Emile Galle Mold Blown Wild Rose Art Nouveau Vase

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Emile Galle Mold Blown Wild Rose Art Nouveau Vase

Name: Emile Galle Mold Blown Wild Rose Art Nouveau Vase
Brand: Émile Gallé
Rating: 4.9 (52 reviews)

$7,200List Price

About the Item

Émile Gallé (Fr. 1846 - 1904) Red Blown Out Wild Rose Cameo Art Nouveau Vase. Wild Rose vase circa 1900-1910 Mould-blown out cameo glass. Height: 9.35 inches (24 cm) diameter: 5.5 inches Signed in cameo “Gallé”. Condition: Very good with one flea bite on rim (see photos) Literature: Alastair Duncan, Glass by Galle, London, 1984, p. 193 Émile Gallé (8 May 1846 in Nancy – 23 September 1904 in Nancy) was a French artist and designer who worked in glass, and is considered to be one of the major innovators in the French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of design in the city of Nancy, France. Gallé born on 4 March 1846 in the city of Nancy, France. His father, Charles Gallé, was a merchant of glassware and ceramics who had settled in Nancy in 1844, and his father-in-law owned a factory in Nancy which manufactured mirrors. His father took over the direction of his mother's family business, and began to manufacture glassware with a floral design. He also took over a struggling faience factory and began manufacturing new products. The young Gallé studied philosophy and natural science at the Lycée Imperial in Nancy. At the age of sixteen he went to work for the family business as an assistant to his father, making floral designs and emblems for both faience and glass. In his spare time he became an accomplished botanist, studying with D.A. Godron, the director of the Botanical Gardens of Nancy and author of the leading textbooks on French flora. He collected plants from the region and from as far away as Italy and Switzerland. He also took courses in painting and drawing, and made numerous drawings of plants, flowers, animals and insects, which became subjects of decoration. At the age of sixteen he finished the Lycée in Nancy and went to Weimar in Germany from 1862–1866 to continue his studies in philosophy, botany, sculpture and drawing. In 1866, to prepare himself to inherit the family business, he went to work as an apprentice at the glass factory of Burgun and Schwerer in Meisenthal, and made a serious study of the chemistry of glass production. Some of his early glass and faience works for the family factory at Saint-Clémont were displayed at the 1867 Paris Universal Exposition. In early 1870 he designed a complete set of dishware with a rustic animal designs for the family enterprise. During this time he became acquainted with the painter, sculptor and engraver Victor Prouvé, an artist of the romantic "troubadour" style, who became his future collaborator in the Nancy School. He enlisted for military service in the Franco-Prussian War in 1870, then was demobilised after the disastrous French defeat in 1871 and the French loss to Germany of much of the province of Lorraine, including Meisenthal where he had done his apprenticeship. Thereafter the Cross of Lorraine, the patriotic symbol of the region, became part of his signature on many of his works of art. After his demobilization Gallé went to London, where he represented his father at an exhibition of the arts of France, then to Paris, where he remained for several months, visiting the Louvre and Cluny Museum, studying examples of ancient Egyptian art, Roman glassware and ceramics, and especially early Islamic enamelled glass, a technique which influenced his own later work. After further travel to Switzerland and Italy, he returned to Nancy and established his own workshop at the glass factory. His father Charles continued as head of the company, but Émile gradually took charge of the design and production. In 1873 he took up residence in La Garenne ("the rabbit warren"), the three-story neoclassical house built by his father and surrounded by gardens. In 1874 the elder Gallé turned the family business, the Maison Gallé-Reinemer, over to Émile. The following year Émile married Henriette Grimm, and after years of traveling, settled permanently in Nancy. He regrouped and reorganized the divisions of faience and glass manufacture, and in 1883 built new and larger workshops for glass and faience manufacture also for making furniture. By 1889 he had over three hundred employees. His own office and studio was in the center of the complex. He trained the designers himself, and sent them water colors of floral designs he made in the gardens of his residence. Gallé ordered his designers to use only real flowers and plants as their models, though they could take some liberties in the final design. He wrote in 1889, "it is necessary to have a pronounced bias in favour of models taken from flora and fauna, while giving them free expression." Gallé continued to expand his activities. In 1885 he opened his first shop in Paris at 12 rue Richter, followed by other shops in Frankfurt-am-Maine and London. He also took part on a grand scale in international expositions; beginning with the 1878 Paris Universal Exposition, where his pavilion was thirty meters long; the 1893 World's Columbian Exposition in Chicago; and especially the 1900 Paris Universal Exposition, which was the summit of his fame. His work at the Exposition was rewarded with two Grand Prizes, a gold medal, and the title of a commander in the Legion of Honor. In 1901, Gallé became the founder and first President of the École de Nancy, the organization of Nancy artists of the new style. created to encourage the arts in Nancy, the glassmaker Antonin Daum, furniture maker Louis Majorelle and Eugene Vallin as Vice Presidents. He had many distinguished patrons, including the Edmond James de Rothschild, and his works were purchased by museums. In the highest form of tribute, his works were imitated by other glass and ceramics firms. Much of his later work used symbolism, and expressed conflict. On one vase, called Fiori Oscuri he engraved the words of Robert de Montesquiou: "I love the hour when everything changes its form, when light and dark struggle together." He became involved in social causes. He was a founder, along with Victor Prouvé, of the Université populaire de Nancy, offering university-level classes to workers. He was treasurer of the Nancy branch of the Human Rights League of France and in 1898, at great risk for his business, one of the first to become actively involved in the defense of Alfred Dreyfus. He also publicly defended the Romanian Jews and spoke up in defense of the Irish Catholics in Britain, and supported William O’Brien, one of the leaders of the Irish revolt. In 1904, his health worsened. He was diagnosed with Leukemia, and died on 23 September 1904. His son-in-law, Professor Pedrizet of Nancy University, took over the direction of the firm, but the new management did not keep up with the new styles, and the firm went out of business in 1931. Only the carved wooden door survives of his original studio, now in the garden of the Musée de l'École de Nancy. Gallé wrote a book on art entitled Écrits pour l'art 1884-89 ("Writings on Art 1884-89"), which was published posthumously in 1908. Cased glass and cameo glass were two techniques often used by Gallé. Cased glass was made of two different layers of glass of different colors, fused together by heat. The first case of layer is made in a cold. When it is finished and cooled, a second layer is blown inside the first Then the piece is placed into the furnace, so the two layers fuse together. This could be repeated for multiple layers of glass. Cameo glass was a means of decorating cased glass. The cased glass of two or more colors was carved with a diamond saw or etched with acid, so that the colors of the layer underneath were visible and created a design. Enamel glass was decorated on the outside by a brush of enamels colored by metallic oxides. Gallé continually experimented with new techniques of glass art. One of his major innovations was glass marquetry, or applying layers of glass on an object. He attached then sheets of colored glass onto a hot glass object He could join the laminations or overlay them, adding an infinite number of layers and colors. This technique had been practiced by the Venetians during the Renaissance, but Gallé pushed it much further. While it allowed him almost limitless variations, it also presented great difficulties, since the glass had to be reheated for each new layer, and could easily crack. Another difficulty was the appearance of defects and imperfections caused by contamination of the glass paste by dust or ashes or other materials, which caused what glassmakers called "bubbles", "grease" or stitches" inside the glass. Galleé decided to take advantage of the defects. He wrote in his patent application, "Concerned about such defects, I had the idea of using them as a decorative means, which permitted me, by inducing the effect in various ways, to obtain an entirely new type of decoration, called patina." Gallé proposed dusting the surface of the hot glass, which would give the appearance of fabric, or thick cobweb, or other textures. He proposed to make further decoration the surface with engraving, sand blasting, and wheel carving, and to embed fragments of hot glass into this patina or outer layer. The final result would then be covered with a thin layer of clear crystal, which could be left plain or also patinated. We are dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return policy if the items are not as described. Please also consider Avantiques eclectic Art Glass and Pate De Verre collection including Emile Galle, Daum Nancy, Schneider, Argy Rousseau, Almeric Walter, D’Argental, St Louis, Decorchemont, and Louis Comfort Tiffany Studios. We strive to collect the highest quality glass pieces in exceptional condition.

Creator:
Émile Gallé (Manufacturer)
Dimensions:
Height: 9.4 in (23.88 cm)Diameter: 5.5 in (13.97 cm)
Style:
Art Nouveau (Of the Period)
Materials and Techniques:
Art Glass,Hand-Crafted
Place of Origin:
France
Period:
1900-1909
Date of Manufacture:
1900
Condition:
Wear consistent with age and use. One flea bite mark on rim.
Seller Location:
Dallas, TX
Reference Number:
1stDibs: LU1774227124302

Shop All Émile Gallé

Émile Gallé

“Art for art’s sake” was a belief strongly espoused by the celebrated French designer and glassworker Émile Gallé. Through his ethereal glass vases, other vessels and lamps, which he adorned with botanical and religious motifs, Gallé advanced the Art Nouveau ideology and led the modern renaissance of French glass.

Gallé was the son of successful faience and furniture maker Charles Gallé but studied philosophy and botany before coming to glassmaking later in life. The young Gallé’s expertise in botany, however, would inform his design style and become his signature for generations to come.

After learning the art of glassmaking, Gallé went to work at his father’s factory in Nancy. He initially created clear glass objects but later began to experiment with layering deeply colored glass.

While glassmakers on Murano had applied layers of glass and color on decorative objects before Gallé had, he was ever-venturesome in his northeastern France, taking advantage of defects that materialized during his processes and etching in natural forms like insects such as dragonflies, marine life, the sun, vines, fruits and flowers modeled from local specimens.

Gallé is also credited with reviving cameo glass, a glassware style that originated in Rome. He used cabochons, which were applied raised-glass decorations colored with metallic oxides and made to resemble rich jeweling. Gallé's cameo glass vases and vessels were widely popular at the Paris Exhibition of 1878, cementing his position as a talented designer and pioneer.

During the late 19th century, Gallé led breakthroughs in mass production and employed hundreds of artisans in his workshop.

Botany and nature remained great sources of inspiration for the artist's glassmaking — just as they had for other Art Nouveau designers. From approximately 1890 to 1910, the movement’s talented designers produced furniture, glass and architecture in the form of — or adorned with — gently intertwining trees, flowers and vines. But Gallé had many interests, such as Eastern art and ceramics. The Japanese collection he visited at the Victoria and Albert Museum in London (then the South Kensington Museum) during the 1870s had made an impression too.

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