exhibition catalogue

Transcription

ART NOU VEAU
C O N T I N E N TA L D E S I G N
& SCULPTURE
THE JOHN SCOT T COLLECTION
THE FINE ART SOCIET Y
VOLUM E S E V E N
THE FINE ART SOCIETY
Dealers since 1876
in association with Michael Whiteway
148 New Bond Street · London W1S 2JT
+44 (0)20 7629 5116 · [email protected]
www.faslondon.com
25 February – 19 March 2015
THE JOHN
S CO TT CO L L E C T I O N
ART NOU VEAU
C O N T I N E N TA L D E S I G N
& SCULPTURE
volume seven
THE FINE ART SOCIETY · LONDON
MMXV
ALFRED STEVENS 9
A L M E R I C WA LT E R 6 8
THÉODORE DECK 10
FRANCIS DERWENT WOOD 68
GODFREY SYKES 10
WA LT E R G I L B E R T 6 8
D. & C. HOULE 11
G I L B E R T B AY E S 7 2
Z S O L N AY 1 1
OMAR RAMSDEN &
ALW YN C.E. CARR 80
JÉRÔME MASSIER FILS 12
EDGAR BRANDT 80
FR ANCOIS-EUGÈNE ROUSSEAU 12
FR ANÇOIS EMILE DÉCORCHEMONT 82
ÉMILE GALLÉ 12
M A N U FA C T U R E N AT I O N A L E
L O U I S C O M F O R T T I F FA N Y 2 2
DE SÈVRES 82
JOHANN LOETZ WIT WE
H A R R Y E . S TA N T O N 8 3
GLASSWORKS 25
ERIC GILL 84
SIR ALFRED GILBERT 26
CHARLES SARGEANT JAGGER 84
FREDERICK WILLIA M POMEROY 3 4
G U S T AV M I K L O S 8 6
CHARLES FRANCIS
ANNESLEY VOYSEY 3 6
MARCEL BOURAINE 89
AUGUSTE DEL AHERCHE 3 6
GABRIEL ARGY-ROUSSEAU 89
HERMANN OBRIST 37
JEAN CHAU VIN 89
SIR WILLIAM REYNOLDS STEPHENS 37
LEON UNDERWOOD 90
ARCHIBALD KNOX 41
M AURICE L A MBERT 90
HECTOR GUIMARD 42
S A L VA D O R D A L I 9 2
SIR FRANK BRANGW YN 64
JOYC E B I DDE R 93
THE ROWLEY GALLERY 65
DAISY BORNE 93
ADOLFO WILDT 67
A L B E R T PA L E Y 9 4
I N T O X I C A T E D B Y C U R VA C E O U S S I N U O S I T Y
I love England, English people and English things: hence
our final exhibition in this series will be entitled Architect
Designers: Pugin to Voysey. However, since the ’60s I have
been intoxicated by the curvaceous sinuosity of Art
Nouveau, its vibrant colours and asymmetrical shapes. I
bought my first Gallé on 16 October 1966 for £25 in a
marché aux puces, Paris. There followed a storm of reading, seeing and learning the guides for this increasingly
popular style, which enjoyed fascinating variations in
different countries. ‘Knowledge is Power’, said Dresser,
and to acquire that ‘knowhow’ requires lots of activity…
‘Whatsoever thou doest do it with thy might: for there is
6 the john scott collection
no energy in the grave whithersoever thou goest.’ As my
own energy departs I reflect on Biblical commands!
Gallé was the essence of Art Nouveau. His ‘verres
parlants’ the spiritual kernel of the age. ‘Je n’ai d’autre
affaire ici-bas que d’aimer’ said Marcel Proust. How could
you better express the romance of life? My prize glass
is dedicated E. Gallé, ‘à la Japonica’ – the first flower of
Spring – I saw one in full blossom on the coldest day of
the year in Denbigh Road! On 31 December 2014. I also
exhibit the Chinese brush holder that inspired Gallé,
who, like all great artists, studied preceding art works in
museums including the V&A. Could I sell this!?
I must tell you about the Guimard vase and my car theft
in Barcelona. I had bought the vase from Bob Walker for
£1,500 in the ’70s and wrapped it in a pair of jeans on the
back seat of the car. The thieves stole two cameras but left
the vase and the car… lucky me!
With sculpture I was mostly captivated by Sir Alfred
Gilbert: so English, and himself entranced by his
adoration of the English Christian Soldier. That’s how
I feel. His sword is formed as a hilted crucifix upon which
our Lord is spread. A true vision to carry one through
the trenches. It was Gilbert’s St George that Andrew
Patrick, former managing director of The Fine Art Society,
permitted me to pay by monthly installments over a year!
I have never forgotten that consideration.
Included here is Charles Sergeant Jagger’s first design
for Sir Alfred Mond’s Imperial Chemicals House on
Millbank. This is the only cast from the original plaster
is included here but is reserved for the V&A. This was
Jagger’s first proposal for Agriculture. I find it a gloriously
powerful figure: Death’s image decapitated by the farmer’s
spade. The Art Committee rejected it. Finally they
approved Jagger’s third attempt, almost as pusillanimous
as version two. There can be no more telling example of
the ills of ‘Art by Committee’.
Collections vary, as does the taste of their owners.
Mine is what I like … a marble fragment of the great
Cloth Hall at Ypres made into a paperweight in 1916.
Sir Frank Bowden had the finest collection of Japanese
armour. (I played Rugby with his son Adrian.) He had in
his collection a millipede embalmed in amber from a tree
extinct five million years ago. This never-to-be-forgotten
jewel was cut in two by some ignoramus!
I find the concentration on the enormous number and
variety of the objects on view make a proper and nuanced
summary impossible. The spoken word is more agreeable
and an audience can walk away when bored.
My great crusade is to restore the life of Portobello
Antiques Market. I want my readers to become collectors
or dealers and revive what was one of the top attractions
of visitors to Great Britain. It’s a bit like fishing, you never
know what you may catch. An unending pursuit.
Another ambition of mine is to record my collection.
The alternatives were to die and leave it to my heirs. But
no one is remotely interested! To leave it to chance is to
surrender the huge task to the relatively uncontrolled
operations of outsiders. I have chosen, with the Fine Art
Society, a course of TLC which allows for the personal
touch. Photographs and descriptions of the items will
provide easy access. I am entranced by John Rutter’s
Delineations of Fonthill Abbey (1823). What delight could
have been created by a similar treatment for Guimard’s
masterpiece Castel Henriette. A list, with images, of the
wonders Nebuchadnezzar stole for his Palace in Babylon!
The boxed set of catalogues are a neat record, take up little
room, and easy to dust!
If you look after your contacts they will reciprocate
by giving you first viewing. No comment on this huge
enterprise is possible without fulsome praise for
the master-minding of the Fine Art Society and the
collaboration of a vast group of many diverse experts in
their own fields. So thank you all hugely.
I hope that our visitors have enjoyed this somewhat
novel presentation.
John scott January 2015
opposite: the interior of the main room at the John Scott collection,
featuring work by Miklos and Guimard in situ
the john scott collecction 7
Alfred Stevens 1817–1875
1
A Lion Séjant, 1852
Patinated bronze
13¾ inches (35 cm) including self-base, with green marble socle
1¾ inches (4.4 cm)
2
A Lion Séjant, 1852
Patinated bronze
13¾ inches (35 cm) including self-base
(not illustrated)
The model for these bronzes was originally designed
to ornament the lower railings of the British Museum,
erected circa 1852 to mark the museum’s boundary. Set at
intervals there were twenty-five cast lions in all, cast from
a wooden modello carved by Stevens. In 1895 the railing
was dismantled and the lions were dispersed. Some of the
railings, complete with twelve lions, were later installed
in St Paul’s Cathedral around the Wellington Monument,
which Stevens had designed in 1856. Others were placed
around the Charles Holden part of the Law Society building, near Chancery Lane.
From 1896 the firm of Messrs D. Brucciani & Co.,
based in Covent Garden, made bronze casts of Stevens’
lions, which were sold for 7s. 6d. each. Other variants
were produced in earthenware by the Manchester firm of
Pilkington’s Tile and Pottery Company between 1899–
1900, and by Carter & Co., of Poole, Dorset, during the
early 1900s.
Another cast is in the collection of the British Museum
(M&ME 1983,12–5,1) and a plaster cast of this model is in
the V&A collection (A.9–1975).
exhibited at the Great Exhibition of that year. The original
plaster for one of the figures, and the drawing for the stove
are in the V&A collection (958–1903). The caryatids depict
two nude boys holding up cornucopias, or ‘horn of plenty’,
a symbol of abundance.
Stevens was a sculptor, designer and painter, who
disregarded contemporary distinctions between fine
art and design. He was chief designer to Hoole & Co.,
Sheffield, from 1850 to 1857, where he produced awardwinning designs for metalwork, majolica, terracotta
ornaments and chimney-pieces. His greatest works
include the decorations for the dining-room at Dorchester
House, London (circa 1856), inspired by the Italian High
Renaissance style, in particular the work of Michelangelo,
and the monument to the Duke of Wellington for St Paul’s
Cathedral, London, which was completed after his death.
The two allegorical groups from the monument had a
lasting impact on the New Sculpture movement.
I found one of these in Glasgow on a two-week cycle tour of
Scotland. The Fine Art Society allowed me to cast the other! JS
The British Lion. Very docile until provoked. JS
Attributed to Hoole & Co., Sheffield (makers)
3
A pair of Chimney Piece Caryatids for the ‘Boy’
Stove, c.1851
Copper-plated cast iron, one of the pair is a modern recast
Height 18 in (46 cm) each
This is a pair of models for part of a bronze, lacquered
brass and steel fireplace known as the ‘Boy’ stove designed
by Stevens for Messrs Hoole & Co. Ltd in 1851, and
Alfred Stevens 9
Théodore Deck 1823–1891
4
Jardinère with floral motifs and butterflies,
1875–85
Ceramic, impressed TH. Deck, circle surrounded by a triangle of
dots
8½ x 14¼ in (21.5 x 36 cm)
Deck was arguably France’s pre-eminent artist-potter of
the late nineteenth century. Technically proficient and
well travelled, he established his own pottery in Paris
in 1858, employing professional artists and potters to
work in his studio. His work was much acclaimed at the
1862 International Exhibition in London. From the late
1870s Deck took inspiration from Chinese bronze vessels,
although the decoration was often a pastiche of Chinese
and Japanese styles which were popular in late nineteenth
century Paris.
Godfrey Sykes 1824–1866
Minton & Co. (attributed maker)
5
Initial “O” tile, from an alphabet frieze,
designed 1864
Ceramic
18 x 11½ in (46 x 29 cm)
The V&A’s ‘Renaissance-style’ Gamble Room, named after
it’s designer James Gamble (1835–1911), a pupil and assistant Alfred Stevens, was the Museum’s main Refreshment
Room. Gamble used Syke’s alphabet, designed for the museum, for the frieze. Additional tiles must have been made
by Minton, perhaps as tests or for other projects, though
few have turned up.
Removed from a ‘skip’ in Kingston and given to me by Keith
Horie. If only it could talk. JS
D. & C. Houle, London (maker)
6
Japanesque Dish
Silver inlaid with gold, stamped DH, CH with London hallmark
for 1878–9
Diameter 8¼ in (21 cm)
This dish is strongly influenced by Japanese metalwork for
sword mounts in both aesthetic and technique. Daniel &
Charles Houle were inspired by Japanese design and are
also thought to have sent some of their work to Japan for
decoration. Japanese and later American manufacturers
often inlaid other non-precious metals but British hallmarking law forbade any metal of lesser value being inlaid
so Houle have used two colours of gold for this piece. This
dish can be compared with a Japanese dish in the V&A collection, acquired in 1880 (354–1880) from Londos & Co.
(with whom Christopher Dresser was closely associated),
and another by Houle of very similar design (M.355–1977)
and of the same date.
Zsolnay Pecs, Hungary (maker)
7
Large ewer, c.1885
Ceramic with gilt, the lobed globular body with raised neck
applied with foliage, berries and a flower beneath a single spout
decorated with stylized flowers, impressed ZW Pecs/1009
19¼ x 10½ in (49 x 26.5 cm)
Founded in Pecs, Hungary, close to the Austrian border, in
1851. Vilmos Zsolnay and his daughters, Julia and Therese,
ran the factory from 1865–1899. They worked with the
chemist Vinsce Wartha, to pioneer new glazes and the
factory gained a reputation for excellence at International
Exhibitions in Vienna, 1874 and Paris, 1978, where they
won the Grand Prix.
Inspired by De Morgan and Martin Brothers? JS
various designers 11
François-Eugène Rousseau 1827–1891 (maker)
9
Small bowl with cherry design
Wheel-carved brown glass, acid-etched E. Rousseau; applied
paper label inscribed G.G. 58
2½ x 4¼ in (6.5 x 11 cm)
Rousseau was an early advocate of Japanesque style. He
commissioned Braquemond’s ‘Japanese’ service (1866),
which he produced and sold. From 1869 he was joined in
the business by the glassmaker Ernest–Baptiste Léveillé,
who later ran the business. Rousseau was a highly-regarded and innovative glassmaker who was hugely influential
at the French International Exhibitions in 1878 and 1884.
Gloriously deep wheel cutting. A gift from the Gabriella Gros
Collection. JS
Jérôme Massier Fils (maker)
8
Large yellow bowl with bird and flower design,
c.1890
Ceramic, with Jerome Massier Fils / Vallauris painted on base and
PALM painted on the outside
10½ x 15½ in (27 x 39 cm)
Clément, Jérôme and Delphin, three sons of Jérôme
Massier worked at the Vallauris pottery for their father
before Clément, the eldest, moved to nearby Golfe-Juan
to set up his own pottery. Clément in particular was very
influenced by Japanese style art and design and developed a range of lustreware, much admired by William De
Morgan, amongst others.
Émile Gallé 1846–1904
Cristallerie de Gallé, Nancy (maker)
10
Sol-fleur vase with butterfly design, c.1900
Glass, with marqueterie sur verre and carved decoration; original
bronze base
Height 16½ in (42 cm)
Gallé, whose father was a glass-maker, was a leading exponent of Art Nouveau. He studied glass making in Weimar,
Paris and London and set up his glasshouse, in Nancy, in
1867. Having studied Japanese art and design he developed methods for producing cameo and cased glass, for
which he became famous. Gallé exhibited at all the major
Paris international exhibitions to much acclaim. After
Rousseau’s retirement in 1885 he became the undisputed
leader of French glass manufacture developing a style
based on nature with a strong Japanese influence.
Bronze mounts are rare with Gallé. This illustrates my passion
for wooden mounts. JS
Émile Gallé 13
13
Waterlily coupe, c.1900
Internally decorated and carved glass, incised signature Gallé
8½ x 7½ in (21.5 x 19 cm)
An outstanding example of wheel cut glass, and so sensually
aquatic. JS
11
Mushroom vase, c.1900
Internally decorated glass, with marqueterie sur verre and carved
decoration, incised signature Gallé; original paper label on base
Emile Galle Nancy – Paris numbered 96098
Height 8¾ in (22 cm)
Literature: P. Gardner, Émile Gallé, London: 1976, ill. p.140,
similar design
12
Cyclamens vase, c.1890
Green glass, with marqueterie sur verre and carved decoration,
incised signature Gallé
A lovely Gallé, proclaiming his love of the flowers, of the field,
and classical design. JS
Gallé’s finest piece of ‘Intarsia’ I’ve ever seen. JS
Émile Gallé 15
14
Slipper orchid vase, c.1900
Internally decorated and carved, opalescent glass, with carved
signature and applied paper label inscribed F.A.N. A17
Height 8¼ in (21 cm)
‘A sunny pleasure dome with caves of ice’ and the ice made glass.
Gallé’s delicious confection of toned colours. JS
15
Crocus vase, c.1900
Internally decorated, polychrome glass, with striated foot and
marqueterie sur verre decoration; engraved signature Gallé
Height 8 in (20 cm)
Literature: For a similar design see V. Arwas, Glass Art
Nouveau to Art Deco, London, 1980, p.87
As beautiful as a real tulip and bulb but expressed just as
beautifully in glass. JS
Émile Gallé 17
16
18
Japoniste vase, c.1889–90
Bottle with Persian-style decoration, c.1880
Glass, with enamel and gilt decoration, decorated with
cartouches of Persian hunter and stylized motif, amongst
scrolling foliage
Internally decorated and carved glass, engraved base Escalier de
Cristal / Paris; Emile Gallé, comp et fec Nancy
Literature: P. Gardner, Émile Gallé, London: 1976, ill. p.55,
identical design
Literature: For similar designs see Emile Gallé: Dreams into
Glass, exh. cat., The Corning Museum of Glass, 1984, p.185; V.
Arwas, Glass: Art Nouveau to Art Deco, 1987, p.108; Glass of Art
Nouveau, Japan, 1994, no.74, p.78
I like really good art almost more if damaged. You pay much
less and put the damage out of sight, facing the wall! Museums
should make it a policy! JS
Homage to Islam. JS
17
Miniature yellow Japoniste vase, c.1900
Glass with carved and applied decoration, on a modern wood
base; incised E. Gallé / alla Japonica / fec (?) Nancy / no. 221
Height 6¾ in (17 cm) including base
An exquisite wheel-cut
Gallé. ‘A la Japonica’ – the
first blossom of the year. Of
Japanese inspiration, from
Gallé’s visit to glass gallery
in V&A. You can see
examples of it today. A double
celebration by Gallé … of
Spring and Japanese art. The
modern base was designed by
Terence Newberry. JS
Left: a Japanese brush pot
of the kind which would
have inspired Gallé.
Émile Gallé 19
19
Miniature bowl with engraved dedication,
c.1888
Verre hyalites, decorated with enamel; engraved E + 6 Emile Galle
Nancy ; bowl engraved A Georges Flach de Strasbourg, Docteur en
droit not e Officier de l’armée, Francaise de Réserve, mort a Nancy 1888.
Son ami Emile Gallé. Dilexit patriam, speravit restitutam
Height 2¼ in (5.5 cm)
This bowl was one of Gallé’s ‘Vase de Tristesse’ pieces
made to celebrate death or sadness. These pieces used
verre hylaties, a tinted black glass, with smokey greys, created by the presence of iron peroxide in the glass-making
process.
21
Squat bulb-shaped vase, c.1900
Marbled, polished, opaque glass, incised signature Gallé
4½ x 6½ in (11.5 x 16.5 cm)
Early Roman glass changed colour in different lights … Gallé
is inspired by The Lycurgas Cup in the British Museum?! JS
A vase dedicated by Gallé to his friend Georges Flach who died
in 1888. JS
20 Coupe with moth design, c.1880
Crazed glass, with enamel and gilt decoration; signed Emile Gallé
à Nancy. Diameter 9½ in (24 cm)
Émile Gallé 21
Louis Comfort Tiffany 1848–1933 (attributed
designer)
22 Miniature container and cover, c.1900
Tiffany Glass & Decorating Co., New York
(maker)
Glass with carved design, signed Gallé
Height 2½ in (6.5 cm)
23 Lava vase, c.1900
The beautiful square base really makes it. JS
Favrile glass, with applied decoration, engraved Tiffany logo,
Tiffany Favrile Glass, Registered Trademark
Favrile glass was developed by Tiffany to imitate the iridescent sheen of ancient Roman glass. It was achieved by
exposing the hot glass to metallic salts that were absorbed
into the glass. Favrile was distinct from most other iridescent glass in that its colour is not just on the surface but
ingrained in the glass.
A victory in the worldwide quest for the lustrous glazes of
Islam. JS
Louis Comfort Tiffany 1848–1933 (attributed designer) 23
Johann Loetz Witwe Glassworks
Johann Loetz Witwe Glassworks, Bohemia
(attributed maker)
Johann Loetz Witwe Glassworks, Bohemia
(attributed maker)
24 Vase, 1908
25 Vase, c.1905
Polychrome glass, with silver-coloured metal mount; engraved
Lucy Shaw to Townie, January 1908
Iridescent glass, with silver-coloured metal mount
Fabulous collaboration of silver and glass. JS
Johann Loetz Witwe Glassworks 25
Sir Alfred Gilbert mvo ra 1854–1934
26 St George, c. 1896
Bronze
Height 17¾ in (45.2cm); supported by a green marble
base¾ inch (2cm)
Literature: R. Dorment, Alfred Gilbert – Sculptor and Goldsmith,
London, 1986, pp.155–160, The Tomb of the Duke of Clarence,
and pp.161–164, Saint George; N. Penny, Catalogue of European
Sculpture in the Ashmolean Museum, Vol. III, British, 1992, ill.
p.85, and p.87, Processional Cross; R. Dorment, Alfred Gilbert, New
Haven and London, 1985, ill. p.165 and pp.147–190, The Tomb of
the Duke of Clarence; I. McAllister, Alfred Gilbert, London, 1929,
ill. p.129, working model, and p.162, p.ii, The Duke of Clarence
Memorial; S. Beattie, The New Sculpture, London, 1985, p.165,
The Duke of Clarence Memorial; B. Read, Victorian Sculpture, New
Haven and London, 1983, p.338, The Duke of Clarence Memorial;
The Fine Art Society, Gibson to Gilbert – British Sculpture 1840–1914,
exh. cat., London, 1992, ill. p.29
The present figure of Saint George, one of eight known
casts, was first created by Gilbert as one of the twelve
divinities gracing the niches of the grille that encompasses the tomb of the Duke of Clarence in the Chapel of
Windsor Castle. Grandson of Queen Victoria and son of
the Prince (Albert Edward) of Wales, Prince Albert Victor
(made Duke of Clarence in 1890) died of influenza on 14
January 1892. The funeral took place on 20 January and
three days later the Prince of Wales summoned Gilbert to
Sandringham to discuss plans for a memorial to his son.
The work that Gilbert produced over the years that followed is recognized as one of the greatest royal commissions of the nineteenth century.
Of the eight casts mentioned above, the prime cast
is on the Clarence Tomb; one with the Fitzwilliam
Museum, Cambridge; one is with the Cecil Higgins Art
Gallery, Bedford; one with the Yale Center, New Haven,
Connecticut; and one with the original foundry, but still
in its component parts.
Sir Alfred Gilbert Mvo Ra 1854–1934
27 St George and the Dragon, Victory Leading, 1904
Bronze supported by an original stained wooden socle,
1¾ inches (4.4 cm), with a later circular green marble base,
1 inch (2.6 cm)
20¾ x 11 x 10 in (52.5 x 28 x 25.5 cm)
Provenance: The Lotimer Foundation, until October 1986;
The Fine Art Society
Literature: A. Bury, Shadow of Eros: A Biographical and Critical
Study of the Life and Works of Sir Alfred Gilbert RA, 1954, p.69;
L. Handley-Read, ‘Alfred Gilbert: A New Assessment III’,
Connoisseur, vol. 164, 1968, p.148; R. Dorment, Alfred Gilbert,
London, 1985, pp.238, 246, 264, 268, 277 and 299; R. Dorment,
Alfred Gilbert: Sculptor and Goldsmith, London, 1986, p.186
Exhibited: London, The Fine Art Society, Exhibition of Bronze
Statuettes by Sir Alfred Gilbert RA, 1932, (16); London, The Fine Art
Society, Exhibition of Bronze Statuettes by the Late Sir Alfred Gilbert
RA, 1935, (13); London, Royal Academy, Victorian and Edwardian
Decorative Arts, The Handley-Read Collection, 1972, (F31) another
cast; Manchester City Art Gallery, Minneapolis Institute of Arts,
and Brooklyn Museum, Victorian High Renaissance, 1978–1979
(101); London, Whitechapel Art Gallery, British Sculpture in the
Twentieth Century, 1981, (22); London, Royal Academy, Alfred
Gilbert Sculptor and Goldsmith, 1986, (101) another cast; London,
The Mall Galleries, The Heatherley School of Art 150th Anniversary
Exhibition, 1996, (79)
In his later work, Gilbert dramatically veered away from
the increasing naturalism of the New Sculptors, favouring instead a symbolic visual language which acted as
an expression of the unconscious. In the place of strict
realism came elaborated forms and ornament. This piece
was inspired by a dream Gilbert experienced on 15 May
1904, in which he was working on and equestrian group
of St George. The surreal discrepancy of scale in the work
mimics Gilbert’s experience of the vision.
Gilbert added the figure of Victory to the group in
the hope of securing a commission from the Lancashire
regiment of Lord Grey for a large-scale memorial to the
dead of the Boer War. However, the commission was not
realised and he exhibited the plaster of St George and the
Dragon at the Royal Academy in 1906 (1773).
The only edition in bronze was cast for The Fine Art
Society in 1923. From the edition of four, one cast, from
the Handley-Read collection, is now in the Fitzwilliam
Museum, Cambridge and another is in a private collection.
Saint George – the Dragon slain – and all atop Windsor
Castle with the Queen leading the whole cortège home. An
Englishman’s dream! JS
28 Perseus Arming, 1881
Bronze, signed A Gilbert
Height 143/8 in (36.5 cm), on a later black marble socle 1¾ in
(4.5 cm)
Literature: (Other casts) Magazine of Art, 1889, pp.37–9;
Gazette des Beaux-Arts, II, 1889, p.404; M. H. Spielmann, British
Sculpture and Sculptors of To-day, 1901, p.76; A. McAllister, Alfred
Gilbert, 1929, pp.55–57; R. Dorment, Alfred Gilbert, New Haven,
1985, pp.38–42; M. Forrest, Art Bronzes, Pennsylvania, 1988,
p.322; J. Cooper, 19th Century Romantic Bronzes, London, 1975,
pp.70–75; R. Dorment, et al, Alfred Gilbert: Sculptor and Goldsmith,
London, 1986, no.11, pp.14, 21–23, 106–108
This piece is a smaller scale version of the original work
which was probably commissioned in Rome by Sir Henry
Doulton in 1881. Begun shortly after Gilbert’s visit to
Florence, the piece was intended as an answer to Cellini’s
Perseus and Medusa. Gilbert explained that the heroic
statue had ‘left me somewhat cold insomuch that it failed
to touch my human sympathies’ and that he wished to
present Perseus as a ‘mere mortal’ preparing for battle.
Perseus Arming was the first in a small series of mythological subjects that were intended to be autobiographical,
followed by Icarus and Comedy and Tragedy (see no. 29). The
larger version (29 in) received an Honourable Mention in
the Paris Salon of 1883 and was acquired by J. P. Heseltine.
Sir Alfred Gilbert 31
29 Comedy and Tragedy: ‘Sic Vita’, 1891–2
Bronze
Height 13 in (33cm) on the original marble socle 17/8 in (4.8 cm),
attached to a hexagonal Ruskinware pottery stand 21/8 in x 6½ in
(5.3 x 16.5 cm)
Comedy and Tragedy: ‘Sic Vita’ is the last sculpture from
Gilbert’s autobiographical series – ‘my cycle of stories’. It
was intended by Gilbert to reflect the duality of his life
at this time: comedy by night, performing the part of a
famous sculptor and man about town; tragedy by day,
dealing with mounting debts and a sick wife. The title is
taken from WS Gilbert’s play of the same title, performed
at the Lyceum with the sculptor’s friend, American actress
Mary Anderson, in the lead role. Gilbert was enthralled by
the play and went to see it many times. The model for the
piece, Angelo Colorossi, subsequently modeled for the
figure of Eros on the Shaftesbury Memorial (1891–3).
This cast is likely to date from the 1890s. The number
of casts made in the 1890s is unknown, but it is known
that Gilbert ordered only two casts from his foundry,
Compagnie de Bronzes, Brussels, after 1902 (both in
November 1905). These two differ from the earlier casts in
the treatment of the base. There is an earlier cast in Tate
Britain, and a 1905 Brussels cast in the National Gallery of
Art, Washington DC. Only two casts appear to have been
sold publicly in the last 15 years, one lacking the bronze
self-base.
As it was unsteady I stuck an ‘extra’ base of Ruskin pottery …
Looks better and more stable! JS
Sir Alfred Gilbert 33
Frederick William Pomeroy RA 1856–1924
30 Perseus with the head of Medusa, 1898
Bronze, incised F. W. Pomeroy / SE 1898
Height 18¼ in (46.5 cm) on a marble socle
Literature: S. Beattie, The New Sculpture, New Haven, 1983,
pl. 175; Victorian and Edwardian Decorative Art: The HandleyRead Collection, exh. cat., London, 1972. no. F44
This piece was inspired by Cellini’s bronze of Perseus and
Medusa, Florence, and Antonin Mercié’s David Vainqueur,
exhibited at the Salon of 1872, which Pomeroy is likely to
have seen whilst studying in Paris. He exhibited a fullsize plaster of this subject at the Royal Academy in 1898
and a full-size bronze is in the collection of the National
Museum of Wales, Cardiff. This version is a reduction of
the original, another cast of which was in the HandleyRead collection, and subsequently acquired by the V&A
(A.9–1972).
After an apprenticeship with a firm of architectural
carvers, Pomeroy attended the South London Technical
Art School. Here he became very influenced by the fluid
naturalism of the work of French sculptor Jules Dalou,
who was master of the modelling class. With Dalou’s
encouragement Pomeroy gained a place at the Royal
Academy Schools. There he won a travelling scholarship
enabling him to travel to Paris, where he was taught by
Mercié. In 1917 he became a Royal Academician.
Charles Francis Annesley Voysey 1857–1941
31
Sir William Reynolds Stephens 1862–1943
Pelican and in her Piety, 1920
34 Part of a fountain or birdbath
Bronzed plaster, engraved CFA Voysey / illegble Latin / 1920
11¼ x 7½ in (28.5 x 19 cm)
Re-gilded bronze, with black glass orb and glass details, stamped
W. Reynold Stephens PRBS
30 x 11 in (76 x 28 cm) including base
provenance: The Artist’s estate, and then by decent
The ultimate sacrifice … to give her own blood. JS
Auguste Delaherche 1857–1940
(attributed designer)
32 Vessel with silver mounts, c.1900
Stonewear with silver mounts
5¼ x 5¼ in (13.5 x 13.5 cm)
Delaherche was considered a master potter ‘par excellence’ during his lifetime. He was influenced by traditional
pottery and during the late 1890s through to about 1904
he concentrated on form in his stoneware vessels almost
totally abandoning surface decoration.
Hermann Obrist 1862–1927
33 Art Nouveau pedestal, c.1900
Wrought iron with oak top
26¼ x 11½ in (66.5 x 29 cm)
various designers 37
Archibald Knox 1864–1933
Liberty & Co. (retailer)
35 Claret Jug, 1901
Green glass mounted in silver, with semi-precious stone set
in the thumbpiece, from the Cymric range launched in 1899;
stamped L&Co., hallmarks for Birmingham, England in several
places and date mark for 1901
Literature: A. Tilbrook, The Designs of Archibald Knox for
Liberty & Co., London: 1976, fig.137, p.151, a very similar design;
C. Gere and M. Whiteway, Nineteenth-Century Design: From Pugin
to Mackintosh, London: 1993, ill. pl. 283, p.224; S. Martin (ed.),
Archibald Knox, London, 1995, ill. p.104; V. Arwas, Art Nouveau
in Britain, Windsor, 2000, p.105, a very similar design; S. Martin
(ed.), Archibald Knox, London, 2001, ill. p.188 (Model 286)
Knox was an influential force on the two main Liberty
& Co. metalwork ranges, Cymric silver and jewellery and
Tudric pewter, which defined the company’s ‘art nouveau’
look, and helped transform the company from an oriental
warehouse to cutting edge design retailer. Liberty became
synonymous with English art nouveau. In Italy the
company’s name was applied to all art nouveau design, as
‘Style Liberty’.
Knox worked alongside the architect M.H. Baillie
Scott before moving to London in 1897 where he joined
the Silver Studio and began working with Liberty &
Co. a relationship that lasted 14 years. His style clearly
reflects the various influences of his early career, fusing
Baillie Scott, and the simplicity of the German Jugendstil
aesthetic, with the Celtic ornamentation of his native
Isle of Man, and avoiding the excessive swirls of many
Continental European designers working in the art
nouveau style.
Liberty & Co. were established in 1875 as an importer
and retailer of Oriental goods. The new shop soon
branched out to sell its own range of fabrics, clothing
and furniture commissioned from leading designers,
but usually sold anonymously, marketed only under
the Liberty name. The Liberty name and look was
synonymous with the fashion for ‘artistic decoration and
furnishing’.
Although Knox stopped producing designs for Liberty
& Co. in 1912, he was called upon to design Arthur
Liberty’s headstone after his death in 1917, signifying their
special relationship.
A deliciously refined piece of English Art Nouveau … not over
the top. JS
Archibald Knox 1864–1933 39
36 Cup and cover, 1900
Silver and enamel, from the Cymric range launched in 1899,
base stamped L&Co., with date mark for 1900 and hallmarks
for Birmingham, England inside lid and base
11 x 6 in (28 x 15 cm)
Exhibited: Another example exhibited Liberty Style, Japan,
1999–2000 (fig.134)
Literature: Der Moderne Stile, Stuttgart, 1903; A. Tilbrook,
The Designs of Archibald Knox for Liberty & Co., London, 1976,
fig.124 p.141; C. Gere & M. Whiteway, Nineteenth-Century
Design: from Pugin to Mackintosh, London, 1993, p.224; S. A.
Martin, Archibald Knox, London 1995, p.22, illustration of the
design from Liberty & Co. catalogue, 1899, and p.78 a very
similar design
The design for this cup is in the Victoria & Albert
Museum London and was donated to the museum by
Knox’s pupil Denise Wren.
Archibald Knox at his very best. The iconic sculptural item of
the period. JS
37 Mirror, c.1895
Pewter with ceramic details
29¾ x 22¼ in (75.5 x 56.5 cm)
Liberty Mirror, with superb luster ceramics –
marked £5 c.1910! JS
38 Mirror, c.1903
Copper
24¼ x 35 in (62 x 89 cm)
Archibald Knox 1864–1933 41
Hector Guimard 1867–1942
39 Occasional table, 1909
27½ x 26 x 20¾ in (70 x 66 x 52.5 cm)
Pear wood with burr walnut marquetry top, signed and dated
Literature: Guimard, Paris Musée d’Orsay, Reunion des
musées nationaux, Paris, 1992, p.402, photograph of the salon
at l’Hôtel Guimard featuring an identical/same table; Alastair
Duncan, The Paris Salons 1895–1914, vol.III, Suffolk, 1996, p.279
[similar model ill.]
This table is exemplary of Guimard’s Art Nouveau style –
‘le Style Guimard’. The dynamic curves and floral detailing
on the table are unmistakably influenced by organic forms
characteristic of Art Nouveau. Guimard explained, ‘For
construction, do not the branches of the trees, the stems,
by turns rigid and undulating, furnish us with models?’
Here he uses a revolutionary approach to form and his
ingenious emphasis on the pliancy of wood.
Guimard’s furniture designs were almost always
conceived as elements of a harmoniously integrated
interior. Photographs of the salon at Guimard’s own
home, l’Hôtel Guimard, Paris, show an identical table
used there (see opposite). Guimard built and furnished
his new home at 122 Avenue Mozart, in the same year this
table was designed, after marrying the American painter
Adeline Oppenheim. For his own home the architect
enjoyed free-reign, achieving a marriage between
architecture, furnishing and décor which he never
surpassed. It is highly likely that this is the table was from
l’Hôtel Guimard.
Guimard was a French architect, furniture designer
and writer working in the Art Nouveau style. He attended
the Ecole Nationale des Arts Décoratifs, Paris, and in
1885 he enrolled at the Ecole des Beaux-Arts but left
without a diploma to work for a builder as architect and
site craftsman. Guimard’s trip to Belgium in 1895 had a
profound impact on his development. It was here that he
met Victor Horta and was inspired by Art Nouveau. Le
Castel Béranger (1895–1898) was Guimard’s first largescale project and marked a significant moment in his
career as the first building to incorporate Art Nouveau
elements in its decorative scheme. From 1899 and 1914
Guimard’s matured into one of Art Nouveau’s leading
designers; producing prominent and very public designs
for Paris Métro stations (see no.46), as well as a number of
town houses and blocks of flats.
I find the plant-like interlacing energy the epitome of vibrant
nature in woodwork. This is ‘Style Guimard’, the mark of a
man totally confident and assured that his mind and hand
would continue to produce designs so phantasmagorical and
exquisite. Guimard was one of the very top artists of the époque,
and this table marks the peak of his achievements. JS
Hector Guimard 43
40Vase, c.1898
Bronze, incised with monogram and base hand-painted 108.76
Provenance: The Artist’s estate; gifted to the Museum of
Modern Art, New York, by Mrs Guimard; Christie’s, New York,
1983
Literature: C. Larroche, Guimard, exh. cat. Musée d’Orsay,
Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992,
no.36, p.163, identical cast from the Museum of Modern Art,
New York; G. Vigne, Hector Guimard: Architect Designer, 1867 –
1942, New York, 2003, identical design, p.98
A cast of this was used in Guimard’s le Castel Béranger
and another cast is in the Museum of Modern Art collection, New York.
41 Vase, 1908
Gilded bronze, signed Hector Guimard and dated 1908
Provenance: Gifted to Louis Rey by the artist, 1911, and then
by decent; Galerie Alain Blondel, Paris, 2010
In 1911 Guimard gave this vase to Louis Rey as a wedding gift to Rey’s daughter, Juliette. Rey was president of
the Ingénieurs Civils de France (French Civil Engineers
Association) and mentor to the young Guimard. Juliette’s
daughter, Denise, inherited the vase which features in her
own wedding picture in 1936.
Hector Guimard 45
Philippon, Paris (maker)
45 Photograph frame, 1902
Bronze, signed Hector Guimard and dated 1902
Literature: (Other casts) C. Larroche (ed.), Guimard, exh.
cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et
des Tissus, Lyon, 1992, no.16 and 17, p.373, in gilded bronze and
silver plate; G. Vigne, Hector Guimard: Architect Designer, 1867 –
1942, New York, 2003, ill. p.21, in gilded bronze; P. Thiebaut,
Guimard: L’Art Nouveau, Paris: 1992, ill. p.86
Larger copper framed photo of Guimard seated in his own
home l’Hôtel Guimard. JS
43 Photographic mount, 1909
Rosewood, signed and dated Hector Guimard, 1 Oct 1909
4½ x 3¼ in (11.5 x 8.2 cm)
Philippon, Paris (attributed maker)
44 Miniature photograph frame, c.1900
Bronze, signed Hector Guimard (bottom right)
I was informed
these were made only
for the family.
I have never seen them
reproduced. JS
Philippon, paris (maker)
42 Vase, c.1910
Gilded bronze, signed
Provenance: Collection of Robert S Walker senior
Literature: C. Larroche (ed.), Guimard, exh. cat. for Musée
d’Orsay, Paris and Musée des Arts decoratifs et des Tissus,
Lyon, 1992, no.18, p.374
Hector Guimard 47
46 Railing shield for Paris Métro, 1899–1900
Cast iron, with original paint
29½ x 24½ in (75 x 62 cm)
Literature: For other casts of this design see P. Thiebaut,
Guimard: L’Art Nouveau, Paris, 1992 identical design ill. cover
and a contemporary photograph of Métropolitain Palais-Royal
p.117; F. Descouturelle, A. Mignard and M. Rodriguez, Le
Métropolitain d’Hector Guimard, Paris, 2003, pp.6, 30–37,
75, 79–84, 90, 102, 105, 107, 122, 145, including designs,
contemporary photographs and modern photographs; C.
Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée
des Arts decoratifs et des Tissus, Lyon, 1992, fig.3, p.51, as part of
the ‘Style Guimard’ pavilion, ill. p.240, no.6 and 13, pp.250 and
255, copy of original designs; G. Vigne, Hector Guimard: Architect
Designer, 1867 – 1942, New York, 2003, pp.159, 164, 171, 173, 176,
178–179, and 182 including designs, contemporary photographs
and modern photographs
Two of these shields importantly featured in the entrance of the Pavillon ‘Le Style Guimard’ exhibited at
the Exposition de l’Habitation, 1903 (see Larroche, fig.3,
p.51). The pavilion acted as an ‘ostentatious manifesto’
of Guimard’s architecture and decorative design. It was
the tallest pavilion in the show and is believed to have
been an audacious rebuff to his critics, particularly those
disapproving of his work for the Paris Métro. Guimard’s
reputation today is still largely the result of his work on
this very conspicuous and public project.
Hector Guimard 49
47 Cross, c.1907
48 Cross, c.1907
Cast iron with marble base, inscribed s.f.
57 x 19 in (145 x 48 cm)
Cast iron with marble base, impressed on
supports GA and 1.45
63¼ x 26¾ in (160.5 x 68 cm)
Fonderies de Saint-Dizier (maker)
Literature: (Other casts) M. Bacou et al,
Musée d’Orsay, catalogue sommaire illustre
des arts decoratifs, Paris, 1988, ill. p. 133; C.
The original model, I believe, never edited. JS
Larroche, Guimard, exh. cat. Musée d’Orsay,
Paris and Musée des Arts decoratifs et des Tissus,
Lyon, 1992, no.2, p.274
Another cast is in the Musée d’Orsay collection (Ref OAO 626).
An original model, bought from original sale by
Messrs Plantin & Blondel with the company
that cast Guimard’s work. Very fine. JS
Hector Guimard 51
Fonderies de Saint-Dizier
(attributed maker)
51
49 Large jardinière on stand, c.1907
Cast iron, with modern marble surround
35¾ in x 33½ in (91 x 85 cm); inside:
20½ x 21¼ in (52 x 54 cm)
Cast iron
57 x 24 x 19 in (145 x 51 x 48 cm)
Fireplace insert, c.1907
Literature: (Other casts) G. Vigne,
Hector Guimard: Architect Designer,
1867 – 1942, New York: 2003, ill. p.282;
C. Larroche (ed.), Guimard, exh. cat. for
Musée d’Orsay, Paris and Musée des Arts
decoratifs et des Tissus, Lyon, 1992, p.302,
Devillier & cie catalogue
Literature: (other casts) M. Bacou et al, Musée d’Orsay,
catalogue sommaire illustre des arts decoratifs, Paris 1988,
ill. pp.132–3; C. Larroche (ed.), Guimard, exh. cat. for Musée
d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon,
1992, no.25, p.354, identical basin, and no.26, p.355, identical
plinth with different basin; G. Vignes, ill. p.280, identical plinth
with different basin; P. Theibault, Guimard L’Art nouveau, Paris,
1992, p.78, identical plinth with different basin
Another cast was used in Guimard’s
Hôtel Mezzara, 1910.
Another cast of the plinth and basin is in the Musée
d’Orsay collection (Ref OAO 621 for stand and Ref OAO
622 for jardinière).
52 Asymmetric fireplace
surround, c.1900
50 Jardinière, c.1900
Cast iron, applied paper label inscribed 2821
7½ x 41 x 11 in
Pâte d’email
Left panel 33½ x 9½ in (85 cm x 24 cm);
right panel 34¼ x 10½ in (87 cm x 26.5 cm)
Two elements of a Guimard mantlepiece.
Very similar to those in Maison Coilliot.
pâte d’email. Astonishing material. A
collaboration between Guimard and
Coilliot the ceramicist. JS
Hector Guimard 53
Georges Néret (maker)
53 Art Nouveau window, c.1897–1898
Lead and stained glass, in modern oak presentation frame
7ft¼ in x 40¾ in (214 x 103.5 cm)
Illustrated on the previous spread, left
Provenance: Albert Roy, ‘Les Gévrils’, Loiret, France; sale,
Christie’s New York, 11 June 1999 (48 and 49); Private collection
1992, no.26, p.155, illustrated in reverse, and no.27, p.156, design
for Albert Roy’s dining room showing identical windows; for
other similar designs see P. Theibault, Guimard L’Art nouveau,
Paris, 1992, p.33 and G. Vigne, Hector Guimard: Architect Designer,
1867 – 1942, New York: 2003, p.92, from the Castel Béranger
Georges Néret (maker)
54 Art Nouveau window, c.1900
Lead and stained glass, in modern oak presentation frame
84 x 35 in (214 x 89 cm)
Illustrated on the previous spread, right
Provenance: Albert Roy, ‘Les Gévrils’, Loiret, France; sale,
Christie’s New York, 11 June 1999 (48 and 49); Private collection
1992, no.25, p.154, illustrated in reverse, and no.27, p.156, design
for Albert Roy’s dining room showing identical windows; for
other similar designs see P. Theibault, Guimard L’Art nouveau,
Paris, 1992, p.33 and G. Vigne, Hector Guimard: Architect Designer,
1867 – 1942, New York: 2003, p.92, from the Castel Béranger
This pair of windows was designed for the billiard room
of the pharmacist Albert Roy in his home ‘Les Gévrils’, in
the Loiret region of France. A second pair from the same
home is now in the collection of the Musée d’Orsay (OAO
478–479/480). The stained glass artist Georges Néret
regularly worked with Guimard, executing designs for
many architectural projects including the Castel Béranger
and the bedroom window Léon Nozal’s daughter in his
mansion at 52 rue du Ranelagh, Paris, now in the collection of the Musée des Arts Décoratifs, Paris.
55 Pair of Art Nouveau windows, c.1895
Stained and leaded glass
35 x 14½ in (89 x 36.5 cm)
These are two Hector Guimard windows that I bought from
a flat owner in Guimard’s most famous Paris block of flats Castel Beranger. They were modernising and I got them very
cheap. On the plane back from Paris in about 1972 they fell over
and cracked. JS
56 Pair of bench legs, c.1905
57 Window or door latches, c.1900
59 Turning iron door handles, c.1900
Cast iron with modern oak slats, stamped Style Guimard
32 x 51 x 27 in (81 x 130 x 69 cm)
Gilded brass, stamped FT
Height 16½ in (42 cm); 24 in (61.5 cm)
Illustrated below opposite
Iron · 7 x 21/8 in x 3½ (18 cm x 5.5 x 9 cm)
Illustrated below left
Literature: C. Larroche (ed.), Guimard, exhib. cat. Musée
d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus,
Lyon, 1992, no.28, p.357, another cast and similar design
ill. cover; For a similar design see G. Vigne, Hector Guimard:
Architect Designer, 1867 – 1942, New York, 2003, ill. p.220
Another cast is in the Musée d’Orsay collection
(OAO623).
Literature: (Another cast) C. Larroche, Guimard, exh. cat.
Musée d’Orsay, Paris, and Musée des Arts decoratifs et des
Tissus, Lyon, 1992, ill. p.133, from the commemorative album
for le Castel Béranger
This design was used in Guimard’s Castel Béranger and
Castel Henriette.
Literature: C. Larroche, Guimard, exh. cat. Musée d’Orsay,
Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992,
no.18, p.151; For similar designs see P. Theibault, Guimard L’Art
nouveau, Paris, 1992, p.33, from the Castel Béranger
This model was used in Guimard’s le Castel Béranger and
an example is in the Musée d’Orsay collection (OAO 482).
58 Pair of blue door handles, c.1900
Porcelain · Height 3 in (7.5 cm) · Two pairs available
Literature: (Identical design) C. Larroche, Guimard, exh.
cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des
Tissus, Lyon, 1992, p.133, ill. from the commemorative album
for le Castel Béranger, and p.151, no.19; see also Thiebaut, 1988,
p.134 ill.
The same model was used in Guimard’s le Castel Béranger
and la Maison Sauzin. An identical pair is now in the
Musée d’Orsay collection (OAO 474).
Pierre de Verre Garchey (maker)
60Tile, 1909
Pierre de verre · 3½ x 3½ in (9 x 9 cm)
1992, no.21, p.230; see also P. Thiebaut, Musée d’Orsay. Catalogue
sommaire illustré des arts décoratifs, 1988, pp.124–125
An identical design was used in the bathroom of
Guimard’s Castel Henriette.
Amazing pâte de … grit, marble and other heavily grained
stone fragments. An outstanding rough, durable, sculptural
finish for communal areas. Extensively used in Castel
Beranger. JS
Hector Guimard 59
62 Art nouveau grill, c.1909–11
Cast iron
17¼ x 8 in (44 x 20.5 cm)
Literature: (Other casts) C. Larroche (ed.), Guimard, exh. cat.
for Musée d’Orsay, Paris and Musée des Arts decoratifs et des
Tissus, Lyon, 1992, no.4, p.419; G. Vinges, p.p. 336 and 337 from
synagogue on the rue Pavée 1913
This railing was originally designed to decorate tomb
enclosures. Another cast is in the Musée d’Orsay collection (OAO 627).
Fonderies de Saint-Dizier (Haute-Marne)
(maker)
61 Balcony, c.1909–11
Cast iron · 17 x 47 in (43 x 119 cm)
Two available
Literature: (Other casts) C. Larroche (ed.), Guimard, exh. cat.
for Musée d’Orsay, Paris and Musée des Arts decoratifs et des
Tissus, Lyon, 1992, no.19, p.321; G. Fahr-Becker, Art Nouveau,
Koln, 1997, ill. p.82 – 83; G. Vigne, Hector Guimard: Architect
Designer, 1867 – 1942, New York, 2003, ill. p.274, 276, 279, 308,
311, 324, 325
The first typically Style Guimard designs in cast-iron were
conceived for the buildings on the rue Trémois and Hotel
Guimard in 1909. Only a few of these initial designs were
actually used. The rest of his repertoire in cast-iron was
developed for the rue Agar buildings where ‘the coherence
of style would emerge’. The Saint-Dizier foundry published the designs around 1910–1911 to promote the sale
of reproductions.
This design was used by Guimard in le Castel Beranger
and 8 rue Agar. Other casts are in the Musée d’Orsay, Pairs
(OAO 642) and Cooper Hewitt Museum, New York.
Hector Guimard 61
Fonderies de Saint-Dizier (attributed maker)
63 Grill, c.1909–11
Cast iron
32½ x 9¾ in (82.5 x 24.75 cm)
64 Grill, c.1909–11
Cast iron
28½ x 7½ in (72.5 x19 cm)
Elements de balcon by Guimard bought in a Marché aux
Puces. JS
65 Pair of balustrades, c.1909–11
Cast iron
70¾ x 9 in (180 x 23cm)
Sir Frank Brangwyn RA RWS RRBA RE HRSA
1867–1956
Sir Frank Brangwyn RA RWS RRBA RE HRSA
1867–1956
66The Galleon, 1916
67 Tomatoes, c.1920
The Rowley Gallery,
London (maker)
Marquetry panel in various woods; applied paper label inscribed
A.J. Rowley, ‘The Galleon’, The Rowley Gallery, 140–2 Church Street,
Kensington, W.8
37½ x 39½ in (95.5 x 100.5 cm)
Marquetry panel in various woods; applied paper label inscribed
Rowley, Est. 1898, 140 Church Street, Kensington, W.8; The Wayfarers
Arcade, Lord Street, Southport Merseyside, PR8 1NU …
50½ x 33¾ in (128.5 cm x 85.5 cm)
68 Hollyhocks (diptych),
The Rowley Gallery, London (maker)
An identical version of this panel is in the collection of the
Cecile Higgins Art Gallery.
These Rowley panels were displayed in Marcel Bing’s famous
‘Art Nouveau’ emporium in Paris. Those designed by Sir Frank
Brangwyn were the best. This was Brangwyn’s most famous
design; conceived to & extol the colour and texture of the rare
wood inlays JS
The Rowley Gallery, London (maker)
Sir Frank Brangwyn RA
RWS RRBA RE HRSA
1867–1956
c.1900
The Rowley Gallery, London
(maker)
69Fruit pickers, c.1920
Marquetry panel in various woods; applied
paper label CUM 956
74 x 31¾ in (188 x 80.5 cm)
Illustrated left
Marquetry panel in various woods;
applied paper labels and chalk
inscription GL64 / ART NOV
55¼ x 47¾ in (140.5 x 121.3 cm)
Illustrated above
Designed for the Maison de l’Art
Nouveau in Paris. An identical
version of this panel is in the
collection of the William Morris
Gallery.
Sir Frank Brangwyn 65
Adolfo Wildt 1868–1931
Adolfo Wildt 1868–1931
70 Maria da Luce ai Pargoli Cristiani
71
or La Protezione dei Bambini
(The Protection of the Infants), 1918
White marble, mounted on the original veneered oak support;
Signed on the left
9½ x 10 in (24 x 25.2 cm)
La Vittoria (Victory) 1919
White marble, supported on a stained and polished pine support;
signed A WILDT on the lower right vertical return
13 x 16½ x 5¾ inches (33 x 42.2 x 14.4cm)
Commissioned by Joseph Altar, a wealthy industrialist
and collector in 1919.
Maria Teresa Martini of the Fondazion Gramsci, Bologna,
records that there were two carvings of this subject
dated 1916, and one of 1918. There is another version of
this subject, dated 1920, in the Museo Nazionale della
Scienza e della Tecnologia Leonardo da Vinci, Milan; and
a variation on this subject was sold by Il Ponte, Milan 23
November 2010 lot 1201.
Adolfo Wildt 67
Almeric Walter 1870–1959
Francis Derwent Wood RA 1871–1926
Orion borne by Dolphin
Daum Frères, Nancy (maker)
73
72 Gourd and lizard ink well, c.1900
Bronze
Height 17 inches (43.2 cm)
Pâte de verre, incised Daum Nancy
4¾ x 9 in (12 x 23 cm)
Provenance: Sotheby’s 17 April 1967 (129); The Fine Art
Society, 1968
A particularly nuanced blend of dulcet colouring. Very rare. JS
Possibly one of the many Sketches for a Fountain or
Garden Sculpture exhibited by Wood at the Royal
Academy, or Royal Scottish Academy between 1910 and
1925.
Francis Derwent Wood 69
Gilbert & Weingartner 71
Walter Gilbert 1871–1976
with Louis Weingartner (fl.1902–1934)
Birmingham Guild Ltd. (maker)
74 Three pairs and one single panel from lift at
Selfridges department store depicting Zodiac
signs, 1928 Libra and Pisces; Sagittarius and
Leo; Scorpio and Cancer
Sagittarius
Polished bronze and steel
24 x 37½ in (61 x 95 cm) for each pair; 24 x 23¼ in (61 x 59 cm)
for a single panel
Literature: Birmingham Guild Ltd., Architectural and Decorative
Metalworkers sales catalogue, ill. pp.34, 59–60
These panels formed the dazzling exterior of the lifts
in Selfridges department store, installed in 1928 ahead
of the 20th anniversary celebrations of the following
year. Owner, American shopping magnate, Gordon
Selfridge, devised a lavish decorative scheme for the store
to impress the clientele. The equally opulent interiors
of the lift cars were designed by Edgar William Brandt
(1886–1960). Walter Gilbert and his assistant Louis
Weingartner had previously worked for Bromsgrove Guild
of Metalworkers; their other works included the metal
screen in Liverpool’s Anglican Cathedral.
Selfridges department store was opened on Oxford
Street in 1909. By the 1920s, when these lifts were
designed, Selfridges had become the most glamorous
department store in London. Young women were
employed to operate the lifts until after World War II,
when they were replaced by ex-servicemen. The lifts were
removed in a 1970s refurbishment in favour of escalators.
Gilbert & Weingartner 73
Gilbert Bayes FRBS 1872–1953
75 The Underworld, 1913
Enamelled and partly gilt bronze, signed GILBERT BAYES and
dated 1913 in the bronze
Height 9 inches (23.25cm) and the facsimile ebonised and gilded
stand 52 inches (132cm)
Exhibited: (Probably other casts) London, Rawlson
Townsend, Dover Street, 1913; London, Ridley Arts Club,
1914; London, The Royal Academy, 1915; Edinburgh, Royal
Scottish Academy, 1917; Bristol, Fine Art Society 1918 and 1924;
Liverpool, Liverpool Institute, 1920; Aberdeen, 1921; New York,
The Cooper-Hewitt Museum, 1979
Literature: L. Irvine & P. Atterbury, Gilbert Bayes Sculptor
1872–1953, London, 1998, pp.78 and 120
This sculpture was inspired by Rudyard Kipling’s poem
The Last Rhyme of True Thomas. Other casts are known to
be with The Bayes Trust; St Cross College, Oxford (a cast
in silver formerly with The Fine Art Society); The Scottish
National Gallery of Modern Art, bequeathed by Sir D Y
Cameron; and a Private Collection in London.
76 The Sea King’s Daughter, 1913 (designed)
Bronze, signed in the bronze GILBERT BAYES 1913
19 x 20 x 11 in (48.5 x 51 x 28 cm)
Exhibited: (Other casts) London, The Royal Academy, 1913,
version in marble; London, The Royal Academy, 1919, bronze;
London, Ridley Arts Club, 1920; British Trade Exhibition,
1922–1923; Manchester Art Exhibition, 1928; Edinburgh, Royal
Scottish Academy, 1929; Rio de Janeiro, 1930; London, The
Royal Institute of Painters in Watercolours, 1932; Edinburgh,
Royal Scottish Academy, 1939
Literature: The Illustrated London News, 1936, ill. p.902; L.
Irvine & P. Atterbury, Gilbert Bayes Sculptor 1872–1953, London,
1998, pp.120 and 128
Designed in 1913, the first cast of this piece was made in
1919. This cast number is number one from an edition of
eight cast by the Gilbert Bayes Charitable Trust in 1990 at
The Art Bronze Foundry, London. The original plaster is
in the collection of the Bayes Trust. A later cast from 1936
was installed in RMS Queen Mary.
I bought the original artists base for this. The bronze is the first
cast of the original plaster executed by The Fine Art Society. JS
Gilbert Bayes 75
Royal Doulton (maker)
77 Ship washing line finial, 1930s
Stoneware · Height 19½ in (49.5 cm)
Bayes’s washing line finials were commissioned by the
architect Ian Hamiltion, for the St Pancras Housing
Association, between 1931 and 1938 to add colour to the
communal spaces created following slum clearance to the
north of Euston Station. They were used on the washingline posts of the Association’s estates at Sidney Street,
Evershot Street, Drummond Street, Athlone Street and
York Rise. Doulton also made a number of the designs for
exhibition which were sold as garden ornaments.
Subject matter was varied but usually based on
engaging and well-known fairytales and nursery rhymes
and the names of the blocks of flats on the relevant estate,
which Bayes hoped would make his art accessible and
entertaining. He also designed a number of architectural
panels, produced by Doulton’s, for the Sydney Street
Estate and set into balconies or as lunettes above windows
and doorways; his ornaments for the rooftop nursery
garden remain in situ.
Bayes was an advocate of modern materials and also
accessibility of art. He experimented with a number of
man-made stone substitutes including an early concrete
compound for his exhibits at the 1924 Empire Exhibition
at Wembley. In 1923 he began working with ‘polychrome
stoneware’ at Royal Doulton’s, which was ideal for garden
and architectural sculpture because of its colour and
durability.
78 Devil washing line finial, 1930s
Stoneware, impressed Gilbert Bayes · Height 18 in (46 cm)
Literature: Irvine & Atterbury, Gilbert Bayes Sculptor, 1872–
1953, Shepton Beauchamp, 1998, pp.171–172
The devil at the Sacré Coeur. JS
79 Fish washing line finial, 1930s
Stoneware, impressed Gilbert Bayes · Height 16½ in (42 cm)
Alleviation of a ‘space’ problem. JS
Gilbert Bayes 77
81 Fish roundel, c.1924
Stoneware, impressed Gilbert Bayes
Diameter 14 in (35.5 cm)
Literature: Irvine & Atterbury, Gilbert Bayes
Sculptor, 1872–1953, Shepton Beauchamp, 1998,
p.141
82 Lily pad roundel, c.1924
Stoneware, impressed Gilbert Bayes
Diameter 14 in (35.5 cm)
80Large fish roundel, c.1924
Stoneware
Diameter 23¾ in (60.5 cm)
After England, I love Japan. Its influence has been a
massive inspiration. My wife Takko is Japanese so I love the
‘melange’. JS
Gilbert Bayes 79
Omar Ramsden & Alwyn C.e. Carr
83 Pomegranate vase, 1899
Silver, engraved ΣΥΝΕΡΓΟΙ ΑΓΑΠΗΤΩΙ (beloved co-worker);
stamped Omar Ramsden & Alwyn C E Carr Made me 1899, RN&CR
date mark for 1899/1900 and hallmarks for London, England
Literature: G. Zelleke, Omar Ramsden and Alwyn Carr: An Arts
and Crafts Collaboration, Art Institute of Chicago Museum Studies,
vol. 18, no. 2 (1992), ill. p.173
A gift exchanged between Ramsden and Carr.
Edgar Brandt 1880–1960
84 Jardinière on stand, c.1912
Wrought iron with brass detailing
48 x 21 in (123 x 53 cm)
Literature: J. Kahr, Edgar Brandt: Art Deco Ironwork,
Argland, PA, 2010, ill. no. 40, p.37,
An identical design exhibited at the Salon des Artistes
Decorateurs in Paris, April 1912.
Bought from Bob Walker when he sold his flat next to Catholic
Cathedral, Victoria. Swapped for Loie Fuller lamp. Brandt
designed the Tomb of the Unknown Soldier beneath Arc de
Triomphe, Paris. JS
Edgar Brandt 81
Harry E. Stanton
Royal Doulton Co. (maker)
88 Princess Badoura, 1924
Glazed and painted ceramic, painted inscription inside
TITTENSOR / STANTON / PHILLIPS / 1924
30¼ x 18½ x 11¼ inches (76 x 47 x 28.5 cm) including base;
22½ x 17½ x 7½ inches (57 x 44.5 x 19 cm) without base
Princess Badoura was described as ‘the most beautiful
woman ever seen upon the earth’, she is the heroine of
the Arabian Nights tale of Camaralzaman and Badoura,
in 1001 Arabian Nights. The Stanton figure of Badoura was
inspired by Edmund Dulac’s illustration of her wedding
procession and was modeled as a centrepiece for the
Wembley Empire Exhibition, 1924.
Stanton was a teacher at Burslem School of Art, near
Doulton’s Nile Street factory, in 1924, just as Royal
Doulton was at the forefront of the ‘Potteries’ renaissance
in figure making. The original ceramic figurine was
modelled by Harry E. Stanton, with H. Tittensor (a
Doulton artist) and F. Van Allen Phillips, whose names all
appear on this early, and possibly unique, piece, but it is
not clear what part each played.
It is not known whether further examples of this design
were made at the time. During the 1920s and 1930s
production of figures was very limited and was eventually
halted altogether by the second World War. The design
was developed into one of a limited edition of Doulton
“Prestige Figures”: pattern no. HN2081, produced from
1952 to individual orders and in much bolder colours with
gilded decoration.
François Emile Décorchemont 1880–1971
(maker)
85 Fish, c.1950
Pâte de verre, engraved logo Décorchemont; No. 1 D433
3½ x 14 in (9 x 35.5 cm)
Louis-Jules Trager fl.1888–1934
(decorator)
Manufacture Nationale de Sèvres (maker)
86 Small Japanese-style vase, 1912
Porcelain with a painted floral design, transfer stamp RF
Decore à Sèvres, Manufacture Nationale, 1913, transfer S, 1912,
hand painted initials LT and J’ap J. VesqueI; applied paper
label inscribed Louis Trager
Sèvres in all its finesse … the Minton of France. JS
Manufacture Nationale de Sèvres (maker)
87 Pair of flower in vase wall lights, 1930s
Porcelain, transfer stamp factory trademark, Sevres /
manufacture nationale France / C
24½ x 17½ in (62 x 44 cm)
These are superb Sèvres. I feel are by the famous French 30s
furniture designer, Ruhlmann. JS
Harry E. Stanton 83
Eric Gill ARA 1882–1940
89 Headdress, 1928
Beer stone with added colour
81 x 20 x 18 cm
Provenance: Sir Edward Brantwood Maufe KBE
RA FRIBA until 1974
Exhibited: London, Goupil Gallery, 1928 (11);
London, The Fine Art Society, Sculpture in Britain
Between the Wars, 1986 (45); London, The Royal
Academy, Modern British Sculpture, 2011 (7); London,
The Fine Art Society, Carving in Britain, 2012
Literature: J. Thorp, Eric Gill, London, 1929,
p.19, pl.28; The Sketch, 21 March 1928, p.547; P.
Curtis & K. Wilson (ed.), Modern British Sculpture,
London 2011, ill. p.58
Charles Sargeant Jagger 1885–1934
90 Study for ‘The Sower’ or
‘Agriculture’, c.1928
Bronze
Literature: For other versions see A. Compton,
The Sculpture of Charles Sargeant Jagger, Much
Hadham, 2004, p.126
This piece is a cast of Jagger’s first attempt
for the allegorical figure of Agriculture, for
the exterior of the Imperial Chemical House,
Milbank.
Jagger on ‘Agriculture’; his first proposal discarded
by the committee! JS
Charles Sargeant Jagger 85
Gustav Miklos 1888–1967
91
Tête de Femme, 1929
Unique patinated bronze, signed and dated G. Miklos 29,
stamped with foundry mark C. Valsuani, Cire perdue
24½ x 7½ x 10¾ in (62 x 19 x 25 cm)
Provenance: The artist’s estate; Bob Walker
Literature: D. Cichocka, Gustave Miklos: Le Moderniste
Byzantin, catalogue raisonné, vol. 2: sculpture, decorative arts
and paintings, Paris, 2014, pp.16 and 79, no.S86, plaster cast
also illustrated; for the plaster cast see also L. Benoist, ‘Gustave
Miklos, sculpteur,’ Art et Décoration, February 1931, p.45 and C.
Patkaï, Gustave Miklos 1888–1967: sa vie et son oeuvre de sculpteur,
Paris, 1978, no. 70
This sculpture highlights many of the key characteristics
of Miklos’s practice. The use of a bronze base, for example,
to extend and elongate the piece is typical. The influence
of Byzantine Art is patent in the prominence of the forehead, as well as the linear, graphic quality, which exaggerates the stretched face, neck, nose and almond eyes. Jean
Selz comments that, much like Brancusi, Miklos’s mannerist distortions suggest self-reflection or reverie (see
Cichocka, p.16). He was also interested in the mathematic
principle of the nombre d’or that he employed to attain balance and beauty in his work. The close attention to surface
quality is characteristic of Miklos, who was obsessed with
the way light played across the surface, supervising the
physical making and finish of all his cast work.
Miklos studied at the Fine Art School in Budapest
before moving to Paris in 1909 to join his friend Joseph
Czaky. He was quickly ensconced in the art scene there,
exhibiting at both the Salon d’Automne and the Salon
des Indépendant, before joing the French army in 1914.
Returning to Paris after the war he became more involved
with the artist avant-garde. Miklos’s sculptural works
from the 1920s represent the central body of his oeuvre.
In these works, as exemplified here, he treads the line
between figuration and synthetisation, applying Cubist
principles. During this period Miklos significantly
exhibited at The International Exposition of Modern
Industrial and Decorative Arts – where the term ‘art deco’
was coined. Miklos subsequently held a solo exhibition
of sculptural work in 1928, featuring works with
Constructivist leanings. Miklos also took part in the first
exhibition of the Union des Artistes Modernes, Paris 1930,
exhibiting alongside René Herbst, Le Corbusier, MalletStevens, Jean Fouquet and Ferdinand Leger amongst
others.
I had never heard of Mikos before I saw this one in Bob
Walker’s flat near Vincent Square, Victoria. I loved her at
first sight! Normally I get to know an artist and spend a lot
of time searching his standing and prices. Miklos had just
died. Bob had heard the news and beat all the dealers to the
deceased’s home. Madame Miklos was anxious and sold Bob
the entire atelier. Bob was a superb dealer and named a price.
Happily I had just sold a piece of land (3,000 sq ft in Ibiza)
and so paid him immediately. It is a piece unique. Miklos was
a contemporary of Brancusi but was never as famous. Success
is most capricious – I prefer Miklos but I also love Brancusi’s
Madame Pogany. JS
Gustav Miklos 87
Marcel Bouraine 1886–1948
and Gabriel Argy-Rousseau (1885–1953)
92 Dancing figure, c.1925
Pâte-de-Cristal, incised Pâte de Cristal / d’Argy-Rosseau / 11
Height 12 in (30.5 cm)
Literature: J. Bloch-Dermant, G. Argy Rousseau, London,
1991, a version of this statuette ill. pp.133 and 218
Originally made as a lamp. JS
Jean Chauvin 1889–1976
93 Abstract sculpture
Bronze, impressed CHAUVIN,2/5 and sun rise logo (possibly
foundry mark)
Height 13¼ (33.5 cm) without base; 15½ (39.5 cm) with base
Provenance: Bob Walker
Bought from the maestro Bob Walker. Bob and his wife made
cakes for Chauvin who lived in a shed north of Paris. JS
Jean Chauvin 89
Leon Underwood 1890–1975
Maurice Lambert 1901–1964
94 Nucleus, c.1923
95 Nimbus, 1928
Carrara marble, on the original ebonised oak turning socle
8¾ x 97/8 inches (22.2 x 24.2 cm)
Patinated cast-iron and coloured concrete, signed ML
43½ x 34¾ x 17 in (110.5 x 88.3 x 43.2 cm); socle 17 inches x 12 in
diameter (43.2 x 30.4cm)
Exhibited: London, Kaplan Gallery, An Exhibition of Sculpture
by Leon Underwood, 1961 (64); Colchester, The Minories, Leon
Underwood: A Retrospective Exhibition, 1969 (112); London, The
Royal Academy, Modern British Sculpture, 2011 (34); London, The
Fine Art Society, Carving in Britain, 2012; London, The Fine Art
Society, 7&5 Society, 2014
Literature: B. Whitworth, The Sculpture of Leon Underwood,
Wakefield, 2000, no.10, pp.19–20, 122
Provenance: Ben Nicholson; Helen Sutherland
Exhibited: London, Arthur Tooth & Sons, 1929 (10); London,
The Fine Art Society, 7&5 Society, 2014
Literature: V. Nicholson, The Sculpture of Maurice Lambert,
Farnham, Surrey, 2002, no.49, pp.32, 53, 54, 102, ill. p.32,
maquette ill. p.103
This sculpture was given, or sold, to Ben Nicholson by
Lambert. In turn it entered Helen Sutherland’s collection.
Sutherland was one of Ben Nicholson, and his peers, most
supportive early patrons.
Maurice Lambert 91
Salvador Dali 1904–1989
Daum (maker)
96 Poisson Malebranche, 1973
Edition 103 of 150
Pâte de verre, with clear glass orb; moulded Dali
signature, Made in France, 103/150 and DAUM
Height 16 in (40.5 cm)
Joyce Bidder 1906–1999
97 Angel of Mercy
Carved mahogany, stained, polished and heightened with silver
colour, signed m JOYCE BIDDER
32 x 4¼ x 3½ in (81.3 x 10.6 x 8.9 cm), supported by a green
marble base 2 in (5 cm)
I love ebony, the artist can’t cheat. JS
An early pâte de verre sculpture by Daum. Salvador
Dali’s Poisson Malebranche. JS
Daisy Borne 1907–1998
98 The Little Mermaid
Glazed earthenware, with wooden base; applied paper label
inscribed The National Society, Schedule no: 1(?), Title of Work: The
Little Mermaid, Artist’s Name: Daisy Borne, Address: The Studio, 19
Spencer Hill Road, Wimbledon, price £12d12
12 x 8¼ in (30.5 x 21 cm)
Joyce Bidder 93
INDEX
Albert Paley b.1944
99 Dragon’s Back floor lamp, c. 2000
Formed and fabricated steel, with glass shade
79 x 27 in (201 x 69 cm)
A similar style bench has been beside the Hereford Screen
in the V&A for the last 10 years. JS
References are to page numbers,
not catalogue numbers.
Bayes, Gilbert 74– 79
Bidder, Joyce 93
Birmingham Guild Ltd. 70 – 73
Borne, Daisy 93
Bouraine, Marcel & Argy-Rousseau,
Gabriel 88–89
Brandt, Edgar 80–81
Brangwyn, Sir Frank 64–65
Chauvin, Jean 89
Dali, Salvador 92
Daum 68, 92
Deck, Théodore 10
Décorchemont, François Emile 82
Delaherche, Auguste 36
Fonderies de Saint-Dizier 50 – 53, 60 – 63
Gilbert, Walter & Weingartner,
Louis 70 – 73
Gallé, Emile 12 – 22
Garchey, Pierre de Verre 59
Gilbert, Sir Alfred 26 – 33
Gill, Eric 84
Guimard, Hector 42 – 63
Hoole & Co. 9
Houle D. & C. 11
Jagger, Charles Sargeant 84–85
Johann Loetz Witwe Glassworks 24–25
Knox, Archibald 38 – 41
Lambert, Maurice 90–91
Liberty & Co. 38–41
Manufacture Nationale de Sèvres 82
Massier Fils, Jérôme 12
Miklos, Gustav 86–87
Minton & Co. 10
Néret, Georges 54 – 56
Obrist, Hermann 37
Paley, Albert 94
Pecs, Zsolnay 11
Phillippon 46–47
Pomeroy, Frederick William 34–35
Ramsden & Carr 80
Rousseau, François-Eugène 12
Rowley Gallery 64–65
Royal Doulton 76 – 79, 83
Stanton, Harry E. 83
Stephens, Sir William Reynolds 37
Stevens, Alfred 9
Sykes, Godfrey 10
Tiffany, Louis Comfort 22–23
Trager, Louis-Jules 82
Underwood, Leon 90
Voysey, Charles Francis Annesley 36
Walter, Almeric 68
Wildt, Adolfo 66–67
Wood, Francis Derwent 68
the john scott collection 95
Published in an edition of 1300 copies for the exhibition
The John Scott Collection: Art Nouveau, Continental Design
& Sculpture held at 148 New Bond Street, London w1,
25 February to 19 March 2015.
The Fine Art Society would like to thank John Jesse for his
kind suggestions for cataloguing some these items.
Catalogue © The Fine Art Society, London
Text © the authors
ISBN 978 1 907052 52 1
Catalogued and edited by Rowena Morgan-Cox
and Annamarie Phelps
Assisted by Laetitia Guillotin and Marian Casey
All photography © Michael Whiteway,
except inside cover and cats 1, 3, 11, 13, 26–30, 36, 41, 53–54,
71, 73, 75–76, 88–89, 91, 94–95 and 97 © A.C. Cooper
Designed and typeset in Verdigris by Dalrymple
Printed in Belgium by Albe De Coker
Front cover: Hector Guimard 1867–1942, Occasional table,
1909 [cat.39]
Back cover: Gilbert Bayes 1872–1953, The Underworld, 1913
c.1900 [cat.75]
Inside cover: Owen Jones 1809–1874
‘Stanhope’ textile design, 1872
Dealers since 1876
148 New Bond Street · London W1S 2JT
+44 (0)20 7629 5116 · [email protected]
www.faslondon.com
Dealers since 1876

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