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$ 7,500

French Art Nouveau Autumnal Landscape Vase by Daum

Documentation Signed
Origin France
Period 1900-1919
Materials Glass.
Dimensions
H. 6 in; Diam. 3 in;
H. 15.24 cm; Diam. 7.62 cm;
Creation Date 1900
Description This Vendémiaire vase is of a non lead composition of colorless glass with an intercalaire layer of opalescent light blue powder inclusions in the upper two-thirds of the vase. A band of yellow-green glass inclusions encircles the vase, coloring the landscape on the lake's opposing bank. The bottom third of the vase is left colorless to serve as the exposed ground of the forest floor. The intercalaire layer was then cased again in colorless and polished to a glossy finish. The vase is thick walled with a raised and rounded concave foot sweeping up to a slightly tapered form, surmounted by a high, broad, rounded, sloping, shoulder and a lipless rim that has been ground and polished flat. The vase's title, Vendémiaire, literally meaning grape harvest, was so named after the first month of autumn and the beginning of the year in the French Republican Calendar. This month was a particularly prosperous time for the wine producing region. Vendémiaire presented itself as a new beginning that arose from death, a theme that is latent in the vase' composition. #11;The vase was a rare collaboration between the artist Henri Bergé and his student Charles Schneider. As a botanical illustrator, Bergé displayed an extraordinary level of attention to the natural world. Minutes from Daum's studio, across the Canal de la Marne au Rhin (Marne-Rhine Canal) was the Jardin Dominique Alexandre Godron: an eighteenth-century botanical garden where Bergé would frequently make detailed botanical studies. Visible in the vase's background are the peaks of the Hautes Vosges (Higher Vosges mountains.) To study these plants, Bergé would have likely visited the newly minted Jardin d'altitude du Haut Chitelet, a botanical garden that focused on high altitude plant varieties native to the Hautes Vosges. Lining the undulating bank of this glacial lake are European beech, pine and maple trees with foliage, trunks, and branches meticulously detailed with brown enamel fusions. The artists have created a sense of placidity through the addition of close horizontal hatching in brown enamel. In the midground, a pair of male and female mallard ducks are paddling in the water. Mallards form their pairs during Vendémiaire and wait till spring for nesting season. The male mallard is recognizable by its dark colored head rendered in opaque brown enamel. The female mallard has her head turned to the left, busy preening the underside of her wing. The foreground has been decorated on two non-identical sides with a forest of silver birch trees. The trees, fallen leaves, and rocks have been acid-etched, in relief. The arc-shaped silhouettes in the tree branches and the rocks in the foreground echo the rounded summits of the Haute Vosges mountains, known indigenously as ballons. On one side of the design, three mature silver birch trees are arranged symmetrically with similarly placed limb stumps. Bergé is even so detailed as to include a callus on the rightmost birch tree—evidence of a healed wound. The foliage is rendered in opaque yellow and transparent red enamel fusions. The varying thicknesses of the red enamel fusions create an optical gradation from yellow to orange to red. On the verso, the artists have articulated the various stages of the life of a tree: to the left of the mature silver birch is a pole (juvenile tree) with an opposite facing limb stump. To the mature tree's right is a sapling with a low hanging crown and unformed lenticels (horizontal dark stripes on a birch tree.) The trunks of the trees are rendered in opaque yellow enamel then shaded with layers of red and brown transparent enamel glazes. Each lenticel in the pole and mature birch trees are rendered in opaque brown enamel. On both sides of the design, the forest floor is littered with birch leaves detailed through short hatching and dabs in transparent red enamel. The artists render moss through the addition of transparent green enamels on the exposed forest floor, the rocks and the base of the tree trunks.Circa 1900. Vases with similar decoration are pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 87; and in: Daum Nancy III: Daum Frères – Verreries de Nancy, 1880-1930, by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, pp. 120-121. Vases with similar decoration are pictured in: Daum: Maitres Verriers, 1890-1980, by Noël Daum, Lausanne: Edita Denoël, 1980, p. 87; and in: Daum Nancy III: Daum Frères – Verreries de Nancy, 1880-1930, by Katharina Büttiker, Zurich: Galerie Katharina Büttiker, 2009, pp. 120-121.

Signed: “Daum Nancy” with the Croix de Lorraine
Styles / Movements Art Nouveau, Modern
Dealer Reference Number G-19306
Incollect Reference Number 311768
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