When Clouds Have Vanished And Skies Are Blue.

I found a picture portrait of a young lady while clearing out the stores of a man who, when asked, described himself as a hoarder, collector.

“With the emphasis on the hoarder” I jokingly replied.

He laughed.

Why I volunteer for these jobs I will never know.

Up to my knees in boxes, wading in junk. I love it.

Yes there is one side of the vocation I have chosen. The public talks and valuations of great sculpture and the appraisals of valuable works of art.

Then there is reality. In a dark dank space, sorting through other peoples discarded possessions. Wiping away the dirt and mould hoping to reveal hidden treasure. 

Its like being Indiana Jones, of Junk.

Yes, if it was that easy we'd all be doing it.

Sifting and syphoning. With a torch. Falling over stuff. Upside down, feet sticking out of tea chests.

Oh and the old Singer sewing machine that unexpectantly fell apart and landed corner side, on my foot...and broke my toe.

That hurt.

If it was not for the adrenelin of being drunk on junk, I would have cried as I watched the black and blue toe balloon grow ever larger.

Man, that was painfull. The things I do for my job.

I took this little picture of a pretty lady home and placed it on the top of a mirror which I had no space to hang, so it was tilted on the wall.

My brushpan hit the mirror and off she toppled to the floor breaking apart in front of my eyes.

Now, once I take an abandonded and forgotten item into, my care, I get upset if I break it. I want to give things a new lease of life, a new home. There it was on the floor, ruined.

I brushed the scattered pieces on to the shovel and to my surprise there were some things that had fallen out from between the picture and the frame.

Leaning in, I shuffled them around. To find, a carefully and lovingly placed lock of hair, in the corner of an envelope.

And a newspaper cutting. With a poem.

I sat down and read it out loud.

When clouds have vanished and skies are blue,

I'll come back, sweetheart, to you,

Back to the best pal I ever knew,

Your smiles and your love so true:

Back through the gateway of golden days,

There my dream love always stays,

When clouds have vanished and skies are blue,

I'll come back to you.

I looked into the gaze of the pretty lady wishing I knew who she was.

She had touched my heart as I shed a tear.

I repaired the little momento of anothers past and placed it in a better spot where it won't ever get harmed.

And now, this anonymous lady,

Is a part of my life too.

She stares back at me, as if to thank me:

The pretty girl I never knew,

Her, with those smiles and love so true.

©Wayne Colquhoun

Jerry Lee Lewis Tower Ballroom Poster........I Track Down The Man Who Made It-Piece of the Week.

I recently purchased this historic Jerry Lee Lewis concert poster.

The concert took place at The Tower Ballroom New Brighton.

 Just a Ferry 'Cross The Mersey in 1962.

I decided to track down the man who made it.

I caught up with Tex O'Hara at his sisters house in Liverpool.

He spoke to me in great detail about the techniques he used to design it, and about the concert itself. 

Tex O'Hara designed many of the early Beatles posters. 

His brother Brian O'Hara was lead guitarist in the Fourmost, who were in The Brian Epstein stable of Merseybeat groups. They played many times at The Cavern in Mathew Street Liverpool, England. And in the 60's they had a big hit with a John Lennon penned song, Hello Little Girl. And many others.

They had a residency, that lasted for over a year at The London Palladium.

Brian Epstein would employ Tex to produce the posters that promoted many of his concerts. 

Though he was not too happy when he spelt The Beetles incorrectly on one poster. 

That poster is now worth a lot of money. Tex O'Hara designed the first Beatles Drum Logo.

The 'Thank Your Lucky Stars' Concert at The Tower Ballroom took place on 17th May 1962. 

Many of the Merseybeat groups would be there to pay homage to The Big Bopper.

Appearing with JERRY LEE LEWIS were The Echoes, BILLY KRAMER and the Coasters, LEE CASTLE and the Barons, THE BIG THREE, THE PRESSMEN, THE UNDERTAKERS, THE STRANGERS, VINCENT EARL and the Zeros, KINGSIZE TAYLOR and the Dominoes, STEVE DAY and the Drifters, and RIP VAN WINKLE and The Rip It Ups.

Tex tells me about Rory Storm being manhandled off The Killer's White Piano and how Jerry Lee Lewis from The Deep South who had just married his 13 year old bride was welcomed to The Wild West of Merseyside. 

I got him to sign the poster. YOU CANT GET BETTER PROVANENCE THAN THAT. 

Watch the video below for more information about this historic event.

 

 

Art Deco Statue-Piece of the Week

Marcel Bouraine (1886-1948) is a well known name in the style we know now as Art Deco. The term Art Deco is an abreviation first seen in the 1960's taken from the name of L'Expostion Art Decoratif et Industrial Moderne in 1925. In Paris. This is the now accepted date when this new modern style was brought to the world in any sufficient quantity as to make a substantial difference. I have had some really strong bronze studies by this artist.

He also had a pseudonym. I have also had several Art Deco statues signed Derenne mainly in spelter some have had slate bases other had had marble.

This is Marcel Bouraine.

I have built several collection both for myself and for my several of my clients over the years and they always seem to include a sculpture by Bouraine.

He was working mainly in France.

Here I have a Disc dancer signed Derenne.....I have misplaced the discs that go onto both hands unfortunately. Though it is not taking away the movement in the piece. Made of green patinated spelter on a Belgium slate base. I sold this piece over ten years ago and have recently acquired it back. She is 20 inches high almost dancing off the base.

See More Here

Born in Pontoise France largely self taught. He was taken prisoner during the Fiirst World War and sent to Switzerland. He was active until 1935 exhibiting at The Paris Salons. He designed for Argy-Rosseau who was a magician in Pate-sur-Verre. 

He preferred a classical theme. his Art Deco sculpture of Amazon with shield and spear has become a regular on the auction market.

 He may have also used the pseudonym Briand as there is a definitive connection between the two. 

Bouraine studied with Pierre Le Faguays and Max Le Verrier at The Ecole Des Beaux Arts in Geneva. Max Le Verrier would later cast many of his sculptures for him.

David Woodlock Oil On Canvas-Piece of the Week.

I noticed a rather grubby looking but well framed oil painting just as travel restrictions started to be applied which made it difficult to handle it in person. So I was more than relieved to find that it was in excellent condition when I eventually got to see it.

The vendors chosen auctioneers had been so lazy as to not even give it a wipe, and thus presenting it in a terrible state. You could hardly see the painting through the muck on the glass. Which it seems may have been to my benefit. The same lazy auctioneers that don't even wrap a parcel up for you, or even supply bubble wrap.

There can't be another profession where they pluck 25% from the vendors and 25% from the buyer and then treat both with contempt.

But this seems to my advantage in this case.

The painting was by David Woodlock.

His work is held in many institutions. I gave it a clean and it came up looking as bright as a bell.

Labelled several times on the back. One label read Alderman Harford and another label reads WOODLOCK EXHIBITION Walker Art Gallery 1929 and a owners name.

David Woodlock (1842-1929) was a key figure in the development of a distinct school of Liverpool painters, being a founder member, and later the President, of the Liver Sketching Club, (still going today) and also a member of the Liverpool Academy of Arts.

David Woodlock was born in County Tipperary, Ireland, the son of John Woodlock. Moving to Liverpool at the age of twelve, he was apprenticed as a drapers. He showed great artistic promise and began to study at the schools of the Liverpool Academy of Arts. He studied under John Finnie, possibly in the evenings, while he still worked as a draper’s assistant. In 1871 he exhibited at the Liverpool Autumn Exhibition, which was held at the Walker Art Gallery. He was living at 28 Almond Street, as the head of the household, with his widowed father, John, who was working as a coal dealer, his brother, Thomas and sister Margaret.

Woodlock helped found the Liver Sketching Club in 1872.

Marrying Marion Theresa Martin that year.

Becoming a member of the Liverpool Academy of Arts.

He exhibited in London in 1880, showing at the Royal Academy of Arts from 1888. Also exhibiting at the Royal Institute of Painters in Water Colours, the Royal Birmingham Society of Artists, the Royal Scottish Academy.
He exhibited sixteen works at the Royal Academy between 1888 and 1904.

During the late 1880s, Woodlock was living in Sheffield with his wife and four children, and working as a ‘hosier and haberdasher’. In his spare time, he studied at St George’s Museum, Walkley, which had been founded by John Ruskin for the education of local workers.

Having returned to Liverpool by the early 1890s, Woodlock travelled to Venice and North Africa in 1894. He would later visit Holland.

He became President of the Liver Sketching Club in 1897.

In the early twentieth century, he lived in Warwickshire, where he painted some of his most characteristic images of country life with half-timbered cottages set in flower-filled gardens.

Back in Liverpool, he took a studio at Canning Chambers, 2 South Street, Liverpool. In 1911, he was living at 46 Nicander Road, Toxteth Park, Liverpool, with his wife and three younger adult children, Winifred, Evangeline and Charles.

At the time of his death on 4 December 1929, David Woodlock was living at no 2 Voelas Street High Park Liverpool.

So I contacted the Walker Art Gallery and Alex Patterson kindly gave me confirmation that it was exhibited at The Walker Art Gallery in 1929 as Part of The Autumn Exhibition showing contemporary artists. He had exhibited widely in the Autumn Exhibitions from the galleries conception in 1871.

This picture was shown there upon his death perhaps in memory to him.

They have two further oil paintings and four water colours by him in their collection.

None of which are currently on display.

Signed in oil in the lower right corner.

It is a portrait of Alderman Harford who was the brother of The Lord Mayor of Liverpool. Looking ever so Bohemian in his wide brimmed hat with a red plume and sporting a tasseled necktie. Is that a cape he's wearing?

He could almost be mistaken for a painter himself.

It looks to me to be painted during that period we now call The Arts and Crafts. Possibly Victorian maybe Edwardian,

I was so pleased that the auctioneers showed it little respect because maybe I would not have been able to afford it if they did.

It now, thankfully resides with me. Where it is now cherished. A piece of art history.

I have no desire to sell it at present

His portrait of Cardinal John Henry Newman 1988 held in the National Gallery of Ireland was purchased 1987.

https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=1507

http://www.nwlh.org.uk/?q=node/116

Mary Bennett, Merseyside, Painters, People & Places: Text, Liverpool: Walker Art Gallery, 1978, Page 235

Art Nouveau Corner Cabinet-Piece of the Week.

Its an age since I purchased this Art Nouveau Corner cabinet in the South of France at a trade fair.

 Its fragile alright. The work that has gone into it is unbelievable.

 The fretwork is so delicate in places that I dared not move it for ages. 

So it stayed under the stairs at my previous address for so long that I forgot about it. 

When moving house a few more pieces become loose but it was all there. 

So I got my tools out and restored it. 

I had kept all the bits and put them in the drawer, so it was just a case of regluing them back into place.

 I felt guilty that I had forgotten about this amazing piece of Art Nouveau that has a look of Henry Van de Velde, a hint of Guimard but is probally school of Nancy if the location in which I bought it is any indication.

I remembered when I purchased it, right as it came Au Cul Du Camion....right out the back of a wagon within five minutes of the start of the market.

 I grabbed it.

 Dealers fell all over it but I had hold of it tight, I was not going to let it go and the guy who owned it did a deal, looking bewildered with all the excitement it had generated, thinking he had undersold it, which he had. Two guys asked me if I wanted to sell it and how much I paid for it right away.

It breaks down into two parts and when I was carrying it back to the van an Italian bloke tried to buy it off me.

 "Style Liberty, Style Liberty" he kept saying. 

The Italian call Art Nouveau, Style Liberty after the shop in Regent Street opened by Arthur Lazenby Liberty. I refused and eventually I wound my way back up to the North West of England with it rattling about worrying me every time I turned a corner. There it remained for a decade or more. 

It dried out a bit, as it would, so I had to reglue the joints. Its times like this that my apprenticeship training comes in really handy. It is made of two different woods the carcasse of it being a softwood and most of the fretwork edges are made of oak so they are stronger and easier to carve.

This detailed restoration was needed when I bought it and considering its over a hundred years old its done well to last.

 But with all the work now carried out and a coat of wax its now looking great.

 But now..............................

I dont want to move it again. 

I wonder how long it will sit in the corner for this time. 

Well I can think of worse things to have in the corner of your room.

George Ehrlich Bronze-Piece of the Week.

Austrian-born sculptor, draughtsman and etcher. 

He is well known for his delicate and tender studies of children. His bronzes are mainly studies of adolescents or animals, though he also made a number of portrait busts and reliefs.

 He was engaged for many public commissions.

This work is 38cm high and is a study of a young child. 
Arms crossed across the torso they are wearing a loose fitting tunic with a wide kneckline and is signed in the bronze and numbered in latin numerals, I/VI which intimates this is part of a series of cast bronzes.

 I was told it was purchased directly from the artist.

The face has a real sense of feeling even a look of nonsulent melancholy.

 The child seems to be wearing a cap. But then again it could be a bobbin tied in the hair. The child seems to be bound in the pose not able to motion. Gazing out in sadness. Though I feel there is a deeper underlying meaning to the chosen pose, with its Pierrot-esque feel, that the artist wished to convey.

George Ehrlich (I always have to check that spelling) came to Britain in 1937 presumably to escape the Nazis. He had served in the Austrian army during WWI.

George Ehrlich (1897-1966)

Born in Vienna Austria in 1897.

Studied at Kunstgewerbeschule, the Vienna School of Arts and Crafts under the architect Strnad, 1912-15.

He served in the Austrian Army during the First World War. He initially trained as a draughtsman though would study the art of etching.

First one-man exhibition at the Galerie Hans Goltz, Neue Kunst, Munich, 1920. where he lived 1919-21.

He then moved to Berlin 1921 where he lived until 1923.

He began to make sculpture in 1926. First public commission Vienna 1928

Married Bettina Bauer, painter, 1930. His sculpture included in the Austrian pavilion at the Venice Biennale 1932, 1934, 1936 and again 1958.

He then moved back to Vienna where he lived until 1937.

Came to London as a refugee in 1937 and took British nationality. Awarded gold medal at Paris World Exhibition 1937.

Became naturalised British citizen in 1947.

His life-size bronze Bull for Municipality of Vienna was constructed 1959-60.

Awarded the Sculpture Prize of the City of Vienna 1961; elected ARA 1962.

The Arts Council organised a solo exhibition in 1964 which opened at the Aldeburgh Festival in June 1960 Then onto Garratt Green School, Wandsworth, London 1961.

Born in Vienna Austria in 1897.

Lived from 1963 in Italy and Austria, and died in Lucerne.

Exhibitions include : regular exhibitor at Royal Academy from 1940; Arcade Gallery, London 1945 (solo); Leicester Galleries, London 1950 (solo); Lefevre Gallery, London 1953 (solo); Sculpture in the Home, Arts Council 1946; LCC 1948, 54; SB 1951; AC 1957, 60, 61; VB 1958; Middelheim, Antwerp 1959.

Collections include: Tate Gallery; Arts Council; British Museum; Victoria and Albert Museum, London.

Commissions include : Two Sisters 1944 for Essendon School for Girls, Hertfordshire; Boy and Girl with Puppy for Hastings High School, Burbage, Leicestershire c. 1956; Sarel House, Bethnal
Further reading: ‘London Commentary’, in Studio, August 1955, Vol. 150, No. 749.
E. Tietze-Conrat, Georg Ehrlich, (London, 1956)
A. Haskell, Georg Ehrlich, Bruton Gallery, Bruton, Somerset, 1978, (exh. cat.).
Biography from Whiteley (2001) with additional information from Hall (2004) and from Judith LeGrove.

Wealth at death: £29,129 0s. 0d.
Probate date: 15 February 1967

He is often associated with Alexander Archipenko   Read More Here

Sorry No Longer Available     See More Here

Keller and Guerin Luneville Vase-Piece of the Week.

  I have had this beautiful pretty little vase for over a decade.Many have tried to prise it away from me but up to now I have not given in to the lure of....money. I keep thinking where am I going to find another one.

It is decorated so simply with floral decoration applied in enamel over a earthenware base. It looks like the flowers are swaying in the wind.

Its only 17cm high, and as a potter I can tell that the thrower has just patted the rim down creating a ever so delicately placed dimple around the neck of the piece where it becomes more rotund, that just gives it a little something extra.

Now even after all this time and without too much research I have to admit I don't know who the exact decorator is. I would love to think its a Ernest Bussiere piece but it could be Louis Majorelle or Lachenal. What I do know is its a little gem.

Signed K G Luneville that is the mark for Keller and Guerin.

In 1728 Jacques Chambrette established the first earthenware factory in Lorraine, in Lunéville besides the river Meuse, not far from Vezouse.

He formulated a new type of earthenware called "terre de Lorraine" in 1748 based on the study of English potteries.

He had great economic and artistic success.

The factory was awarded the status of Manufacture Royale de Fayence by the Ducs of Lorraine in 1749.

The Lunéville manufacture was ti rival the expanding English and German ceramics centres and Chambrette managed to successfully export his wares to Italy, Germany, Poland, Switzerland and even The Netherlands.

In 1786 Sébastien Keller bought Luneville from the Chambrette family following the bankruptcy of the pottery manufacturer in 1785. For the next 137 years, the Keller family controlled the company. In 1832, Sébastien Keller's son aligned with his brother-in-law Guérin to give birth to the mark K&G (or KG) from the names Keller and Guérin and during the following century, Lunéville was the seat of "Keller and Guérin" (Société KG).

Between 1700 and 1800 several faience manufacturers installed their companies in a tight network in Lorraine. The factories produced everyday utilitarian and decorative objects.

Since silver dinner services were prohibited by the king (who used the taxing of such objects to finance his wars), faience manufacturers were able to sell wares more easily.

The artisans were inspired by their surroundings; Subjects were decorated with naturalistic styles, faience was decorated with flowers, insects, real and fictitious animals and exotic figures. They produced faience dogs, which were placed in the halls of houses ( the French have an expression "to stare at each other like faience dogs").
Later on Chinese decorations, introduced by Jesuits who brought back examples from their often dangerous missions. Jacques Chambrette, who suffered from the high taxes that were imposed on him in the ducal region that was controlled on behalf of the King of France, coveted the episcopal area, which was connected to France, but where the influences of Louis XIV were much less smothering.

In 1758, Jacques Chambrette started a second faience factory in Saint-Clément, which lies in the Diocese of the Bishop of Metz. In the 19th century the originally German family Keller, soon allied with Guérin. This gave new life to the factory by industrialising it.

This was an era in which Lunéville and its surroundings provided very skillful workers.

The area around the faience factory, under patronage of Sainte Anne, developed.

In 1900, there were around 1,100 employees. The factory's products had a worldwide reputation and participated successfully in various fields of art and industrial exhibitions.

During the design period we know as Art Nouveau Keller and Guirin employed some of the most gifted designers Louis Majorelle and Ernest Bussiere were to create some of the finest designs. Lachenal would add to the design base of the company.
In 1922 Édouard Fenal, originally from Pexonne and Badonviller, bought the factories of Lunéville and Saint-Clément, so employment was guaranteed in Lunéville and Saint-Clément.

New designers were brought in to cater for the new wealth that was around and the new style that we now know as art deco rushed in with its geometric lines.

Mougin Brothers would help to bring the whole area into a new style.

The Second World War marked a recession.

The name Geo Conde is often seen on wares.

St Clement produced huge quantities of crackle glazed animaliar following the French tradition of sculpting the animal form that went back centuries.

The production of these in ceramic made them more affordable. Some of these animals were of varying quality some having slightly strange colour combinations of deep reds and blues that are highly collectible today.

In 1979 a new group was further developed by buying out the Sarreguemines ceramics complex. Édouard's son, Gilbert, was in charge of the group which also comprises Salins, Vitry-le-François and Digoin.
The Lunéville production stops in 1981.

Only the factory of Saint-Clément is still operational by1999.

In the renovated buildings nowadays small and medium sized companies are still working.

Parlons Francais by Paul Iribe-Piece of the Week.

I bought this, what I could call, historic document some 20 years ago, possibly 1998, on a street market in the town of Orleans France.

 Those were exciting times, Britain had only just joined the economic union and customs were opened up so France was a storeroom full of Art Deco that I could use to generate stock with a more classic line than some of what could be called more average British design.
I was over in France at least once a month. 

We had to eat out all the time and of course you have to have a glass of wine with your meal while there. Y'know perks of the job. We roughed it a bit but it was enjoyable. there were hardly any tourists then. Before the cheap no frill airlines invaded.

Somehow or other this book has stayed with me all this time. 

I recall the morning I bought it well.

 I had slept in the van the night before, on the front seat,  with Colin the window rattler who snored his head off in the back of the van. I woke up more tired than when I went to sleep.

The early bird catches the worm, and all that.
It was also the day that I found an original Hispana Suiza car mascot in good condition.
That I sold to a local motor museum in Mouldsworth. 

I wish I still had that too, its very rare and the more they have been reproduced the more valuable the original has become. James still has it too. When he closed the museum down he showed me it.
He knew he had something rare he kept it for his own collection.

This colourful printed folio of designs, I was surprised to find, was by Paul Iribe.

 The idea for the publication had been suggested by Maurice Constantin-Weyer and printed in Paris.

Knowing some of the work of Paul Iribe who was an all round designer of furniture fashion and art, it went against the grain of his work. I was confused initially.

It was angry and and had a real punch to it.

Then I thought, well wouldn't you be angry.
 It was published in 1934 and the first hundred copies were kept for the artist. Now, I say its called Parlons Francais which is ironic because I did not speak very good French myself and missed the point initially. That it is called Parlon Francais and not Parle Francais.

Yes here it seems, Paul Iribe is speaking for the French in his mind.

1934 was a mere 15 years after the treaty of Versailles which was signed in 1919 the year after the cessation of the conflict of the First World War that saw so many of his compatriots die.

I have not done any research about whether the artist was there in the trenches, but he was definitely there in spirit.

 The language of the art with its captions is vitriolic and holds no punches.

 It is hard to imagine now today, with the vile comments on social media becoming commonplace, but here in 1934 this is about as strong as you could get.
And from a man who designed ladies clothes, who was in fact at one time the partner of Coco Chanel. 

It opens up another side to the man who designed the famous Nautilus Chair, examples of which are on view at The Waldorf, New York.
 Many other examples of his designs make small fortunes when they appear in the, usually, upper class salerooms.

So this was a man with sensitive desires to furnish the stately modernist Ocean Liners that traversed across the Atlantic.

That were sponsored by the State, The Republic of France.

And yet here he was in 1934, counting the cost of the First World war and it looks to me, projecting the death that was about to befall his country in 1939, some five years after its publication when the Nazis invaded.

This is a man who was not scared to upset the establishment.

I don't understand all the Parle or recognise a lot of the named and shamed but I know enough to see that he was fuming with rage.

 Rage at the people who were trusting the Nazi regime when they were about to cross the borders, once again, and this time make it all the way to Paris.

I am not looking any further into the history of the war time occupation, of France. 

I don't have the time in my head this week as the 100 year anniversary of the end of hostilities comes about this next week. It is a sad time to reflect.

I will be too busy remembering those fallen and some of those that fought, I knew.

 My Grandfather was there. Last year I remembered Passchendaele and those I did not know.

http://waynecolquhoun.blogspot.com/2017/07/remembering-battle-of-passchendaele-and.html

 I have spoken to many who have now sadly passed. But I will not forget them. Forthey sacrificed themselves so we could be free. And speak freely.

While wars still rage I will take a short time to think about those who warn of the dangers ahead. 

Paul Iribe was one of those.

 I respect the memory of what he did and sometime I will find my way into looking into the interesting, brave predictive, strong character that was Paul Iribe.

He unlike so many others these days was also bold enough to put his name to his words and sign this copy right above the French tricolour on the frontispiece.

I feel proud to have a link back to this man who told the truth and was not afraid. Parlon Francais.

It appears to me to be a historical document. Lest we forget. At our peril.

Tiffany Favrile Bowl-Piece of the Week.

Louis Comfort Tiffany was born (1848-1933) into wealth.

He was a gifted painter in his younger years. 

He was also an architect,designed furniture, textiles, wallpaper and rugs. He worked in Bronze, silver, wrought iron, wood ceramics and silver.

But he is mostly known for glass.

“I have always striven to fix beauty in wood or stone, or glass or pottery, in oil or watercolour, by using whatever seemed fittest for the expression of beauty; and I see no reason to change it.”

He expressly refrained from imitating by striving for a new medium.

“God has given us our talents not to copy the talents of others, but rather to use our brains and our imagination in order to obtain the revelation of true beauty.”

He searched also for new technical inventions that could help him with his restless ideas.

The son of Harriet and Charles Lewis Tiffany, New York. He was the founder of Tiffany & Co a purveyor of jewelry silver objects and timepieces.

 That name had become a byword for luxury and craftsmanship. Opening in 1837 by the 1870's his Fifth Avenue store became the place where presidents would buy gifts for royalty and heads of state. By 1900 they had 1,000 employees around the world.

Louis showed no interest in joining the family firm instead he went to Eagleswood Military Academy in Perth Amboy, New Jersey. 

In 1865 he toured Europe. 

While in London he visited the Victoria and Albert Museum and the Roman and Syrian glass made a monumental impression on him. 

This same museum now has a collection of Tiffany Glass. 

On return to New York he enrolled in the National academy of Design and exhibited, in 1867 paintings that were inspired by his European travels.

He worked alongside George Innes (1825-1895). He was part of The Hudson River School. 

They both enjoyed a love of nature.

Innes had a dialogue with the Babizon school of painters who worked near Fontenbleau.

Tiffany went back to Europe in 1868 where he met Leon-Charles-Adrien but could not work within his strict regime. He then met Leon-Adolphe-Auguste Belly (1827-1877) who was a painter in the exotic and orientalist style and exhibited at the Salon.

On return to New York he met Samuel Colman at the Century Club. 

While travelling separately they met in Granada and decided to travel on to Egypt and Africa together.

Morocco, Tangier where he painted the Souks. then to Tunisia and Egypt they often painted the same subjects.

He began to love Islamic art and started collecting glassware and other objects. These pieces would lead to later inspiration. He took photographs and would use these later to recall his influences. 

1878 would see him exhibiting street scenes of New York at the Paris Exhibition Universalle of 1878.

He received many awards and showing his work at 27 different exhibitions by the age of 21.

 He formed the society of American Artists along with John Singer Sargent and James McNeil Whistler. He realised his lack of classical training would always hinder him and his vast wealth gave him the opportunity to follow a avenue less crowded where those with more skills would outshine him. 

His works of this period is now valued for its skill and approach and highly valued.

His acquired sense of colour and his experiences would lead him into creating glass.

Industrialisation would give new opportunities and the demand for luxury items to fulfil the ambitions of the new rich industrialists led him to draw on his fathers reputation.

He formed a Interior design company that lasted for four years. He would encompass many variations of design and was inspired by the Arts and Crafts movement and in particular William Morris who was enlightening the world to medieval design and craftsmanship.

Art Nouveau, was the breath of fresh air that filled his lungs.

Tiffany would be inspired by art nouveau and its principle designers but would look to nature for his own special style. In 1882 he had received a commission from President Arthur who was a New Yorker to redecorate the Whitehouse where he would install a three part glass screen to separate the public and private areas. 

Twenty years later Theodore Roosevelt would remodel the Whitehouse again. This time in a Neo-Classical style.

He and his associates decorated houses for some of the most wealthy people including Andrew Carnegie Cornellius Vanderbilt II and the writer Mark Twain. He split with his associates in 1883 and was free to explore his own independent projects.

He loved old glass and the way minerals in the soil had effected the glass when buried for ages. Glass that dated back to 1450 BC from Egypt was often thought as the earliest and Syrian glass blowing using a hollow pipe was invented in the 1^st century B.C. Glass is mentioned alongside gold and precious stones in the bible as a precious commodity. 

In the mentioning these treasures, only glass is made by hand.

Tiffany would go on to form a reputation that has not been equalled.
This small bowl infused with blue and greens is only 5inches wide. But a object of exceptional beauty.

Part One: more to follow soon.

This piece is no longer available Sorry.

Ernst Riegel Silver Box-Piece Of The Week.

 I love this beautiful silver box and cover.

 It is not hallmarked being continental, the same rigid hallmarking system was never adopted on the British scale. 

German silver is often marked 850 against our 925 standard.

When a friend brought it in I was impressed by the sculptural qualities of the minute female figure standing aloft on a silver plinth flanked by four cabochons with semi precious stones encased within. 

It is only small 14 cm high and the figure is a dainty 7cm.

The next thing I noticed is how the lid just fits so perfectly as if there isn't a join at all, the maker has put the join on the edge of the box so that it is almost a secret opening. Its been thought about alright. Years of skill encompassed in such a jewel like object.

It is hardly surprising to find out that the maker was a master gold and silver smith steeped in a sculptural tradition that allowed him to cast silver to perfection, loosely and playfully echoing the prevailing style. 

Art Nouveau. 

He did have to switch with the times when a more modernist approach was required. 

There are no fingers or facial expressions, for me, it has the qualities of a ten minute sketch by a master artist.

This is a small work by Ernst Riegel.

Ernst Riegel was born 12 September 1871 in Münnerstadt, Franks, and died 14 February 1939 in Cologne. He was a German goldsmith, sculptor and university professor.

From an early age he was impressed by the works of Tilman Riemenschneider and especially of the famous winged altar in the church he saw.
In 1890 he studied sculpture and the goldsmith's art for five years at The Royal School of Applied Arts in Munich , with amongst others, Fritz Miller.
He joined the Darmstadt artists' colony in 1908 and came third in the Hesse exhibition.

Riegel was a member of the Deutsche Werkbund.

He was commissioned to make the chain of the office of the Lord Mayor of Darmstadt and was commissioned in 1912 with the design of the Lutheran Church in Worms.
He brought Emil Thormählen to Cologne in 1913 who, he entrusted with the management of gold and silversmithing class.
In 1926 he was appointed professor at Cologne led by Richard Riemerschmid.

During The World War when the motto was "I gave gold for iron" it was difficult to work with precious metals. After the war there was subsequent period of massive inflation, it was almost impossible to work with precious metals during this period.
To allow the students a realistic and practical time-and labour on materials, he initiated the establishment of a business office at the factory schools run by a commercial director.

The aim, through his contacts made with industry, government agencies and private citizens was to obtain work orders and the studios and workshops on performance of the Cologne factory schools to make development and testing laboratories.
His plan worked: the precious metals department and the Department of Religious Art financed almost half the budget of the university.
The city of Cologne could be called a factory school.

The Lord Mayor Konrad Adenauer awarded well-paid jobs that were, in 1929, laying the foundation stone of the new building of the University of Cologne.

Lindenthal, the headmaster had chains in gold and cups in silver manufactured by Ernst with his students.

Wealthy citizens of Cologne patronised the school - the Association of Friends of the Cologne factory schools - placed orders thus allowing for a qualified student education.
With the rise of the Nazis the work of the Cologne factory schools was defamed, and in 1933 a dozen artists and teachers were dismissed.

Among them was Ernst Riegel, "fired with immediate effect. His successor, was Charles Berthold.

See More by clicking the link below

http://www.classicartdeco.co.uk/art-nouveau.php

Jean Bulio Bronze-Piece of the Week.

 Jean Bulio was born in Fabregues in 1827 in the Herault region, South of France.
 It was Montpellier where he died in 1911.
He left behind a good body of work including a bust of Napoleon.
His work had titles such as Venus and Cupid.

 His style was mainly classical which is hardly surprising when he had enrolled at the Ecole des Beaux Arts in 1859. He exhibited a plaster cast that year of Pandora.
 In 1882 and also 1886 he received honorable mentions.

This bronze is unsigned and is only small, being 17cm high but large enough to make it tactile and want to hold it in the hand as many have done before showing a little rubbing at the touch spots allowing a slightly more golden colour to bleed through.

The patina is nice though. It has that chocolate brown colour that almost makes it good enough to eat.



At first glance it looks slightly to one angle but to those with a detailed eye will see that is because the sculptor has made the piece that way. It is as if the player of the pan pipes is just about to leap on to his other foot.
That time where it is most difficult to see and ambitious to create.
He has puffed out his cheeks ready to blow.

 Jean Bulio has gone out of his way and decided to make his piece showing that he understands movement along with anatomy.
 The The Pan Pipe player is draped in a wrap around his torso just enough to give it the feel of plein air, a feeling that the subject being outside and taking part in some form of celebration or maybe even a procession.
He looks Greek and the pipes are often associated with classical Greece. His hair is blowing in the breeze.
He is not a Hercules or a strong man, just a simple musician.
This is a careful study.
I have the same piece in my own collection on a different coloured base. I have had him for fifteen years and have never been able to part with it. Mine is African red marble.
Here we see Belgium slate being used.




See my sculpture section of my website for this and others of a similar style and period.
See More Here

Daum Vase-Piece of the Week

DAUM.

Founded by The Brothers Auguste and Antonin in the town of Nancy in the French region of Alsace-Lorraine.
They would create glassware of exceptional quality with varying techniques of finest workmanship that would, at times, rival the work of Galle.

The first Department of Art was created within the small family glassworks which would interpret the spirit of Art Nouveau.
They moved with the times through the Twenties and Thirties an evolution into a Art Deco style.


They would welcome in a new era in the 1950's and still make glasswares today.

100 years ago it was not just the case of expressing a new artform but aquiring the techniques to express it in glass. To imbue a feeling or a sincerity, the Daum Brothers wanted to make work that would outshine its rivals.

Works that would create an arousal, not only in the style but an understanding of the complexity of the piece, heightening the sense of achievement of the craftsman and designers collaboration.

Shape, Decoration, Colour and Material would be the four elements that would contribute to the organic processs that would be the hallmark of Art Nouveau.

Spirits of Autumn Summer and Winter would all be brought into play with hues and glows that conjure up a feeling inside each work of art.

It is as if they have been found on the floor of the forest rather than in a glasswork factory.

Its not as if you can go and get a recipe book. The artistic glassmaker would have to carry out his own experiments and write down the formula.

Lets as example think how would you obtain the exact colour, in glass for, lets say and Orchid or a Thistle head of a Cow Parsley.
 Or crisping leaves in autumnal differing grades of decay, of red and gold.

A few companies such as Appert of St Denis would supply Antonin Daum with some of his early supplies.

Often glassworkers would move companies or transfer to a different area and it was important to train the skilled workers of the future.

In 1925 Paul Daum refined and transformed the pallete.

Michel Daum would start working in lead crystal. After the Second World War the company would largely abandon glass in favour of lead crystal.

Between 1891 and 1914 3,000 different models appeared.

1920 to 1939 saw 2,000.

They won medals and honours, first prizes galore taking the official exhibitions extremely seriously in helping stimulate revenue through sales. Chicago 1893. Nancy and Lyon 1894. Brussels 1895 and 1897. There was a Legion of Honour for Auguste. In 1900 at the World Fair, like Galle, Daum were awarded a First Prize and Antonin a Legion D'Hounour.

Exhibitions at Ecole de Nancy the Pavillion de Marsan 1903 and Nancy itself in 1905 and 1908. Strasboug 1908 Paris and Brussels 1910. Then Gand 1913 and Lyon 1914. It just went on, and on. After the Great War they would show their style at the Paris Expostion des Art Decorative Et Industrial Moderne in 1925 moving into a more geometric and angular vision that would lend itseld to acid etching pattern.

This petite slimly bulbous vase is only 20cm high and is a yellowish base or pallette where the green hues of leaves blowing in the wind have been overlaid and carved back by wheel cutting. Several different colours of glass tinted by oxides can be seen to be applied to make up the overall effect. It is a painting in molton glass.

The base clearly displays the Daum Nancy mark and proudly proclaims the Cross of Lorraine as a symbol of defiance.

Alsace Lorraaine was lost to the Germans in 1870.during The Franco Prussian War.

Napoleon III had won Nice and Savoy in 1861 from Turin. It had been Italian.

Famous for Quiche Lorrane Alsation dogs, it was named Elsass Lothringen by the Germans. Many Road names are today still in German. There is a marker or two to the Magino line.

Bismark took it in 1871 This was one of the underlying causes of the First World War.

The first world war one charge was an attempt to take it back which they didn’t do till 1918.Germany took it again in 1940 The Germans re-uniting with the motherland of the German Reich. The French re occupation happened in 1944.