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Galerie Glustin Luminaires Decorative Objects

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Mithé Espelt Square Ceramic Box
By Mithé Espelt
Located in Saint-Ouen, IDF
Decorative square box by Mithé Espelt, stained wood box covered with a ceramic lid showing a single white and blue flower framed with gold glaze....
Category

Vintage 1960s French Mid-Century Modern Decorative Boxes

Materials

Ceramic

Brass and Agate Flying Eagle Illuminated Sculpture by Fernandez
By Henri Fernandez
Located in Saint-Ouen, IDF
Unique sculpture made of a bamboo-inspired central stem on which stands a flying brass eagle. Three lights hidden between a fan of beige and brown agate. Signed by Fernandez
Category

Vintage 1970s French Mid-Century Modern Floor Lamps

Materials

Agate, Brass

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Vintage French jewellery containers with decorative ceramic lids by Mithé Espelt (circa 1970s). Flower and Bird motifs decorate these five delightful, diminutive wooden boxes. Two of the ceramic lids have golden craqueleur boundaries encircling the inner decoration. The containers would be an attractive grouping on the surface of a vanity or dressing table. Alternatively, they might simply be suitable as a splendid decorative display in the home. The pieces are in good overall condition with some minor natural differences in the colour of the woods. The overall charm is undeniable and they are real collector's items. Please enjoy the many photos accompanying the listing. Upon request, a video will be provided. About the artist: Born in 1923 in Lunel, in the South of France, Mithé Espelt grew up in a family of affluent winegrowers and was very close to her grandfather who passed on his love for the arts and brought her into contact with major intellectuals and artists of the time. She rubbed shoulders with Jean Hugo, Jean Cocteau, Pablo Picasso, Christian Bérard and many others. She graduated from the Beaux-Arts school in Montpellier in 1942, and then studied at the Fontcarrade school where she took a special interest in ceramics. She began by designing buttons for fashion houses in Paris, before managing the entire production of buttons and jewellery at the Lydia Chartier workshop and collaborating with Line Vautrin, amongst others. At the end of the war, she returned to her native south, opened her studio and took advantage of the growing excitement around ceramics, particularly those from the town of Vallauris. To stand out and sustain the workshop business, she started designing gilded jewellery...
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