Art Nouveau Nesting Tables by Emile Galle, Set of 4

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Description

exceptionally rare nest of four fully restored Emile Galle Nancy sample wood tables If you are looking at this listing … Read more exceptionally rare nest of four fully restored Emile Galle Nancy sample wood tables If you are looking at this listing then the chance are you know who Galle is and are familiar with his work, if not please find below a brief history on the great man These tables are based in oak, the tops are all very rare cuts of sample wood, the top table in signed and engraved in the wood "Emile Galle Nancy" they are the finest of this type you will ever see The tables have been restored to include a complete refinishing, they were sympathetically washed back then french polished, they still have some age related patina marks as you would expect Dimensions Extra large Table Height 74cm Width 58cm Depth 37 cm large Table Height 72 cm Width 48.5cm Depth 37 cm Medium Table Height 70.5cm Width 42cm Depth 36cm Small Table Height 68cm Width 36cm Depth 35cm Gallé was the son of a faience and furniture manufacturer and studied philosophy, botany, and drawing in his youth. He later learned glassmaking at Meisenthal and came to work at his father's factory in Nancy following the Franco-Prussian War. His early work was executed using clear glass decorated with enamel, but he soon turned to an original style featuring heavy, opaque glass carved or etched with plant motifs, often in two or more colours as cameo glass. His friend and patron Robert de Montesquiou sent him to Bayreuth with a recommendation to Cosima Wagner, which led to a great enthusiasm for Parsifal. In 1875, he married Henriette Grimm (1848-1914). In 1877, he then assumed his father’s role as director of the Maison Gallé-Reinemer. In that same year, he was elected Secretary-General for the Société centrale d'horticulture de Nancy. His career took off after his work received praise at the Paris Exhibition of 1878. Within a decade of another successful showing at the Paris Exhibition of 1889, Gallé had reached international fame and his style, with its emphasis on naturalism and floral motifs, was at the forefront of the emerging Art Nouveau movement. He continued to incorporate experimental techniques into his work, such as metallic foils and air bubbles, and also revitalized the glass industry by establishing a workshop to mass-produce his, and other artists', designs. The factory would employ 300 workers and artisans at its height, including the notable glassmaker Eugène Rosseau, and remained in operation until 1936. Gallé wrote a book on art entitled Écrits pour l'art 1884-89 ("Writings on Art 1884-89"), which was published posthumously in 1908. What is less well-known is Gallé's social engagement. He was a convinced humanist, and was involved in organizing evening schools for the working class (l’Université populaire de Nancy). He was treasurer of the Nancy branch of the Human Rights League of Franceand in 1898, at great risk for his business, one of the first to become actively involved in the defence of Alfred Dreyfus. He also publicly defended the Romanian Jews and spoke up in defence of the Irish Catholics against Britain, supporting William O’Brien, one of the leaders of the Irish revolt. In 1901, together with Victor Prouvé, Louis Majorelle, Antonin Daum and Eugène Vallin, he founded an Art Nouveau movement known as École de Nancy (The Nancy School). Many of Gallé works are kept at the Musée de l'École de Nancy. Please note all measurements are taken at the widest point Condition Please view the very detailed pictures as they form part of the description around condition Please note vintage period and original items such as leather seating will always have natural patina in the form of cracking creasing and wear, we recommend regular waxing to ensure no moisture is lost, also hand dyed leather is not recommended to sit in direct sunlight for prolonged periods of time as it will dry out and fade. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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