Null ÉMILE GALLÉ (1846-1904)

"N'est sortilège que d'aymer" circa 1884-1889
Very…
Description

ÉMILE GALLÉ (1846-1904) "N'est sortilège que d'aymer" circa 1884-1889 Very rare vase said to speak of the series of works treated in the medieval vein. Of baluster and flat form, with overflowing base and oblong neck underlined by a thick strip in projection modeled and glued to hot receiving four rectangular cabochons, also modeled and glued to hot. Proof in brown smoked glass; the title maxim realized with colored enamels in full on the band and on a background of enamelled interlaces. The double-sided decoration, illustrating the title and presented in two reserves of heraldic (or oriental) form, is executed in engraving, with polychrome enamels and gold; one cartouche showing a woman holding a container from which escapes an angel with spread wings, the other cartouche showing us a woman on the balcony and her probable suitor below. The background of the decoration is with geometric motifs in the Haute époque taste engraved with acid. The perimeter of the base is scattered with foliage, made with colored enamels in full, evoking a flowerbed. Signed and located E. GALLÉ Nancy, in engraving under the base. H. 19,5 cm Provenance : Private collection, Puy-de-Dôme. Public collections: Musée de l'École de Nancy - A similar vase, in green smoked glass, is kept in the collections of this institution under the inventory number 003.0.14. Bibliography: Collective - Émile Gallé et le verre - La collection du Musée de l'École de Nancy - Éditions Somogy and Musée de l'École de Nancy, Paris, Nancy, 2014. Similar model, in green smoked glass, reproduced page 105 (ill. 136). Émile GALLÉ - N'est sortilège que d'aymer - Medieval Tales and the Orient N'est sortilège que d'aimer," announces the frieze crowning this richly decorated vase by Émile Gallé. Also, its iconography questions us; through the characters that it represents and the numerous and plant motifs that cover its surface and by its curves to the evocations oriental evocations. Each of the two faces seems to present to the spectator two scenes, which probably illustrate adventures drawn from enchanting tales and/or ancient literature. ancient literature. The first scene shows a woman dressed in a long floral dress with a wide belt and flared sleeves. with flared sleeves, she is wearing mules similar to those of the colts - elements that undoubtedly recall the medieval fashion. This one holds in her left hand a container whose fragrances of an angel with outstretched wings, or some other mystical creature. The content of this of this cup evokes a bewitching potion based on magical plants, having the virtue of making those who to make those who drink it fall in love. The filiation with the tales of love potions the stories of the ancient magicians Circe and Simaitha - told by Theocritus - from Shakespeare's A Midsummer Night's Dream or from the legend of Tristan and Yseult. In response, the scene on the other side is animated by two characters; a woman, dressed in the medieval medieval style, standing behind a balcony or balustrade and the character she is overlooking that she overhangs, a man with medieval clothes and wearing a headdress, seeming to address to her, even begging her. This scene refers us directly to the tragedy of Shakespeare, Romeo and Juliet. With a title evoking love and witchcraft, but also through an unexpected connection of two illustrated scenes inspired by distinct ancient writings and supported by decorative elements Emile Gallé explores medieval literature and tales in his own way. However, some details treated in the oriental spirit open the way to many interpretations where the famous Thousand and One Nights could be summoned there; this East that Gallé explored, artistically speaking, since 1873 according to his own statements. Expert : Emmanuel EYRAUD

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ÉMILE GALLÉ (1846-1904) "N'est sortilège que d'aymer" circa 1884-1889 Very rare vase said to speak of the series of works treated in the medieval vein. Of baluster and flat form, with overflowing base and oblong neck underlined by a thick strip in projection modeled and glued to hot receiving four rectangular cabochons, also modeled and glued to hot. Proof in brown smoked glass; the title maxim realized with colored enamels in full on the band and on a background of enamelled interlaces. The double-sided decoration, illustrating the title and presented in two reserves of heraldic (or oriental) form, is executed in engraving, with polychrome enamels and gold; one cartouche showing a woman holding a container from which escapes an angel with spread wings, the other cartouche showing us a woman on the balcony and her probable suitor below. The background of the decoration is with geometric motifs in the Haute époque taste engraved with acid. The perimeter of the base is scattered with foliage, made with colored enamels in full, evoking a flowerbed. Signed and located E. GALLÉ Nancy, in engraving under the base. H. 19,5 cm Provenance : Private collection, Puy-de-Dôme. Public collections: Musée de l'École de Nancy - A similar vase, in green smoked glass, is kept in the collections of this institution under the inventory number 003.0.14. Bibliography: Collective - Émile Gallé et le verre - La collection du Musée de l'École de Nancy - Éditions Somogy and Musée de l'École de Nancy, Paris, Nancy, 2014. Similar model, in green smoked glass, reproduced page 105 (ill. 136). Émile GALLÉ - N'est sortilège que d'aymer - Medieval Tales and the Orient N'est sortilège que d'aimer," announces the frieze crowning this richly decorated vase by Émile Gallé. Also, its iconography questions us; through the characters that it represents and the numerous and plant motifs that cover its surface and by its curves to the evocations oriental evocations. Each of the two faces seems to present to the spectator two scenes, which probably illustrate adventures drawn from enchanting tales and/or ancient literature. ancient literature. The first scene shows a woman dressed in a long floral dress with a wide belt and flared sleeves. with flared sleeves, she is wearing mules similar to those of the colts - elements that undoubtedly recall the medieval fashion. This one holds in her left hand a container whose fragrances of an angel with outstretched wings, or some other mystical creature. The content of this of this cup evokes a bewitching potion based on magical plants, having the virtue of making those who to make those who drink it fall in love. The filiation with the tales of love potions the stories of the ancient magicians Circe and Simaitha - told by Theocritus - from Shakespeare's A Midsummer Night's Dream or from the legend of Tristan and Yseult. In response, the scene on the other side is animated by two characters; a woman, dressed in the medieval medieval style, standing behind a balcony or balustrade and the character she is overlooking that she overhangs, a man with medieval clothes and wearing a headdress, seeming to address to her, even begging her. This scene refers us directly to the tragedy of Shakespeare, Romeo and Juliet. With a title evoking love and witchcraft, but also through an unexpected connection of two illustrated scenes inspired by distinct ancient writings and supported by decorative elements Emile Gallé explores medieval literature and tales in his own way. However, some details treated in the oriental spirit open the way to many interpretations where the famous Thousand and One Nights could be summoned there; this East that Gallé explored, artistically speaking, since 1873 according to his own statements. Expert : Emmanuel EYRAUD

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