Co.

Porcelain vase, 'De Grieksche A' Manufactory

Portable altar, Anonymous (1)

Portable altar, Anonymous (2)

Portable altar: Crucifixion and the Twelve Apostles, Anonymous

Portable phonograph, Victor Special model, John Vassos

Portrait of Eleanor of Hapsburg, Léonard Limosin

Portrait of the High Constable of Montmorency, Léonard Limosin

Poster for a soiree of Sonaten von Beethoven, Koloman Moser

Poster for L'Oiseau bleu, Train Pullman, Cassandre (Adolphe Mouron)

Poster for La Croisière noire, Anonymous

Poster for Le Tour du mont Blanc, Rogers Broders

Poster for Monaco – Monte-Carlo, chemin de fer P.L.M., Alphonse Mucha

Poster for the 2nd exhibition of the Viennese Secession, Joseph Maria Olbrich

Poster for the Bauhaus exhibition in Weimar, Joost Schmidt

Poster for the Exposition internationale des arts décoratifs de Paris, Robert Bonfils

Poster for the first exhibition of the Berlin Secession, Ludwing von Hofmann

Poster for the first Salon de la Rose + Croix, Carlos Schwabe

Poster for Jacob & Josef Kohn for an auction in Russia, Koloman Moser

Poster for the Nord Express, Cassandre (Adolphe Mouron)

Poster for The Scottish Musical Review, Charles Rennie Mackintosh

Poster for the second exhibition of Union des artistes modernes, Jean Carlu

Poster for The Studio, Aubrey Beardsley

Poster promoting the Salon des Cents in the Hall de la Plume, Alphonse Mucha

Pot with cover, Séraphin Soudbinine

Pouch, known as 'Countess of Bar', Anonymous

Prayer mat, known as 'Bellini', Anonymous

Prayer niche (Mihrab), Anonymous

Presentation of the Virgin in the Temple, Anonymous

Prickly Pear, Daum and Louis Majorelle

The privy chamber of the queen, or the gilded privy chamber, Anonymous

Procession of Twenty-Six Martyrs, Anonymous

Project for a ceiling painting, Claude Audran III

Proposed panels for a pair of lacquered doors, Jean Dunand

Punch service with three ladles, Jean Dunand

'Puzzle' desk, Paul Theodore Frankl

**Q/R**

The Queen's chair, Jean-Baptiste Cresson

The Queen's chair, Jean-Baptiste Gourdin

The Queen's costume for the ballet Thamar, Léon Bakst

The Queen's dressing table, Félix Rémond

Quadratic image with blue background, Jean-Louis Morin

Quadriga, Anonymous

Quiver with the crest of the Duke of Burgundy, Anonymous

Qur'an stand, Anonymous

Radio, Air King model, Air King Product Company

The Rape of Europa, Paul Manship

Reading chair, Pierre Legrain

Reception at the Field Building, K. M. Vitzthum & J. J. Burns architects

Rectangular rug, Eileen Gray

Red-haired Demon, Anonymous

The Red House, William Morris

Relief customised for the Palace of Fontainebleau gates, The Nymph of Fontainebleau, Benvenuto Cellini

Relief, Nymphs, Jean Goujon

Reliefs for Dr Hermann Wittgenstein's living room, Koloman Moser

Reliefs for local metal workshops in Vienna, Koloman Moser

Reliquary from Notre-Dame de Termonde, Anonymous

Reliquary bust of a companion of St Ursula, Anonymous

Reliquary case of the True Cross, with sliding lid, Anonymous

Reliquary casket of St Thomas Becket, Anonymous

Reliquary figure: Virgin and Child of Jeanne d'Évreux, Anonymous

Reliquary in an 'A'- shape, from Charlemagne, Anonymous

Reliquary of Charlemagne's arm, Liège, Anonymous

Reliquary of Christ's navel, Anonymous

Reliquary of St Francis of Assisi, Anonymous

Reliquary of the Corporal of Bolsena, Ugolino di Vieri

Reliquary of the True Cross, Anonymous

Reliquary plate from the stone of Christ's tomb: The Holy Women, Anonymous

Renaissance cabinet. Henri Auguste Fourdinois

The Resurrection, Anonymous

Dutch. Rietveld Schröder House, Anonymous.

Ring, Anonymous (1)

Ring, Anonymous (2)

Ring, Gérard Sandoz

Ring, Jean Dinh Van

Ring, Saara Hopea-Untracht

Ring, Two Couples, René Lalique

Ring with a fleur-de-lis, Anonymous

Ritual crown, Anonymous

Robie House, Frank Lloyd Wright

Roll vase, Robert Lallemant

Rolltop desk, Jean-Henri Riesener

Rolltop desk of Marie Antoinette, Jean-Henri Riesener

Rondel, monogrammed with 'LG', Jean Fouquet

Round plate, second size, Pierre-Joseph Rosset

Round shield for young Louis XIII, c. 1610.

Rug with abstract forms, Hedwig Jungnik

Rugs, Ivan da Silva Bruhns

**S**

Sacrifice, Rayner Hoff

Sacrifice of Isaac, Filippo Brunelleschi

Sacrifice of Isaac, Lorenzo Ghiberti

Saigon vase, The Abduction, Auguste Rodin and the Sèvres Manufactory

Saigon vase, The Elements Auguste Rodin and the Sèvres Manufactory

Salon des Cent (Salon of the One Hundred), Eugène Grasset

Salon du bois, Georges Hoentschel

Samson Carrying the Gate of Gaza, Anonymous

Sarcophagus, Anonymous

Sceptre of Charles V, Anonymous

Scipio's shield, Anonymous

Screen, John Henry Dearle (designer) and Morris & Co. (manufacturer)

Screen, Jean Dunand

Screen, Donald Deskey

Screen, Huts, Jean Dunand

Screen, Oasis, Edgar Brandt

Screen with two partitions, Jean Dunand

Sculpture 23, Rudolf Belling

Sculpture, Kimpei Nakamura

Seat for the smoking room, Hector Guimard.

Seated Guandi, Anonymous

Secretary-commode, Guilaume Grohé

Secretary with doucine moulding, Léonard Boudin

Secretary and chair, Koloman Moser

Self-Portrait in the Green Bugatti, Tamara de Lempicka

Semaphore brooch, Gérard Sandoz

Service '3T', Roger Tallon

Service including a shot glass, wine glass, pitcher, and flute, Josef Hoffmann

Service with four glasses and spoon within an art nouveau case, Tiffany & Co.

Serving cabinet from Joinville, Anonymous

Serving cabinet with plant detail, Anonymous

Shawl, Anonymous

Shield belonging to Henry II, Anonymous

Shield: David and Goliath, Anonymous

Ship of Anne of Brittany's heart, Anonymous

Shrine of St Dominic of Silos, Anonymous

Shrine of St Ursula, Hans Hemling

Shrine of the Three Kings, Nicholas of Verdun

Shroud of St Germain, Anonymous

Shroud of St Lazarus of Autun, Anonymous

Sideboard, Ladies and Animals, Edward Burne-Jones

Signet ring, Anonymous (1)

Signet ring, Anonymous (2)

Silvered vase, Wilhelm Kage

Situla belonging to Bakenranef, Anonymous

Sloping secretary, Anonymous

Sloping secretary, Adrien Faizelot Delorme (attributed to) and Étienne-Simon Martin (attributed to)

Small bottle, The Golden Parrot, Maurice Marinot

Small round table, Charlotte Perriand

Small round table with stools, Eugène Gaillard

Small table, Anonymous

Snuff box, Daniel Govaers, known as Gouers

Solomon and the Queen of Sheba, Paul Vredeman De Vries and Adriaen van Nieulandt

The Soprano du Barry, Anonymous

The Sorrowful Virgin, Master of the Triptych of Louis XII

Soup tureen, Jean-Baptiste-Claude Odiot

St Bernard's goblet, Anonymous

St Demetius' cameo, Anonymous

St Eustace: The Sacred Tools for Hunting, Anonymous

St George and the Dragon, Anonymous

George cabinet, Philipp Speakman Webb (design), Morris, Marshall, Faulkner & Co. (manufacturing)

St Jerome and the Lion, Bartolomeo Bellano (attributed to)

St John the Baptist Praying in the Wilderness, Anonymous

St Mary's Altar: Dormition of Mary (centrepiece), Veit Stoss

St Paul, Anonymous

St Vitale Basilica, north wall: two scenes from the life of Abraham, angels, Moses, the prophet Jeremiah, St John, and St Luke, Anonymous

Stained glass window depicting the Nativity, Anonymous

Stained glass window depicting the Passion of Christ, Anonymous

Stained glass window depicting The Taking of the Ark, Dirick Crabeth

Stained glass window, Spring, Eugène Grasset (sketch), Félix Gaudin (execution)

Stained glass window with maple leaves and crucifixion, Anonymous

Stained glass window with the crest of Jean de Lorraine, Anonymous

Stained glass window with The Great Triumphs of Petrarch: The Triumph of Chastity and The Triumph of Death, Anonymous

Stained glass window: The Nativity, Anonymous

Standard lamp, 'Religieuse SN31', Pierre Chareau

The Standard of Ur, Anonymous

Standen, Philip Speakman Webb (original idea)

Standing mirror, Anonymous.

Statue, The Emperor of China, Sèvres Manufactory

Stele of Amenhotep, Anonymous

Steps in Processing Wool, Anonymous

Stone jug 'with halberdier', Anonymous

The Story of the Valiant Frithiof, William Morris, Charles Fairfax Murray, Louise Powell, and Graily Herwitt

Sun God, Gustave Miklos

Suzanne Bathing, René Lalique

Swans, Walter Crane

Swimming pool, Anonymous

Sword and sheath from the crowning ceremonies of the French kings, Anonymous

Sydney Opera House, Jorn Utzon, Hall, Todd and Littlemore

**T**

Table, Gilbert Poillerat

Table and bench, Pierre Legrain

Table clock, Anonymous (1)

Table clock, Anonymous (2)

Table, Elephant trunk, Adolf Loos

Table lamp, Donald Deskey

Table lamp, Rhododendron, Emile Gallé

Table lamp with detachable lampshade, Kurt Umen

Table setting centrepiece, Christofle Manufactory, François Gilbert, Georges Diebolt, and Pierre-Louis Rouillard

Tablet, Abd Al-Mutallib Isfahani

Tabouret, Pierre Legrain

Tahiti, Alfred Janniot

Tankard, Richard Riemerschmid

Tapestry, Anonymous (1)

Tapestry, Anonymous (2)

The Tapestry of the World, part of the cycle The World is Driven by Vice and Protected by Virtue, Anonymous

Tapestry representing The Life of St Stephen: The Miracle of Mules, Anonymous

Tapestry with medallion, Anonymous

Tapestry with the cycle of The Four Horsemen of the Apocalypse, Mortlake Manufactory (1)

Tapestry with the cycle of The Four Horsemen of the Apocalypse, Mortlake Manufactory (2)

Tapestry with the cycle of The Four Horsemen of the Apocalypse, Mortlake Manufactory (3)

Tapestry with the cycle of The Four Horsemen of the Apocalypse, Mortlake Manufactory (4)

Tapestry with The Story of Clorinda and Tancred: The Meeting of Clorinda and Tancred, Raphael de La Planche and Michael I von Corneille

Tapestry with the Story of St Mammes: St Mammes Giving Himself up to the Court of the Governor of Cappadocia, After Jean Cousin the Elder

Tarot cards, Ditha Moser

Tea kettle, Anonymous (1)

Tea kettle, Anonymous (2)

Tea service, Gilbert Rohde

Tea service: The Lights and Shadows of Manhattan, Erik Magnussen

Teacup, saucer, and sugar bowl, Anonymous

Teapot, Marianne Brandt

Telephone table 'MB152', Pierre Chareau

Terrine, Philippe Castel, Nicolas Sisson, and Nicolas Schradre

Three Angels, Dante Gabriel Rossetti or Edward Burne-Jones and Morris, Marshall, Faulkner & Co.

Three backrests from the choir stalls of the Château de Gaillon, Anonymous

Three-legged incense burner, Anonymous

Three-legged vase, Suzanne Ramié and Madoura Workshop

Three-part mirror with lighting, 'MG820/21', Pierre Chareau

Throne of Maximilian, Anonymous

Throne with footrest, Anonymous

Tiberius Gracchus and Cornelia, Giovanni di ser Giovanni

Tie pin, The Sun, Petit

Tie pin, Victory, Louis Rouvillois

Tie pin with double-sided scarab, Louis Rouvillois

Tile with Mayan motif, Auguste Lazo

Tin with lid, Koloman Moser

The Toilet of Salome, Aubrey Beardsley

'Tombak' water pitcher, Anonymous

Torn fan for the Cabaret Fledermaus, Bertold Löffler

The Transfiguration of Jesus, Anonymous

Travel bag or nécessaire 'Marthe Chenal', Louis Vuitton

Travel secretary, Anonymous

Treasure of Guarrazar. Anonymous

Treasury, Anonymous

Tree with Branches, Gabriel-Sébastien Simonet, known as Sébastien

Trim panel, Jean-Siméon Rousseau (attributed to)

Triptych, known as 'Harbaville Triptych': Deesis and Saints, Anonymous

Tube Chair, Joe Colombo

Tunicle, The Tree of Jesse, Anonymous

Tin faience, Fabrique Gaspard Robert

Turin-Milan Hours (or Belles Heures of Jean de France, Duc de Berry): The Birth of John the Baptist and the Baptism of Christ, Jean le Noir,Jacquemart de Hesdin, Maître de la Trinité, Pseudonym-Jacquemart and Limbourg Brothers

TV cabinet, turntable and bar, Antoine Phlippon and Jacqueline Lecoq

Two adornments depicting immortals, Anonymous

Two designs for the ornamentation of the Pantages Theater, Heinsbergen Decorating Company (Anthony Heinsbergen)

Two-door library cabinet, lower part, Georges-Alphonse Jacob-Desmalter

Two fish-shaped alcohol tankards, Anonymous

Two-piece sideboard, Anonymous

**V**

Valtesse de la Bigne's bed, Édouard Lièvre

Van Gogh's Chair, Clive Barker

Vase, Alf Wallander

Vase, Anonymous

Vase, Daum

Vase, Gilbert Portanier

Vase, Hector Guimard

Vase, Imperial Glass Factory in St Petersburg (manufacturer)

Vase, Jais Nielsen

Vase, Jean Dunand

Vase, Jean Émile Puiforcat

Vase, Joan Miró

Vase, Koloman Moser

Vase, Louis Comfort Tiffany (1)

Vase, Louis Comfort Tiffany (2)

Vase, Louis Comfort Tiffany (3)

Vase, Louis Comfort Tiffany (4)

Vase, Mutsuo Yanagihara

Vase, Philippe Wolfers

Vase, Rockwood Pottery Company and Wilhelmine Rehm

Vase, Tiffany & Co. (1)

Vase, Tiffany & Co. (2)

Vase, Wayne Fischer

Vase, Zsolnay Porcelain Manufacture

Vase, Amazon. Thelma Frazier Winter

Vase, Autumn Nightlights, Émile Gallé

Vase with Bathers on a Black Background, Raoul Dufy

Vase decorated with dragons and insects, Anonymous

Vase, depicting the Guanabara Bay in Rio, Émile Gallé

Vase from Emesa (Homs), Anonymous

Vase from the series Yantra, Ettore Sottsass

Vase, Iris, Emile Gallé

Vase, Orpheus, Emile Gallé

Vase, Peacock Feathers, Auguste Félix Delaherche

Vase, Sunray, Clarice

Vase with flowers, Pablo Picasso

Vase with Locusts. Henri Vever

Vase with top, Jean Mayodon

Vase with tree and sea motifs, Émile Gallé

Vase with two doves, Émile Gallé

Vase with various flowers, Anonymous

Vases on behalf of Yuya, Anonymous

Vases, Violation du fond, Richard Meitner

Velvet tunicle, Anonymous

Venetian cabinet, Anonymous

Venetian rectangular box, Louis Comfort Tiffany

Veranda, known as La Salle, Jacques Gruber

Vessel, Anonymous

Vestibule at the Circle Tower, Rubush & Hunter

View of a ceiling made of wood, Anonymous

Villa Savoye, Le Corbusier

Virgin and Child from Sainte-Chapelle, Anonymous

Virgin Mary Holding the Infant Christ, with Constantine and Justinian, Anonymous

The Virgin of Monserrat or Black Madonna, Anonymous

Virgin with Child: Notre Dame de Grasse, Anonymous

Virgin, opened, Anonymous

Vitra Design Museum, Frank Gehvy

Votive crown of Emperor Leo VI, Anonymous

**W**

Wall light of Maria de' Medici, Anonymous

Wallpaper, 'Décor floral', Charles Follot Manufactory and Henri Stéphany

Wardrobe, André-Charles Boulle

Wardrobe, Joseph Poitou (attributed to) and Charles Cressent (bronze)

Wardrobe, said to be by Hughes Sambin, Anonymous,

Wardrobe, said to be from Clairvaux, Anonymous.

Wardrobe with four doors and sixteen medallions with profiles, Anonymous.

Water Lillies, Louis Majorelle

Water pitcher, Pierre Delabarre

Water pitcher from a reception in Katzenelnbogen, Anonymous

Water pitcher, decorated with a dragon, Anonymous

Water pitcher, Normandie, Peter Müller-Munk

Water pitcher: Triumphal Procession of Bacchus, Amphitrite, and Poseidon, Jean I and Jean II Limosin

Wedding belt, Anonymous

Wedding chest, Tournament in the Piazza Santa Croce in Florence, Apollonio di Giovanni

Wedding Tower in Mathildenhöhe in Darmstadt, Joseph Maria Olbrich

West gate, Anonymous

White and blue drinking bowl, Anonymous

Windmill Psalter: Psalm I (Beatus Vir), Anonymous

Window for the living room in Francis W. Little House, Frank Lloyd Wright

Wine bottle, Francis II de' Medici Manufactory

Wine cooler, Anonymous

Wine jug from the reign of Elizabeth I, Anonymous

Winged female figure, René Lalique.

Winged Stag, Anonymous

Winter garden at the Ursulines Institute, Raphaël Evaldre

Woman Breastfeeding a Child from Fenaille Album, Auguste Rodin

Woman in Red, József Rippl-Rónai

Woman jug, Georges Jouves

The Woodpecker, William Morris

Woodwork at the lounge of the hotel Talairac, Anonymous

The Worship of the Golden Calf (detail), Anonymous

Writing table, belonging to Marie Antoinette, Adam Weisweiler

**Y/Z**

Year 1913 Calendar, Ditha Moser

Zephyr, electronic clock, Kem Weber

redpajama_set_name: RedPajamaBook