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Extremely Rare Nest of Emile Galle circa 1900 Specimen Wood Tables Art Nouveau

$23,563.64per set

$33,662.34per set30% Off

£17,500per set

£25,000per set30% Off

€20,636.28per set

€29,480.40per set30% Off

CA$32,644.24per set

CA$46,634.63per set30% Off

A$36,612.69per set

A$52,303.84per set30% Off

CHF 19,173.50per set

CHF 27,390.71per set30% Off

MX$444,879.89per set

MX$635,542.70per set30% Off

NOK 243,471.32per set

NOK 347,816.17per set30% Off

SEK 230,827.97per set

SEK 329,754.24per set30% Off

DKK 154,039.06per set

DKK 220,055.79per set30% Off

About the Item

We are delighted to offer for sale this exceptionally rare Emile Galle nest of three sample wood tables If you are looking at this listing then the chance are you know who Galle is and are familiar with his work, if not please find below a brief history on the great man These tables are based in satinwood, the tops are all very rare cuts of sample wood, each table is signed in wood Galle, they are the finest of this type you will ever see The tables have been restored to include a light refinishing, there was a scratch on the second table top, they are nearly 120 years old so some patina marks are to be expected Dimensions large Table Height 45cm Width 69cm Depth 39cm Medium Table Height 42.8cm Width 42.5cm Depth 37.2cm Small Table Height 41cm Width 33.5cm Depth 36cm Gallé was the son of a faience and furniture manufacturer and studied philosophy, botany, and drawing in his youth. He later learned glassmaking at Meisenthal and came to work at his father's factory in Nancy following the Franco-Prussian War. His early work was executed using clear glass decorated with enamel, but he soon turned to an original style featuring heavy, opaque glass carved or etched with plant motifs, often in two or more colours as cameo glass. His friend and patron Robert de Montesquiou sent him to Bayreuth with a recommendation to Cosima Wagner, which led to a great enthusiasm for Parsifal. In 1875, he married Henriette Grimm (1848-1914). In 1877, he then assumed his father’s role as director of the Maison Gallé-Reinemer. In that same year, he was elected Secretary-General for the Société centrale d’horticulture de Nancy. His career took off after his work received praise at the Paris Exhibition of 1878. Within a decade of another successful showing at the Paris Exhibition of 1889, Gallé had reached international fame and his style, with its emphasis on naturalism and floral motifs, was at the forefront of the emerging Art Nouveau movement. He continued to incorporate experimental techniques into his work, such as metallic foils and air bubbles, and also revitalized the glass industry by establishing a workshop to mass-produce his, and other artists', designs. The factory would employ 300 workers and artisans at its height, including the notable glassmaker Eugène Rosseau, and remained in operation until 1936. Gallé wrote a book on art entitled Écrits pour l'art 1884-89 ("Writings on Art 1884-89"), which was published posthumously in 1908. What is less well-known is Gallé's social engagement. He was a convinced humanist, and was involved in organizing evening schools for the working class (l’Université populaire de Nancy). He was treasurer of the Nancy branch of the Human Rights League of Franceand in 1898, at great risk for his business, one of the first to become actively involved in the defence of Alfred Dreyfus. He also publicly defended the Romanian Jews and spoke up in defence of the Irish Catholics against Britain, supporting William O’Brien, one of the leaders of the Irish revolt. In 1901, together with Victor Prouvé, Louis Majorelle, Antonin Daum and Eugène Vallin, he founded an Art Nouveau movement known as École de Nancy (The Nancy School). Many of Gallé works are kept at the Musée de l'École de Nancy. Please note all measurements are taken at the widest point. This item is available for collection from our Wimbledon warehouses SW19-3BE. Condition Please view the very detailed pictures as they form part of the description around condition Please note vintage period and original items such as leather seating will always have natural patina in the form of cracking creasing and wear, we recommend regular waxing to ensure no moisture is lost, also hand dyed leather is not recommended to sit in direct sunlight for prolonged periods of time as it will dry out and fade.

Creator:
Émile Gallé (Maker)
Dimensions:
Height: 0.4 in (1 cm)Width: 0.4 in (1 cm)Depth: 0.4 in (1 cm)
Sold As:
Set of 3
Style:
Art Nouveau (Of the Period)
Materials and Techniques:
Satinwood,Hand-Crafted
Place of Origin:
France
Period:
19th Century
Date of Manufacture:
19th Century
Condition:
Wear consistent with age and use.
Seller Location:
West Sussex, GB
Reference Number:
1stDibs: LU2823314556981

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.