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THE MAGAZINE DECIPHERING Daum a hymn to Nature With the arrival of the industrial era in the 19th century, urban development ran riot, driving populations together in chaotic suburbs where machines churned away endlessly, and factory chimneys rose up against the skies, obscuring them with billows of smoke. Banished from the world of men, beauty took refuge in nature. And that was where it now had to be sought out. And so well-todo households sprouted winter gardens, where every care was lavished on the plants, while public glasshouses provided a home for exotic specimens, to the delight of visitors. The Nancy botanical garden, which inherited a plant collection at the end of the 17th century, was the pride of the city, famous for its horticulture all over the world. The work of its director, Dominique Alexandre Godron, who taught Émile Gallé, largely inspired the artist's plant collections. And this was the start of something new: from then on, flowers would blossom on glass. The capital of Lorraine provided particularly fertile soil for a naturalistic movement, but this movement was already taking hold throughout the country. Saturated with the aesthetic of the Ancien Régime, the subject of extravagant pastiche in the first half of the 19th century, the high priests of Art Nouveau took exactly the opposite stance, where nature bent rigorously constructed lines, the East became a new yardstick, and symbolism opened the way to another reality. The decorative arts plunged into the gulf of non-conformism – no doubt too enthusiastically, as "overkill" always lurks behind any stylistic excess... And Art Nouveau succumbed to it in a few years. However, numerous achievements bear witness to the marvels of inventiveness and technical 102 GAZETTE DROUOT INTERNATIONAL I N° 23 sophistication deployed by the innovative aesthetic, whose apogee was celebrated in the Exposition Universelle of 1900. A year later, in support of this dynamic movement, Émile Gallé instigated an alliance between professionals: the Ecole de Nancy, where science, industry and marketing (far ahead of its time) married well with the arts. The Daum brothers – Auguste the lawyer and Antonin the engineer – were part of this venture. Antonin, completely enchanted by Gallé's works, which he discovered in the Exposition Universelle of 1889, decided to broadly disseminate the naturalistic style through his own creations. In the glassworks bought by their father in 1878, the two brothers began to redirect production towards a more artistic expression, through a decoration workshop they opened in 1891. Aided by the latest discoveries in chemistry, colour was introduced into designs, and the factory rapidly became the leading edge of technical innovation in glass. The sector was all the more flourishing at the time in that decorative objects, flaunted as a gauge of social success, had the wind in their sails. Apart from businessmen, Daum's aim was to attract a broader clientele of art lovers through a large quantity of high quality art glass objects. No fewer than three hundred workers laboured to this end between 1900 and 1914. The company held a large number of exhibitions to present its most outstanding creations and advertise its innovations. These were regularly acclaimed with awards, for the brothers stopped at nothing to prove their virtuosity, combining techniques to transform glass and model it in the image of nature, the supreme yardstick for Art Nouveau. Illusionism reached its height with a vase produced in 1905 in the form of a marrow with a
twisting stalk, where the marbling left by vitrified powders even evoked the vegetable's sojourn in the garden soil. Some three thousand models were produced between 1891 and 1914 by a highly inventive team. Henri Bergé, who joined them in 1895, was in charge of naturalistic decoration designs until the Twenties. Daum enclosed miniature gardens in glass, like microcosms on the scale of insects. Sophie Reyssat €20,376 Nancy Daum, "hanap orchis mouches et abeille" ("orchid, fly and bee hanap") model vase mounted on a round base, heat-applied with multi-layered glass, acid-etched signature, "Daum Nancy", under the base, c. 1900, 22 x 22 cm. Paris, Drouot, 3 April 2012. Aguttes auction house. M. Plaisance. DECIPHERING THE MAGAZINE HD N° 23 I GAZETTE DROUOT INTERNATIONAL 103
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Gazette Drouot INTERNATIONAL NUMBER
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Les Florilèges FINEST FRENCH WINES
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Les Florilèges MODERN ART 24th to
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90 DISCOVERY EXHIBITIONS Between th
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www.pad-fairs.com PARTENAIRES PARTE
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© Private collection 783,563 The s
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Modern and contemporary paintings C
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J. de COLONGES Maison de Ventes aux
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DROUOT-RICHELIEU MONDAY 25 MARCH RO
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Agrément N°2001-006 du 7 novembre
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THE MAGAZINE UPCOMING AUCTIONS 15 M
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The Spirit of the 19th century Date
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THE MAGAZINE UPCOMING AUCTIONS 22/2
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THE MAGAZINE UPCOMING AUCTIONS 1930
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AUCTION IN PARIS WEDNESDAY, 10 th A
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THE MAGAZINE UPCOMING AUCTIONS HD 2
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BEAUSSANT LEFÈVRE Auctioneers PARI
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THE MAGAZINE UPCOMING AUCTIONS INTE
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Page 53 and 54: €1,461,800 Talbot Lago T 150 C, 1
Page 55 and 56: €198,000 Congolese reliquary Afri
Page 57 and 58: €82,300 Goossens, jeweller to Fre
Page 59 and 60: €41,852 Domínguez, Picasso-style
Page 61 and 62: €6,660,713 On 16 February in Pari
Page 63 and 64: AUCTION RESULTS THE MAGAZINE Gunnin
Page 65 and 66: AUCTION RESULTS THE MAGAZINE €18,
Page 67 and 68: Celadon Jade €375,000 Dating from
Page 69 and 70: Joséphine Baker at Bobino €12,05
Page 71 and 72: Lucien Lelong €7,495 Perfect for
Page 73 and 74: "Portrait of Jacopo Boncompagni" by
Page 75 and 76: Berthe Morisot (1841-1895), "Après
Page 77 and 78: Set of twelve plates in Sèvres por
Page 80 and 81: THE MAGAZINE EVENT Marseille-Proven
Page 82 and 83: © Lisa Ricciotti THE MAGAZINE EVEN
Page 84 and 85: © Sprengel Museum Hannover, Kurt S
Page 86 and 87: THE MAGAZINE THE IMAGINARY INTERVIE
Page 88 and 89: THE MAGAZINE EXHIBITIONS Paris Shan
Page 90 and 91: © Jacopo Brancati, Infine Arts THE
Page 92 and 93: THE MAGAZINE DISCOVERY the Chinese
Page 94 and 95: THE MAGAZINE ART FAIR Tefaf 2013 ed
Page 96 and 97: THE MAGAZINE ART FAIR Carlo Giulian
Page 98 and 99: © 2013 Museum Associates/LACMA THE
Page 100 and 101: © 2013 Museum Associates/LACMA and
Page 104 and 105: THE MAGAZINE DECIPHERING Before bei
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