THE FINE ART SOCIETY · Gallé was the essence of Art Nouveau. His ‘verres parlants’ the spiritual kernel of the age. ‘Je n’ai d’autre affaire ici-bas que d’aimer’ said

A R T N O U V E A U C O N T I N E N TA L D E S I G N

& S C U L P T U R E

THE JOHN SCOT T COL L ECT ION

TH E F INE ART SO CIET YVOLUME SE VEN

THE FINE ART SOCIETYDealers since 1876

in association with Michael Whiteway

148 New Bond Street · London W1S 2JT+44 (0)20 7629 5116 · [email protected]

www.faslondon.com

25 February – 19 March 2015

T H E J O H N S C O TT C O L L E C T I O N

A R T N O U V E A U C O N T I N E N TA L D E S I G N

& S C U L P T U R E

vOlumE SEvEN

THE FINE ART SOCIETY · lONDONmmXv

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I love England, English people and English things: hence our final exhibition in this series will be entitled Architect Designers: Pugin to Voysey. However, since the ’60s I have been intoxicated by the curvaceous sinuosity of Art Nouveau, its vibrant colours and asymmetrical shapes. I bought my first Gallé on 16 October 1966 for £25 in a marché aux puces, Paris. There followed a storm of read-ing, seeing and learning the guides for this increasingly popular style, which enjoyed fascinating variations in different countries. ‘Knowledge is Power’, said Dresser, and to acquire that ‘knowhow’ requires lots of activity…

‘Whatsoever thou doest do it with thy might: for there is

no energy in the grave whithersoever thou goest.’ As my own energy departs I reflect on Biblical commands!

Gallé was the essence of Art Nouveau. His ‘verres parlants’ the spiritual kernel of the age. ‘Je n’ai d’autre affaire ici-bas que d’aimer’ said Marcel Proust. How could you better express the romance of life? My prize glass is dedicated E. Gallé, ‘à la Japonica’ – the first flower of Spring – I saw one in full blossom on the coldest day of the year in Denbigh Road! On 31 December 2014. I also exhibit the Chinese brush holder that inspired Gallé, who, like all great artists, studied preceding art works in museums including the V&A. Could I sell this!?

I N T O X I C AT E D B Y C U R VA C E O U S S I N U O S I T Y

I must tell you about the Guimard vase and my car theft in Barcelona. I had bought the vase from Bob Walker for £1,500 in the ’70s and wrapped it in a pair of jeans on the back seat of the car. The thieves stole two cameras but left the vase and the car… lucky me!

With sculpture I was mostly captivated by Sir Alfred Gilbert: so English, and himself entranced by his adoration of the English Christian Soldier. That’s how I feel. His sword is formed as a hilted crucifix upon which our Lord is spread. A true vision to carry one through the trenches. It was Gilbert’s St George that Andrew Patrick, former managing director of The Fine Art Society, permitted me to pay by monthly installments over a year! I have never forgotten that consideration.

Included here is Charles Sergeant Jagger’s first design for Sir Alfred Mond’s Imperial Chemicals House on Millbank. This is the only cast from the original plaster is included here but is reserved for the V&A. This was Jagger’s first proposal for Agriculture. I find it a gloriously powerful figure: Death’s image decapitated by the farmer’s spade. The Art Committee rejected it. Finally they approved Jagger’s third attempt, almost as pusillanimous as version two. There can be no more telling example of the ills of ‘Art by Committee’.

Collections vary, as does the taste of their owners. Mine is what I like … a marble fragment of the great Cloth Hall at Ypres made into a paperweight in 1916. Sir Frank Bowden had the finest collection of Japanese armour. (I played Rugby with his son Adrian.) He had in his collection a millipede embalmed in amber from a tree extinct five million years ago. This never-to-be-forgotten jewel was cut in two by some ignoramus!

I find the concentration on the enormous number and variety of the objects on view make a proper and nuanced summary impossible. The spoken word is more agreeable and an audience can walk away when bored.

My great crusade is to restore the life of Portobello Antiques Market. I want my readers to become collectors or dealers and revive what was one of the top attractions of visitors to Great Britain. It’s a bit like fishing, you never know what you may catch. An unending pursuit.

Another ambition of mine is to record my collection. The alternatives were to die and leave it to my heirs. But

no one is remotely interested! To leave it to chance is to surrender the huge task to the relatively uncontrolled operations of outsiders. I have chosen, with the Fine Art Society, a course of TlC which allows for the personal touch. Photographs and descriptions of the items will provide easy access. I am entranced by John Rutter’s Delineations of Fonthill Abbey (1823). What delight could have been created by a similar treatment for Guimard’s masterpiece Castel Henriette. A list, with images, of the wonders Nebuchadnezzar stole for his Palace in Babylon! The boxed set of catalogues are a neat record, take up little room, and easy to dust!

If you look after your contacts they will reciprocate by giving you first viewing. No comment on this huge enterprise is possible without fulsome praise for the master-minding of the Fine Art Society and the collaboration of a vast group of many diverse experts in their own fields. So thank you all hugely.

I hope that our visitors have enjoyed this somewhat novel presentation.

JOHN SCOTT January 2015

opposite: the interior of the main room at the John Scott collection, featuring work by Miklos and Guimard in situ

6 THE JOHN SCOTT COllECTION THE JOHN SCOTT COllECCTION 7

Alfred Stevens 1817–1875

1 A Lion Séjant, 1852

Patinated bronze13 ¾ inches (35 cm) including self-base, with green marble socle 1 ¾ inches (4.4 cm)

Alfred Stevens 1817–1875

2 A Lion Séjant, 1852

Patinated bronze13 ¾ inches (35 cm) including self-base(not illustrated)

The model for these bronzes was originally designed to ornament the lower railings of the British Museum, erected circa 1852 to mark the museum’s boundary. Set at intervals there were twenty-five cast lions in all, cast from a wooden modello carved by Stevens. In 1895 the railing was dismantled and the lions were dispersed. Some of the railings, complete with twelve lions, were later installed in St Paul’s Cathedral around the Wellington Monument, which Stevens had designed in 1856. Others were placed around the Charles Holden part of the Law Society build-ing, near Chancery Lane.

From 1896 the firm of Messrs D. Brucciani & Co., based in Covent Garden, made bronze casts of Stevens’ lions, which were sold for 7s. 6d. each. Other variants were produced in earthenware by the Manchester firm of Pilkington’s Tile and Pottery Company between 1899–1900, and by Carter & Co., of Poole, Dorset, during the early 1900s.

Another cast is in the collection of the British Museum (m&mE 1983,12–5,1) and a plaster cast of this model is in the V&A collection (A.9–1975).

The British Lion. Very docile until provoked. JS

Alfred Stevens 1817–1875ATTRIbuTED TO HOOlE & CO., SHEFFIElD (mAkERS)

3 A pair of Chimney Piece Caryatids for the ‘Boy’ Stove, c.1851

Copper-plated cast iron, one of the pair is a modern recastHeight 18 in (46 cm) each

This is a pair of models for part of a bronze, lacquered brass and steel fireplace known as the ‘Boy’ stove designed by Stevens for Messrs Hoole & Co. Ltd in 1851, and

exhibited at the Great Exhibition of that year. The original plaster for one of the figures, and the drawing for the stove are in the V&A collection (958–1903). The caryatids depict two nude boys holding up cornucopias, or ‘horn of plenty’, a symbol of abundance.

Stevens was a sculptor, designer and painter, who disregarded contemporary distinctions between fine art and design. He was chief designer to Hoole & Co., Sheffield, from 1850 to 1857, where he produced award-winning designs for metalwork, majolica, terracotta ornaments and chimney-pieces. His greatest works include the decorations for the dining-room at Dorchester House, London (circa 1856), inspired by the Italian High Renaissance style, in particular the work of Michelangelo, and the monument to the Duke of Wellington for St Paul’s Cathedral, London, which was completed after his death. The two allegorical groups from the monument had a lasting impact on the New Sculpture movement.

I found one of these in Glasgow on a two-week cycle tour of Scotland. The Fine Art Society allowed me to cast the other! JS

8 THE JOHN SCOTT COllECTION AlFRED STEvENS 9

Théodore Deck 1823–1891

4 Jardinère with floral motifs and butterflies, 1875–85

Ceramic, impressed TH. Deck, circle surrounded by a triangle of dots8 ½ x 14 ¼ in (21.5 x 36 cm)

Deck was arguably France’s pre-eminent artist-potter of the late nineteenth century. Technically proficient and well travelled, he established his own pottery in Paris in 1858, employing professional artists and potters to work in his studio. His work was much acclaimed at the 1862 International Exhibition in London. From the late 1870s Deck took inspiration from Chinese bronze vessels, although the decoration was often a pastiche of Chinese and Japanese styles which were popular in late nineteenth century Paris.

Godfrey Sykes 1824–1866mINTON & CO. (ATTRIbuTED mAkER)

5 Initial “O” tile, from an alphabet frieze, designed 1864

Ceramic18 x 11 ½ in (46 x 29 cm)

The V&A’s ‘Renaissance-style’ Gamble Room, named after it’s designer James Gamble (1835–1911), a pupil and assis-tant Alfred Stevens, was the Museum’s main Refreshment Room. Gamble used Syke’s alphabet, designed for the mu-seum, for the frieze. Additional tiles must have been made by Minton, perhaps as tests or for other projects, though few have turned up.

Removed from a ‘skip’ in Kingston and given to me by Keith Horie. If only it could talk. JS

D. & C. Houle, London (maker)

6 Japanesque Dish

Silver inlaid with gold, stamped DH, CH with London hallmark for 1878–9Diameter 8 ¼ in (21 cm)

This dish is strongly influenced by Japanese metalwork for sword mounts in both aesthetic and technique. Daniel & Charles Houle were inspired by Japanese design and are also thought to have sent some of their work to Japan for decoration. Japanese and later American manufacturers often inlaid other non-precious metals but British hall-marking law forbade any metal of lesser value being inlaid so Houle have used two colours of gold for this piece. This dish can be compared with a Japanese dish in the V&A col-lection, acquired in 1880 (354–1880) from Londos & Co. (with whom Christopher Dresser was closely associated), and another by Houle of very similar design (m.355–1977) and of the same date.

Zsolnay Pecs, Hungary (maker)

7 Large ewer, c.1885

Ceramic with gilt, the lobed globular body with raised neck applied with foliage, berries and a flower beneath a single spout decorated with stylized flowers, impressed ZW Pecs/100919 ¼ x 10 ½ in (49 x 26.5 cm)

Founded in Pecs, Hungary, close to the Austrian border, in 1851. Vilmos Zsolnay and his daughters, Julia and Therese, ran the factory from 1865–1899. They worked with the chemist Vinsce Wartha, to pioneer new glazes and the factory gained a reputation for excellence at International Exhibitions in Vienna, 1874 and Paris, 1978, where they won the Grand Prix.

Inspired by De Morgan and Martin Brothers? JS

10 THE JOHN SCOTT COllECTION vARIOuS DESIgNERS 11

Jérôme Massier Fils (maker)

8 Large yellow bowl with bird and flower design, c.1890

Ceramic, with Jerome Massier Fils / Vallauris painted on base and PALM painted on the outside10 ½ x 15 ½ in (27 x 39 cm)

Clément, Jérôme and Delphin, three sons of Jérôme Massier worked at the Vallauris pottery for their father before Clément, the eldest, moved to nearby Golfe-Juan to set up his own pottery. Clément in particular was very influenced by Japanese style art and design and devel-oped a range of lustreware, much admired by William De Morgan, amongst others.

François-Eugène Rousseau 1827–1891 (maker)

9 Small bowl with cherry design

Wheel-carved brown glass, acid-etched E. Rousseau; applied paper label inscribed G.G. 582 ½ x 4 ¼ in (6.5 x 11 cm)

Rousseau was an early advocate of Japanesque style. He commissioned Braquemond’s ‘Japanese’ service (1866), which he produced and sold. From 1869 he was joined in the business by the glassmaker Ernest–Baptiste Léveillé, who later ran the business. Rousseau was a highly-regard-ed and innovative glassmaker who was hugely influential at the French International Exhibitions in 1878 and 1884.

Gloriously deep wheel cutting. A gift from the Gabriella Gros Collection. JS

Émile Gallé 1846–1904CRISTAllERIE DE gAllé, NANCY (mAkER)

10 Sol-fleur vase with butterfly design, c.1900

Glass, with marqueterie sur verre and carved decoration; original bronze baseHeight 16 ½ in (42 cm)

Gallé, whose father was a glass-maker, was a leading expo-nent of Art Nouveau. He studied glass making in Weimar, Paris and London and set up his glasshouse, in Nancy, in 1867. Having studied Japanese art and design he devel-oped methods for producing cameo and cased glass, for which he became famous. Gallé exhibited at all the major Paris international exhibitions to much acclaim. After Rousseau’s retirement in 1885 he became the undisputed leader of French glass manufacture developing a style based on nature with a strong Japanese influence.

Bronze mounts are rare with Gallé. This illustrates my passion for wooden mounts. JS

12 THE JOHN SCOTT COllECTION émIlE gAllé 13


11 Mushroom vase, c.1900

Internally decorated glass, with marqueterie sur verre and carved decoration, incised signature Gallé; original paper label on base Emile Galle Nancy – Paris numbered 96098Height 8 ¾ in (22 cm)

lITERATuRE: P. Gardner, Émile Gallé, London: 1976, ill. p.140, similar design

Gallé’s finest piece of ‘Intarsia’ I’ve ever seen. JS


12 Cyclamens vase, c.1890

Green glass, with marqueterie sur verre and carved decoration, incised signature GalléHeight 8 ¾ in (22 cm)

A lovely Gallé, proclaiming his love of the flowers, of the field, and classical design. JS


13 Waterlily coupe, c.1900

Internally decorated and carved glass, incised signature Gallé8 ½ x 7 ½ in (21.5 x 19 cm)

An outstanding example of wheel cut glass, and so sensually aquatic. JS



14 Slipper orchid vase, c.1900

Internally decorated and carved, opalescent glass, with carved signature and applied paper label inscribed F.A.N. A17Height 8 ¼ in (21 cm)

‘A sunny pleasure dome with caves of ice’ and the ice made glass. Gallé ’s delicious confection of toned colours. JS


15 Crocus vase, c.1900

Internally decorated, polychrome glass, with striated foot and marqueterie sur verre decoration; engraved signature GalléHeight 8 in (20 cm)

lITERATuRE: For a similar design see V. Arwas, Glass Art Nouveau to Art Deco, London, 1980, p.87

As beautiful as a real tulip and bulb but expressed just as beautifully in glass. JS



16 Japoniste vase, c.1889–90

Internally decorated and carved glass, engraved base Escalier de Cristal / Paris; Emile Gallé, comp et fec NancyHeight 8 ¾ in (22 cm)

lITERATuRE: P. Gardner, Émile Gallé, London: 1976, ill. p.55, identical design

I like really good art almost more if damaged. You pay much less and put the damage out of sight, facing the wall! Museums should make it a policy! JS


18 Bottle with Persian-style decoration, c.1880

Glass, with enamel and gilt decoration, decorated with cartouches of Persian hunter and stylized motif, amongst scrolling foliageHeight 5 ½ in (14 cm)

lITERATuRE: For similar designs see Emile Gallé: Dreams into Glass, exh. cat., The Corning Museum of Glass, 1984, p.185; V. Arwas, Glass: Art Nouveau to Art Deco, 1987, p.108; Glass of Art Nouveau, Japan, 1994, no.74, p.78

Homage to Islam. JS


17 Miniature yellow Japoniste vase, c.1900

Glass with carved and applied decoration, on a modern wood base; incised E. Gallé / alla Japonica / fec (?) Nancy / no. 221Height 6 ¾ in (17 cm) including base

An exquisite wheel-cut Gallé. ‘A la Japonica’ – the first blossom of the year. Of Japanese inspiration, from Gallé’s visit to glass gallery in V&A. You can see examples of it today. A double celebration by Gallé … of Spring and Japanese art. The modern base was designed by Terence Newberry. JS

Left: a Japanese brush pot of the kind which would have inspired Gallé.



19 Miniature bowl with engraved dedication, c.1888

Verre hyalites, decorated with enamel; engraved E + 6 Emile Galle Nancy ; bowl engraved A Georges Flach de Strasbourg, Docteur en droit not e Officier de l’armée, Francaise de Réserve, mort a Nancy 1888. Son ami Emile Gallé. Dilexit patriam, speravit restitutamHeight 2 ¼ in (5.5 cm)

This bowl was one of Gallé’s ‘Vase de Tristesse’ pieces made to celebrate death or sadness. These pieces used verre hylaties, a tinted black glass, with smokey greys, cre-ated by the presence of iron peroxide in the glass-making process.

A vase dedicated by Gallé to his friend Georges Flach who died in 1888. JS


20 Coupe with moth design, c.1880

Crazed glass, with enamel and gilt decoration; signed Emile Gallé à Nancy. Diameter 9 ½ in (24 cm)


21 Squat bulb-shaped vase, c.1900

Marbled, polished, opaque glass, incised signature Gallé4 ½ x 6 ½ in (11.5 x 16.5 cm)

Early Roman glass changed colour in different lights … Gallé is inspired by The Lycurgas Cup in the British Museum?! JS



22 Miniature container and cover, c.1900

Glass with carved design, signed GalléHeight 2 ½ in (6.5 cm)

The beautiful square base really makes it. JS

Louis Comfort Tiffany 1848–1933 (attributed designer)TIFFANY glASS & DECORATINg CO., NEW YORk (mAkER)

23 Lava vase, c.1900

Favrile glass, with applied decoration, engraved Tiffany logo, Tiffany Favrile Glass, Registered TrademarkHeight 7 ½ in (19 cm)

Favrile glass was developed by Tiffany to imitate the iri-descent sheen of ancient Roman glass. It was achieved by exposing the hot glass to metallic salts that were absorbed into the glass. Favrile was distinct from most other irides-cent glass in that its colour is not just on the surface but ingrained in the glass.

A victory in the worldwide quest for the lustrous glazes of Islam. JS

22 THE JOHN SCOTT COllECTION lOuIS COmFORT TIFFANY 1848–1933 (ATTRIbuTED DESIgNER) 23

Johann Loetz Witwe Glassworks

Johann Loetz Witwe Glassworks, Bohemia (attributed maker)

24 Vase, 1908

Polychrome glass, with silver-coloured metal mount; engraved Lucy Shaw to Townie, January 1908Height 12 ½ in (32 cm)

Johann Loetz Witwe Glassworks, Bohemia (attributed maker)

25 Vase, c.1905

Iridescent glass, with silver-coloured metal mountHeight 9 ½ in (24 cm)

Fabulous collaboration of silver and glass. JS

24 THE JOHN SCOTT COllECTION JOHANN lOETz WITWE glASSWORkS 25

Sir Alfred Gilbert mvO RA 1854–1934

26 St George, c. 1896

BronzeHeight 17 ¾ in (45.2cm); supported by a green marble base ¾ inch (2cm)

lITERATuRE: R. Dorment, Alfred Gilbert – Sculptor and Goldsmith, London, 1986, pp.155–160, The Tomb of the Duke of Clarence, and pp.161–164, Saint George; N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, Vol. III, British, 1992, ill. p.85, and p.87, Processional Cross; R. Dorment, Alfred Gilbert, New Haven and London, 1985, ill. p.165 and pp.147–190, The Tomb of the Duke of Clarence; I. McAllister, Alfred Gilbert, London, 1929, ill. p.129, working model, and p.162, p.ii, The Duke of Clarence Memorial; S. Beattie, The New Sculpture, London, 1985, p.165, The Duke of Clarence Memorial; B. Read, Victorian Sculpture, New Haven and London, 1983, p.338, The Duke of Clarence Memorial; The Fine Art Society, Gibson to Gilbert – British Sculpture 1840–1914, exh. cat., London, 1992, ill. p.29

The present figure of Saint George, one of eight known casts, was first created by Gilbert as one of the twelve divinities gracing the niches of the grille that encom-passes the tomb of the Duke of Clarence in the Chapel of Windsor Castle. Grandson of Queen Victoria and son of the Prince (Albert Edward) of Wales, Prince Albert Victor (made Duke of Clarence in 1890) died of influenza on 14 January 1892. The funeral took place on 20 January and three days later the Prince of Wales summoned Gilbert to Sandringham to discuss plans for a memorial to his son. The work that Gilbert produced over the years that fol-lowed is recognized as one of the greatest royal commis-sions of the nineteenth century.

Of the eight casts mentioned above, the prime cast is on the Clarence Tomb; one with the Fitzwilliam Museum, Cambridge; one is with the Cecil Higgins Art Gallery, Bedford; one with the Yale Center, New Haven, Connecticut; and one with the original foundry, but still in its component parts.

26 THE JOHN SCOTT COllECTION


27 St George and the Dragon, Victory Leading, 1904

Bronze supported by an original stained wooden socle, 1 ¾ inches (4.4 cm), with a later circular green marble base, 1 inch (2.6 cm)20 ¾ x 11 x 10 in (52.5 x 28 x 25.5 cm)

PROvENANCE: The Lotimer Foundation, until October 1986; The Fine Art Society

lITERATuRE: A. Bury, Shadow of Eros: A Biographical and Critical Study of the Life and Works of Sir Alfred Gilbert RA, 1954, p.69; L. Handley-Read, ‘Alfred Gilbert: A New Assessment III’, Connoisseur, vol. 164, 1968, p.148; R. Dorment, Alfred Gilbert, London, 1985, pp.238, 246, 264, 268, 277 and 299; R. Dorment, Alfred Gilbert: Sculptor and Goldsmith, London, 1986, p.186

EXHIbITED: London, The Fine Art Society, Exhibition of Bronze Statuettes by Sir Alfred Gilbert RA, 1932, (16); London, The Fine Art Society, Exhibition of Bronze Statuettes by the Late Sir Alfred Gilbert RA, 1935, (13); London, Royal Academy, Victorian and Edwardian Decorative Arts, The Handley-Read Collection, 1972, (F31) another cast; Manchester City Art Gallery, Minneapolis Institute of Arts, and Brooklyn Museum, Victorian High Renaissance, 1978–1979 (101); London, Whitechapel Art Gallery, British Sculpture in the Twentieth Century, 1981, (22); London, Royal Academy, Alfred Gilbert Sculptor and Goldsmith, 1986, (101) another cast; London, The Mall Galleries, The Heatherley School of Art 150th Anniversary Exhibition, 1996, (79)

In his later work, Gilbert dramatically veered away from the increasing naturalism of the New Sculptors, favour-ing instead a symbolic visual language which acted as an expression of the unconscious. In the place of strict realism came elaborated forms and ornament. This piece was inspired by a dream Gilbert experienced on 15 May 1904, in which he was working on and equestrian group of St George. The surreal discrepancy of scale in the work mimics Gilbert’s experience of the vision.

Gilbert added the figure of Victory to the group in the hope of securing a commission from the Lancashire regiment of Lord Grey for a large-scale memorial to the dead of the Boer War. However, the commission was not realised and he exhibited the plaster of St George and the Dragon at the Royal Academy in 1906 (1773).

The only edition in bronze was cast for The Fine Art Society in 1923. From the edition of four, one cast, from the Handley-Read collection, is now in the Fitzwilliam Museum, Cambridge and another is in a private collection.

Saint George – the Dragon slain – and all atop Windsor Castle with the Queen leading the whole cortège home. An Englishman’s dream! JS



28 Perseus Arming, 1881

Bronze, signed A GilbertHeight 14 3/8 in (36.5 cm), on a later black marble socle 1 ¾ in (4.5 cm)

lITERATuRE: (Other casts) Magazine of Art, 1889, pp.37–9; Gazette des Beaux-Arts, II, 1889, p.404; M. H. Spielmann, British Sculpture and Sculptors of To-day, 1901, p.76; A. McAllister, Alfred Gilbert, 1929, pp.55–57; R. Dorment, Alfred Gilbert, New Haven, 1985, pp.38–42; M. Forrest, Art Bronzes, Pennsylvania, 1988, p.322; J. Cooper, 19th Century Romantic Bronzes, London, 1975, pp.70–75; R. Dorment, et al, Alfred Gilbert: Sculptor and Goldsmith, London, 1986, no.11, pp.14, 21–23, 106–108

This piece is a smaller scale version of the original work which was probably commissioned in Rome by Sir Henry Doulton in 1881. Begun shortly after Gilbert’s visit to Florence, the piece was intended as an answer to Cellini’s Perseus and Medusa. Gilbert explained that the heroic statue had ‘left me somewhat cold insomuch that it failed to touch my human sympathies’ and that he wished to present Perseus as a ‘mere mortal’ preparing for battle. Perseus Arming was the first in a small series of mythologi-cal subjects that were intended to be autobiographical, followed by Icarus and Comedy and Tragedy (see no. 29). The larger version (29 in) received an Honourable Mention in the Paris Salon of 1883 and was acquired by J. P. Heseltine.

30 THE JOHN SCOTT COllECTION SIR AlFRED gIlbERT 31

http://www.tate.org.uk/learn/online-resources/glossary/s/salon


29 Comedy and Tragedy: ‘Sic Vita’, 1891–2

Bronze Height 13 in (33cm) on the original marble socle 1 7/8 in (4.8 cm), attached to a hexagonal Ruskinware pottery stand 2 1/8 in x 6 ½ in (5.3 x 16.5 cm)

Comedy and Tragedy: ‘Sic Vita’ is the last sculpture from Gilbert’s autobiographical series – ‘my cycle of stories’. It was intended by Gilbert to reflect the duality of his life at this time: comedy by night, performing the part of a famous sculptor and man about town; tragedy by day, dealing with mounting debts and a sick wife. The title is taken from WS Gilbert’s play of the same title, performed at the Lyceum with the sculptor’s friend, American actress Mary Anderson, in the lead role. Gilbert was enthralled by the play and went to see it many times. The model for the piece, Angelo Colorossi, subsequently modeled for the figure of Eros on the Shaftesbury Memorial (1891–3).

This cast is likely to date from the 1890s. The number of casts made in the 1890s is unknown, but it is known that Gilbert ordered only two casts from his foundry, Compagnie de Bronzes, Brussels, after 1902 (both in November 1905). These two differ from the earlier casts in the treatment of the base. There is an earlier cast in Tate Britain, and a 1905 Brussels cast in the National Gallery of Art, Washington DC. Only two casts appear to have been sold publicly in the last 15 years, one lacking the bronze self-base.

As it was unsteady I stuck an ‘extra’ base of Ruskin pottery … Looks better and more stable! JS

32 THE JOHN SCOTT COllECTION SIR AlFRED gIlbERT 33

Frederick William Pomeroy RA 1856–1924

30 Perseus with the head of Medusa, 1898

Bronze, incised F. W. Pomeroy / SE 1898Height 18 ¼ in (46.5 cm) on a marble socle

lITERATuRE: S. Beattie, The New Sculpture, New Haven, 1983, pl. 175; Victorian and Edwardian Decorative Art: The Handley-Read Collection, exh. cat., London, 1972. no. F44

This piece was inspired by Cellini’s bronze of Perseus and Medusa, Florence, and Antonin Mercié’s David Vainqueur, exhibited at the Salon of 1872, which Pomeroy is likely to have seen whilst studying in Paris. He exhibited a full-size plaster of this subject at the Royal Academy in 1898 and a full-size bronze is in the collection of the National Museum of Wales, Cardiff. This version is a reduction of the original, another cast of which was in the Handley-Read collection, and subsequently acquired by the V&A (A.9–1972).

After an apprenticeship with a firm of architectural carvers, Pomeroy attended the South London Technical Art School. Here he became very influenced by the fluid naturalism of the work of French sculptor Jules Dalou, who was master of the modelling class. With Dalou’s encouragement Pomeroy gained a place at the Royal Academy Schools. There he won a travelling scholarship enabling him to travel to Paris, where he was taught by Mercié. In 1917 he became a Royal Academician.


Charles Francis Annesley Voysey 1857–1941

31 Pelican and in her Piety, 1920

Bronzed plaster, engraved CFA Voysey / illegble Latin / 192011 ¼ x 7 ½ in (28.5 x 19 cm)

PROvENANCE: The Artist’s estate, and then by decent

The ultimate sacrifice … to give her own blood. JS

Auguste Delaherche 1857–1940 (attributed designer)

32 Vessel with silver mounts, c.1900

Stonewear with silver mounts5 ¼ x 5 ¼ in (13.5 x 13.5 cm)

Delaherche was considered a master potter ‘par excel-lence’ during his lifetime. He was influenced by traditional pottery and during the late 1890s through to about 1904 he concentrated on form in his stoneware vessels almost totally abandoning surface decoration.

Hermann Obrist 1862–1927 (attributed designer)

33 Art Nouveau pedestal, c.1900

Wrought iron with oak top26 ¼ x 11 ½ in (66.5 x 29 cm)

Sir William Reynolds Stephens 1862–1943

34 Part of a fountain or birdbath

Re-gilded bronze, with black glass orb and glass details, stamped W. Reynold Stephens PRBS30 x 11 in (76 x 28 cm) including base

36 THE JOHN SCOTT COllECTION vARIOuS DESIgNERS 37

Archibald Knox 1864–1933lIbERTY & CO. (RETAIlER)

35 Claret Jug, 1901

Green glass mounted in silver, with semi-precious stone set in the thumbpiece, from the Cymric range launched in 1899; stamped L&Co., hallmarks for Birmingham, England in several places and date mark for 1901Height 13 ½ in (34.5 cm)

lITERATuRE: A. Tilbrook, The Designs of Archibald Knox for Liberty & Co., London: 1976, fig.137, p.151, a very similar design; C. Gere and M. Whiteway, Nineteenth-Century Design: From Pugin to Mackintosh, London: 1993, ill. pl. 283, p.224; S. Martin (ed.), Archibald Knox, London, 1995, ill. p.104; V. Arwas, Art Nouveau in Britain, Windsor, 2000, p.105, a very similar design; S. Martin (ed.), Archibald Knox, London, 2001, ill. p.188 (Model 286)

Knox was an influential force on the two main Liberty & Co. metalwork ranges, Cymric silver and jewellery and Tudric pewter, which defined the company’s ‘art nouveau’ look, and helped transform the company from an oriental warehouse to cutting edge design retailer. Liberty became synonymous with English art nouveau. In Italy the company’s name was applied to all art nouveau design, as

‘Style Liberty’.Knox worked alongside the architect M.H. Baillie

Scott before moving to London in 1897 where he joined the Silver Studio and began working with Liberty & Co. a relationship that lasted 14 years. His style clearly reflects the various influences of his early career, fusing Baillie Scott, and the simplicity of the German Jugendstil aesthetic, with the Celtic ornamentation of his native Isle of Man, and avoiding the excessive swirls of many Continental European designers working in the art nouveau style.

Liberty & Co. were established in 1875 as an importer and retailer of Oriental goods. The new shop soon branched out to sell its own range of fabrics, clothing and furniture commissioned from leading designers, but usually sold anonymously, marketed only under the Liberty name. The Liberty name and look was synonymous with the fashion for ‘artistic decoration and furnishing’.

Although Knox stopped producing designs for Liberty & Co. in 1912, he was called upon to design Arthur Liberty’s headstone after his death in 1917, signifying their special relationship.

A deliciously refined piece of English Art Nouveau … not over the top. JS

38 THE JOHN SCOTT COllECTION ARCHIbAlD kNOX 1864–1933 39


36 Cup and cover, 1900

Silver and enamel, from the Cymric range launched in 1899, base stamped L&Co., with date mark for 1900 and hallmarks for Birmingham, England inside lid and base11 x 6 in (28 x 15 cm)

EXHIbITED: Another example exhibited Liberty Style, Japan, 1999–2000 (fig.134)

lITERATuRE: Der Moderne Stile, Stuttgart, 1903; A. Tilbrook, The Designs of Archibald Knox for Liberty & Co., London, 1976, fig.124 p.141; C. Gere & M. Whiteway, Nineteenth-Century Design: from Pugin to Mackintosh, London, 1993, p.224; S. A. Martin, Archibald Knox, London 1995, p.22, illustration of the design from Liberty & Co. catalogue, 1899, and p.78 a very similar design

The design for this cup is in the Victoria & Albert Museum London and was donated to the museum by Knox’s pupil Denise Wren.

Archibald Knox at his very best. The iconic sculptural item of the period. JS

Archibald Knox 1864–1933 (attributed designer)lIbERTY & CO. (RETAIlER)

37 Mirror, c.1895

Pewter with ceramic details29 ¾ x 22 ¼ in (75.5 x 56.5 cm)

Liberty Mirror, with superb luster ceramics – marked £5 c.1910! JS


38 Mirror, c.1903

Copper24 ¼ x 35 in (62 x 89 cm)

40 THE JOHN SCOTT COllECTION ARCHIbAlD kNOX 1864–1933 41

Hector Guimard 1867–1942

39 Occasional table, 1909

27 ½ x 26 x 20 ¾ in (70 x 66 x 52.5 cm)Pear wood with burr walnut marquetry top, signed and dated

lITERATuRE: Guimard, Paris Musée d’Orsay, Reunion des musées nationaux, Paris, 1992, p.402, photograph of the salon at l’Hôtel Guimard featuring an identical/same table; Alastair Duncan, The Paris Salons 1895–1914, vol.III, Suffolk, 1996, p.279 [similar model ill.]

This table is exemplary of Guimard’s Art Nouveau style – ‘le Style Guimard’. The dynamic curves and floral detailing on the table are unmistakably influenced by organic forms characteristic of Art Nouveau. Guimard explained, ‘For construction, do not the branches of the trees, the stems, by turns rigid and undulating, furnish us with models?’ Here he uses a revolutionary approach to form and his ingenious emphasis on the pliancy of wood.

Guimard’s furniture designs were almost always conceived as elements of a harmoniously integrated interior. Photographs of the salon at Guimard’s own home, l’Hôtel Guimard, Paris, show an identical table used there (see opposite). Guimard built and furnished his new home at 122 Avenue Mozart, in the same year this table was designed, after marrying the American painter Adeline Oppenheim. For his own home the architect enjoyed free-reign, achieving a marriage between architecture, furnishing and décor which he never surpassed. It is highly likely that this is the table was from l’Hôtel Guimard.

Guimard was a French architect, furniture designer and writer working in the Art Nouveau style. He attended the Ecole Nationale des Arts Décoratifs, Paris, and in 1885 he enrolled at the Ecole des Beaux-Arts but left without a diploma to work for a builder as architect and site craftsman. Guimard’s trip to Belgium in 1895 had a profound impact on his development. It was here that he met Victor Horta and was inspired by Art Nouveau. Le Castel Béranger (1895–1898) was Guimard’s first large-scale project and marked a significant moment in his career as the first building to incorporate Art Nouveau elements in its decorative scheme. From 1899 and 1914 Guimard’s matured into one of Art Nouveau’s leading designers; producing prominent and very public designs for Paris Métro stations (see no.46), as well as a number of town houses and blocks of flats.

I find the plant-like interlacing energy the epitome of vibrant nature in woodwork. This is ‘Style Guimard’, the mark of a man totally confident and assured that his mind and hand would continue to produce designs so phantasmagorical and exquisite. Guimard was one of the very top artists of the époque, and this table marks the peak of his achievements. JS

42 THE JOHN SCOTT COllECTION HECTOR guImARD 43


40 Vase, c.1898

Bronze, incised with monogram and base hand-painted 108.76Height 10 ½ in (26.5 cm)

PROvENANCE: The Artist’s estate; gifted to the Museum of Modern Art, New York, by Mrs Guimard; Christie’s, New York, 1983

lITERATuRE: C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.36, p.163, identical cast from the Museum of Modern Art, New York; G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York, 2003, identical design, p.98

A cast of this was used in Guimard’s le Castel Béranger and another cast is in the Museum of Modern Art collec-tion, New York.


41 Vase, 1908

Height 10 ¾ in (27 cm)Gilded bronze, signed Hector Guimard and dated 1908

PROvENANCE: Gifted to Louis Rey by the artist, 1911, and then by decent; Galerie Alain Blondel, Paris, 2010

In 1911 Guimard gave this vase to Louis Rey as a wed-ding gift to Rey’s daughter, Juliette. Rey was president of the Ingénieurs Civils de France (French Civil Engineers Association) and mentor to the young Guimard. Juliette’s daughter, Denise, inherited the vase which features in her own wedding picture in 1936.


Hector Guimard 1867–1942PHIlIPPON, PARIS (mAkER)

42 Vase, c.1910

Gilded bronze, signedHeight 10 ½ in (26.5 cm)

PROvENANCE: Collection of Robert S Walker senior

lITERATuRE: C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.18, p.374


43 Photographic mount, 1909

Rosewood, signed and dated Hector Guimard, 1 Oct 19094 ½ x 3 ¼ in (11.5 x 8.2 cm)

Hector Guimard 1867–1942PHIlIPPON, PARIS (ATTRIbuTED mAkER)

44 Miniature photograph frame, c.1900

Bronze, signed Hector Guimard (bottom right)Height 4 ¾ in (12 cm)

I was informed these were made only for the family. I have never seen them reproduced. JS

Hector Guimard 1867–1942PHIlIPPON, PARIS (mAkER)

45 Photograph frame, 1902

Bronze, signed Hector Guimard and dated 1902Height 10 ½ in (26.5 cm)

lITERATuRE: (Other casts) C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.16 and 17, p.373, in gilded bronze and silver plate; G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York, 2003, ill. p.21, in gilded bronze; P. Thiebaut, Guimard: L’Art Nouveau, Paris: 1992, ill. p.86

Larger copper framed photo of Guimard seated in his own home l’Hôtel Guimard. JS



46 Railing shield for Paris Métro, 1899–1900

Cast iron, with original paint29 ½ x 24 ½ in (75 x 62 cm)

lITERATuRE: For other casts of this design see P. Thiebaut, Guimard: L’Art Nouveau, Paris, 1992 identical design ill. cover and a contemporary photograph of Métropolitain Palais-Royal p.117; F. Descouturelle, A. Mignard and M. Rodriguez, Le Métropolitain d’Hector Guimard, Paris, 2003, pp.6, 30–37, 75, 79–84, 90, 102, 105, 107, 122, 145, including designs, contemporary photographs and modern photographs; C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, fig.3, p.51, as part of the ‘Style Guimard’ pavilion, ill. p.240, no.6 and 13, pp.250 and 255, copy of original designs; G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York, 2003, pp.159, 164, 171, 173, 176, 178–179, and 182 including designs, contemporary photographs and modern photographs

Two of these shields importantly featured in the en-trance of the Pavillon ‘Le Style Guimard’ exhibited at the Exposition de l’Habitation, 1903 (see Larroche, fig.3, p.51). The pavilion acted as an ‘ostentatious manifesto’ of Guimard’s architecture and decorative design. It was the tallest pavilion in the show and is believed to have been an audacious rebuff to his critics, particularly those disapproving of his work for the Paris Métro. Guimard’s reputation today is still largely the result of his work on this very conspicuous and public project.


Hector Guimard 1867–1942FONDERIES DE SAINT-DIzIER (mAkER)

47 Cross, c.1907

Cast iron with marble base, inscribed S.F.57 x 19 in (145 x 48 cm)

lITERATuRE: (Other casts) M. Bacou et al, Musée d’Orsay, catalogue sommaire illustre des arts decoratifs, Paris, 1988, ill. p. 133; C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.2, p.274

Another cast is in the Musée d’Orsay collec-tion (Ref OAO 626).

An original model, bought from original sale by Messrs Plantin & Blondel with the company that cast Guimard’s work. Very fine. JS


48 Cross, c.1907

Cast iron with marble base, impressed on supports GA and 1.4563 ¼ x 26 ¾ in (160.5 x 68 cm)

The original model, I believe, never edited. JS



49 Large jardinière on stand, c.1907

Cast iron57 x 24 x 19 in (145 x 51 x 48 cm)

lITERATuRE: (other casts) M. Bacou et al, Musée d’Orsay, catalogue sommaire illustre des arts decoratifs, Paris 1988, ill. pp.132–3; C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.25, p.354, identical basin, and no.26, p.355, identical plinth with different basin; G. Vignes, ill. p.280, identical plinth with different basin; P. Theibault, Guimard L’Art nouveau, Paris, 1992, p.78, identical plinth with different basin

Another cast of the plinth and basin is in the Musée d’Orsay collection (Ref OAO 621 for stand and Ref OAO 622 for jardinière).


50 Jardinière, c.1900

Cast iron, applied paper label inscribed 28217 ½ x 41 x 11 in


52 Asymmetric fireplace surround, c.1900

Pâte d’emailLeft panel 33 ½ x 9 ½ in (85 cm x 24 cm); right panel 34 ¼ x 10 ½ in (87 cm x 26.5 cm)

Two elements of a Guimard mantlepiece. Very similar to those in Maison Coilliot. pâte d’email. Astonishing material. A collaboration between Guimard and Coilliot the ceramicist. JS

Hector Guimard 1867–1942FONDERIES DE SAINT-DIzIER (ATTRIbuTED mAkER)

51 Fireplace insert, c.1907

Cast iron, with modern marble surround35 ¾ in x 33 ½ in (91 x 85 cm); inside: 20 ½ x 21 ¼ in (52 x 54 cm)

lITERATuRE: (Other casts) G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York: 2003, ill. p.282; C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, p.302, Devillier & cie catalogue

Another cast was used in Guimard’s Hôtel Mezzara, 1910.


Hector Guimard 1867–1942gEORgES NéRET (mAkER)

53 Art Nouveau window, c.1897–1898

Lead and stained glass, in modern oak presentation frame7ft ¼ in x 40 ¾ in (214 x 103.5 cm) Illustrated on the previous spread, left

PROvENANCE: Albert Roy, ‘Les Gévrils’, Loiret, France; sale, Christie’s New York, 11 June 1999 (48 and 49); Private collection

lITERATuRE: C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.26, p.155, illustrated in reverse, and no.27, p.156, design for Albert Roy’s dining room showing identical windows; for other similar designs see P. Theibault, Guimard L’Art nouveau, Paris, 1992, p.33 and G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York: 2003, p.92, from the Castel Béranger

Hector Guimard 1867–1942gEORgES NéRET (mAkER)

54 Art Nouveau window, c.1900

Lead and stained glass, in modern oak presentation frame84 x 35 in (214 x 89 cm) Illustrated on the previous spread, right

PROvENANCE: Albert Roy, ‘Les Gévrils’, Loiret, France; sale, Christie’s New York, 11 June 1999 (48 and 49); Private collection

lITERATuRE: C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.25, p.154, illustrated in reverse, and no.27, p.156, design for Albert Roy’s dining room showing identical windows; for other similar designs see P. Theibault, Guimard L’Art nouveau, Paris, 1992, p.33 and G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York: 2003, p.92, from the Castel Béranger

This pair of windows was designed for the billiard room of the pharmacist Albert Roy in his home ‘Les Gévrils’, in the Loiret region of France. A second pair from the same home is now in the collection of the Musée d’Orsay (OAO 478–479/480). The stained glass artist Georges Néret regularly worked with Guimard, executing designs for many architectural projects including the Castel Béranger and the bedroom window Léon Nozal’s daughter in his mansion at 52 rue du Ranelagh, Paris, now in the collec-tion of the Musée des Arts Décoratifs, Paris.


55 Pair of Art Nouveau windows, c.1895

Stained and leaded glass35 x 14 ½ in (89 x 36.5 cm)

These are two Hector Guimard windows that I bought from a flat owner in Guimard’s most famous Paris block of flats - Castel Beranger. They were modernising and I got them very cheap. On the plane back from Paris in about 1972 they fell over and cracked. JS


56 Pair of bench legs, c.1905

Cast iron with modern oak slats, stamped Style Guimard 32 x 51 x 27 in (81 x 130 x 69 cm)

lITERATuRE: C. Larroche (ed.), Guimard, exhib. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.28, p.357, another cast and similar design ill. cover; For a similar design see G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York, 2003, ill. p.220

Another cast is in the Musée d’Orsay collection (OAO623).


57 Window or door latches, c.1900

Gilded brass, stamped FT Height 16 ½ in (42 cm); 24 in (61.5 cm) Illustrated below opposite

lITERATuRE: (Another cast) C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, ill. p.133, from the commemorative album for le Castel Béranger

This design was used in Guimard’s Castel Béranger and Castel Henriette.


58 Pair of blue door handles, c.1900

Porcelain · Height 3 in (7.5 cm) · Two pairs available

lITERATuRE: (Identical design) C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, p.133, ill. from the commemorative album for le Castel Béranger, and p.151, no.19; see also Thiebaut, 1988, p.134 ill.

The same model was used in Guimard’s le Castel Béranger and la Maison Sauzin. An identical pair is now in the Musée d’Orsay collection (OAO 474).


59 Turning iron door handles, c.1900Iron · 7 x 2 1/8 in x 3 ½ (18 cm x 5.5 x 9 cm)Illustrated below left

lITERATuRE: C. Larroche, Guimard, exh. cat. Musée d’Orsay, Paris, and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.18, p.151; For similar designs see P. Theibault, Guimard L’Art nouveau, Paris, 1992, p.33, from the Castel Béranger

This model was used in Guimard’s le Castel Béranger and an example is in the Musée d’Orsay collection (OAO 482).

Hector Guimard 1867–1942PIERRE DE vERRE gARCHEY (mAkER)

60 Tile, 1909

Pierre de verre · 3 ½ x 3 ½ in (9 x 9 cm)

lITERATuRE: C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.21, p.230; see also P. Thiebaut, Musée d’Orsay. Catalogue sommaire illustré des arts décoratifs, 1988, pp.124–125

An identical design was used in the bathroom of Guimard’s Castel Henriette.

Amazing pâte de … grit, marble and other heavily grained stone fragments. An outstanding rough, durable, sculptural finish for communal areas. Extensively used in Castel Beranger. JS


Hector Guimard 1867–1942FONDERIES DE SAINT-DIzIER (HAuTE-mARNE) (mAkER)

61 Balcony, c.1909–11

Cast iron · 17 x 47 in (43 x 119 cm)Two available

lITERATuRE: (Other casts) C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.19, p.321; G. Fahr-Becker, Art Nouveau, Koln, 1997, ill. p.82 – 83; G. Vigne, Hector Guimard: Architect Designer, 1867 – 1942, New York, 2003, ill. p.274, 276, 279, 308, 311, 324, 325

The first typically Style Guimard designs in cast-iron were conceived for the buildings on the rue Trémois and Hotel Guimard in 1909. Only a few of these initial designs were actually used. The rest of his repertoire in cast-iron was developed for the rue Agar buildings where ‘the coherence of style would emerge’. The Saint-Dizier foundry pub-lished the designs around 1910–1911 to promote the sale of reproductions.

This design was used by Guimard in le Castel Beranger and 8 rue Agar. Other casts are in the Musée d’Orsay, Pairs (OAO 642) and Cooper Hewitt Museum, New York.


62 Art nouveau grill, c.1909–11

Cast iron17 ¼ x 8 in (44 x 20.5 cm)

lITERATuRE: (Other casts) C. Larroche (ed.), Guimard, exh. cat. for Musée d’Orsay, Paris and Musée des Arts decoratifs et des Tissus, Lyon, 1992, no.4, p.419; G. Vinges, p.p. 336 and 337 from synagogue on the rue Pavée 1913

This railing was originally designed to decorate tomb enclosures. Another cast is in the Musée d’Orsay collec-tion (OAO 627).



63 Grill, c.1909–11

Cast iron32 ½ x 9 ¾ in (82.5 x 24.75 cm)


64 Grill, c.1909–11

Cast iron28 ½ x 7 ½ in (72.5 x19 cm)

Elements de balcon by Guimard bought in a Marché aux Puces. JS


65 Pair of balustrades, c.1909–11

Cast iron70 ¾ x 9 in (180 x 23cm)


Sir Frank Brangwyn RA RWS RRbA RE HRSA 1867–1956THE ROWlEY gAllERY, lONDON (mAkER)

66 The Galleon, 1916

Marquetry panel in various woods; applied paper label inscribed A.J. Rowley, ‘The Galleon’, The Rowley Gallery, 140–2 Church Street, Kensington, W.837 ½ x 39 ½ in (95.5 x 100.5 cm)

An identical version of this panel is in the collection of the Cecile Higgins Art Gallery.

These Rowley panels were displayed in Marcel Bing’s famous ‘Art Nouveau’ emporium in Paris. Those designed by Sir Frank Brangwyn were the best. This was Brangwyn’s most famous design; conceived to & extol the colour and texture of the rare wood inlays JS


67 Tomatoes, c.1920

Marquetry panel in various woods; applied paper label inscribed Rowley, Est. 1898, 140 Church Street, Kensington, W.8; The Wayfarers Arcade, Lord Street, Southport Merseyside, PR8 1NU … 50 ½ x 33 ¾ in (128.5 cm x 85.5 cm)

The Rowley Gallery, London (maker)

69 Fruit pickers, c.1920

Marquetry panel in various woods; applied paper label CUM 95674 x 31 ¾ in (188 x 80.5 cm)Illustrated left


68 Hollyhocks (diptych), c.1900

Marquetry panel in various woods; applied paper labels and chalk inscription GL64 / ART NOV55 ¼ x 47 ¾ in (140.5 x 121.3 cm)Illustrated above

Designed for the Maison de l’Art Nouveau in Paris. An identical version of this panel is in the collection of the William Morris Gallery.

64 THE JOHN SCOTT COllECTION SIR FRANk bRANgWYN 65

Adolfo Wildt 1868–1931

70 Maria da Luce ai Pargoli Cristiani or La Protezione dei Bambini (The Protection of the Infants), 1918

White marble, mounted on the original veneered oak support; Signed on the left9 ½ x 10 in (24 x 25.2 cm)

Maria Teresa Martini of the Fondazion Gramsci, Bologna, records that there were two carvings of this subject dated 1916, and one of 1918. There is another version of this subject, dated 1920, in the Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milan; and a variation on this subject was sold by Il Ponte, Milan 23 November 2010 lot 1201.

Adolfo Wildt 1868–1931

71 La Vittoria (Victory) 1919

White marble, supported on a stained and polished pine support; signed A WILDT on the lower right vertical return13 x 16 ½ x 5 ¾ inches (33 x 42.2 x 14.4cm)

Commissioned by Joseph Altar, a wealthy industrialist and collector in 1919.

66 THE JOHN SCOTT COllECTION ADOlFO WIlDT 67

Almeric Walter 1870–1959 (attributed designer)DAum FRèRES, NANCY (mAkER)

72 Gourd and lizard ink well, c.1900

Pâte de verre, incised Daum Nancy4 ¾ x 9 in (12 x 23 cm)

A particularly nuanced blend of dulcet colouring. Very rare. JS

Francis Derwent Wood RA 1871–1926

73 Orion borne by Dolphin

BronzeHeight 17 inches (43.2 cm)

PROvENANCE: Sotheby’s 17 April 1967 (129); The Fine Art Society, 1968

Possibly one of the many Sketches for a Fountain or Garden Sculpture exhibited by Wood at the Royal Academy, or Royal Scottish Academy between 1910 and 1925.

68 THE JOHN SCOTT COllECTION FRANCIS DERWENT WOOD 69

70 THE JOHN SCOTT COllECTION gIlbERT & WEINgARTNER 71

Walter Gilbert 1871–1976 with Louis Weingartner (fl.1902–1934)bIRmINgHAm guIlD lTD. (mAkER)

74 Three pairs and one single panel from lift at Selfridges department store depicting Zodiac signs, 1928 Libra and Pisces; Sagittarius and Leo; Scorpio and Cancer

SagittariusPolished bronze and steel24 x 37 ½ in (61 x 95 cm) for each pair; 24 x 23 ¼ in (61 x 59 cm) for a single panel

lITERATuRE: Birmingham Guild Ltd., Architectural and Decorative Metalworkers sales catalogue, ill. pp.34, 59–60

These panels formed the dazzling exterior of the lifts in Selfridges department store, installed in 1928 ahead of the 20th anniversary celebrations of the following year. Owner, American shopping magnate, Gordon Selfridge, devised a lavish decorative scheme for the store to impress the clientele. The equally opulent interiors of the lift cars were designed by Edgar William Brandt (1886–1960). Walter Gilbert and his assistant Louis Weingartner had previously worked for Bromsgrove Guild of Metalworkers; their other works included the metal screen in Liverpool’s Anglican Cathedral.

Selfridges department store was opened on Oxford Street in 1909. By the 1920s, when these lifts were designed, Selfridges had become the most glamorous department store in London. Young women were employed to operate the lifts until after World War II, when they were replaced by ex-servicemen. The lifts were removed in a 1970s refurbishment in favour of escalators.

72 THE JOHN SCOTT COllECTION gIlbERT & WEINgARTNER 73

Liverpool, Liverpool Institute, 1920; Aberdeen, 1921; New York, The Cooper-Hewitt Museum, 1979

lITERATuRE: L. Irvine & P. Atterbury, Gilbert Bayes Sculptor 1872–1953, London, 1998, pp.78 and 120

This sculpture was inspired by Rudyard Kipling’s poem The Last Rhyme of True Thomas. Other casts are known to be with The Bayes Trust; St Cross College, Oxford (a cast in silver formerly with The Fine Art Society); The Scottish National Gallery of Modern Art, bequeathed by Sir D Y Cameron; and a Private Collection in London.

Gilbert Bayes FRbS 1872–1953

75 The Underworld, 1913

Enamelled and partly gilt bronze, signed GILBERT BAYES and dated 1913 in the bronzeHeight 9 inches (23.25cm) and the facsimile ebonised and gilded stand 52 inches (132cm)

EXHIbITED: (Probably other casts) London, Rawlson Townsend, Dover Street, 1913; London, Ridley Arts Club, 1914; London, The Royal Academy, 1915; Edinburgh, Royal Scottish Academy, 1917; Bristol, Fine Art Society 1918 and 1924;

Gilbert Bayes FRbS 1872–1953

76 The Sea King’s Daughter, 1913 (designed)

Bronze, signed in the bronze GILBERT BAYES 191319 x 20 x 11 in (48.5 x 51 x 28 cm)

EXHIbITED: (Other casts) London, The Royal Academy, 1913, version in marble; London, The Royal Academy, 1919, bronze; London, Ridley Arts Club, 1920; British Trade Exhibition, 1922–1923; Manchester Art Exhibition, 1928; Edinburgh, Royal Scottish Academy, 1929; Rio de Janeiro, 1930; London, The Royal Institute of Painters in Watercolours, 1932; Edinburgh, Royal Scottish Academy, 1939

lITERATuRE: The Illustrated London News, 1936, ill. p.902; L. Irvine & P. Atterbury, Gilbert Bayes Sculptor 1872–1953, London, 1998, pp.120 and 128

Designed in 1913, the first cast of this piece was made in 1919. This cast number is number one from an edition of eight cast by the Gilbert Bayes Charitable Trust in 1990 at The Art Bronze Foundry, London. The original plaster is in the collection of the Bayes Trust. A later cast from 1936 was installed in RmS Queen Mary.

I bought the original artists base for this. The bronze is the first cast of the original plaster executed by The Fine Art Society. JS

74 THE JOHN SCOTT COllECTION gIlbERT bAYES 75

Gilbert Bayes FRbS 1872–1953ROYAl DOulTON (mAkER)

77 Ship washing line finial, 1930s

Stoneware · Height 19 ½ in (49.5 cm)

Bayes’s washing line finials were commissioned by the architect Ian Hamiltion, for the St Pancras Housing Association, between 1931 and 1938 to add colour to the communal spaces created following slum clearance to the north of Euston Station. They were used on the washing-line posts of the Association’s estates at Sidney Street, Evershot Street, Drummond Street, Athlone Street and York Rise. Doulton also made a number of the designs for exhibition which were sold as garden ornaments.

Subject matter was varied but usually based on engaging and well-known fairytales and nursery rhymes and the names of the blocks of flats on the relevant estate, which Bayes hoped would make his art accessible and entertaining. He also designed a number of architectural panels, produced by Doulton’s, for the Sydney Street Estate and set into balconies or as lunettes above windows and doorways; his ornaments for the rooftop nursery garden remain in situ.

Bayes was an advocate of modern materials and also accessibility of art. He experimented with a number of man-made stone substitutes including an early concrete compound for his exhibits at the 1924 Empire Exhibition at Wembley. In 1923 he began working with ‘polychrome stoneware’ at Royal Doulton’s, which was ideal for garden and architectural sculpture because of its colour and durability.


78 Devil washing line finial, 1930s

Stoneware, impressed Gilbert Bayes · Height 18 in (46 cm)

lITERATuRE: Irvine & Atterbury, Gilbert Bayes Sculptor, 1872–1953, Shepton Beauchamp, 1998, pp.171–172

The devil at the Sacré Coeur. JS


79 Fish washing line finial, 1930s

Stoneware, impressed Gilbert Bayes · Height 16 ½ in (42 cm)

Alleviation of a ‘space’ problem. JS



80 Large fish roundel, c.1924

StonewareDiameter 23 ¾ in (60.5 cm)

After England, I love Japan. Its influence has been a massive inspiration. My wife Takko is Japanese so I love the

‘melange’. JS


81 Fish roundel, c.1924

Stoneware, impressed Gilbert BayesDiameter 14 in (35.5 cm)

lITERATuRE: Irvine & Atterbury, Gilbert Bayes Sculptor, 1872–1953, Shepton Beauchamp, 1998, p.141


82 Lily pad roundel, c.1924

Stoneware, impressed Gilbert BayesDiameter 14 in (35.5 cm)


Omar Ramsden & Alwyn C.e. Carr

83 Pomegranate vase, 1899

Silver, engraved ΣΥΝΕΡΓΟΙ ΑΓΑΠΗΤΩΙ (beloved co-worker); stamped Omar Ramsden & Alwyn C E Carr Made me 1899, RN&CR date mark for 1899/1900 and hallmarks for London, EnglandHeight 11 ½ in (29.2 cm)

lITERATuRE: G. Zelleke, Omar Ramsden and Alwyn Carr: An Arts and Crafts Collaboration, Art Institute of Chicago Museum Studies, vol. 18, no. 2 (1992), ill. p.173

A gift exchanged between Ramsden and Carr.

Edgar Brandt 1880–1960

84 Jardinière on stand, c.1912

Wrought iron with brass detailing48 x 21 in (123 x 53 cm)

Literature: J. Kahr, Edgar Brandt: Art Deco Ironwork, Argland, PA, 2010, ill. no. 40, p.37,

An identical design exhibited at the Salon des Artistes Decorateurs in Paris, April 1912.

Bought from Bob Walker when he sold his flat next to Catholic Cathedral, Victoria. Swapped for Loie Fuller lamp. Brandt designed the Tomb of the Unknown Soldier beneath Arc de Triomphe, Paris. JS

80 THE JOHN SCOTT COllECTION EDgAR bRANDT 81

François Emile Décorchemont 1880–1971 (maker)

85 Fish, c.1950

Pâte de verre, engraved logo Décorchemont; No. 1 D4333 ½ x 14 in (9 x 35.5 cm)

Louis-Jules Trager fl.1888–1934 (decorator)mANuFACTuRE NATIONAlE DE SèvRES (mAkER)

86 Small Japanese-style vase, 1912

Porcelain with a painted floral design, transfer stamp RF Decore à Sèvres, Manufacture Nationale, 1913, transfer S, 1912, hand painted initials LT and J’ap J. VesqueI; applied paper label inscribed Louis TragerHeight 9 ¾ in (25 cm)

Sèvres in all its finesse … the Minton of France. JS

Manufacture Nationale de Sèvres (maker)

87 Pair of flower in vase wall lights, 1930s

Porcelain, transfer stamp factory trademark, Sevres / manufacture nationale France / C24 ½ x 17 ½ in (62 x 44 cm)

These are superb Sèvres. I feel are by the famous French 30s furniture designer, Ruhlmann. JS

Harry E. StantonROYAl DOulTON CO. (mAkER)

88 Princess Badoura, 1924

Glazed and painted ceramic, painted inscription inside TITTENSOR / STANTON / PHILLIPS / 192430 ¼ x 18 ½ x 11 ¼ inches (76 x 47 x 28.5 cm) including base; 22 ½ x 17 ½ x 7 ½ inches (57 x 44.5 x 19 cm) without base

Princess Badoura was described as ‘the most beautiful woman ever seen upon the earth’, she is the heroine of the Arabian Nights tale of Camaralzaman and Badoura, in 1001 Arabian Nights. The Stanton figure of Badoura was inspired by Edmund Dulac’s illustration of her wedding procession and was modeled as a centrepiece for the Wembley Empire Exhibition, 1924.

Stanton was a teacher at Burslem School of Art, near Doulton’s Nile Street factory, in 1924, just as Royal Doulton was at the forefront of the ‘Potteries’ renaissance in figure making. The original ceramic figurine was modelled by Harry E. Stanton, with H. Tittensor (a Doulton artist) and F. Van Allen Phillips, whose names all appear on this early, and possibly unique, piece, but it is not clear what part each played.

It is not known whether further examples of this design were made at the time. During the 1920s and 1930s production of figures was very limited and was eventually halted altogether by the second World War. The design was developed into one of a limited edition of Doulton

“Prestige Figures”: pattern no. HN2081, produced from 1952 to individual orders and in much bolder colours with gilded decoration.

82 THE JOHN SCOTT COllECTION HARRY E. STANTON 83

Eric Gill ARA 1882–1940

89 Headdress, 1928

Beer stone with added colour81 x 20 x 18 cm

PROvENANCE: Sir Edward Brantwood Maufe kbE RA FRIbA until 1974

EXHIbITED: London, Goupil Gallery, 1928 (11); London, The Fine Art Society, Sculpture in Britain Between the Wars, 1986 (45); London, The Royal Academy, Modern British Sculpture, 2011 (7); London, The Fine Art Society, Carving in Britain, 2012

lITERATuRE: J. Thorp, Eric Gill, London, 1929, p.19, pl.28; The Sketch, 21 March 1928, p.547; P. Curtis & K. Wilson (ed.), Modern British Sculpture, London 2011, ill. p.58

Charles Sargeant Jagger 1885–1934

90 Study for ‘The Sower’ or ‘Agriculture’, c.1928

Bronze

lITERATuRE: For other versions see A. Compton, The Sculpture of Charles Sargeant Jagger, Much Hadham, 2004, p.126

This piece is a cast of Jagger’s first attempt for the allegorical figure of Agriculture, for the exterior of the Imperial Chemical House, Milbank.

Jagger on ‘Agriculture’; his first proposal discarded by the committee! JS

CHARlES SARgEANT JAggER 85

Gustav Miklos 1888–1967

91 Tête de Femme, 1929

Unique patinated bronze, signed and dated G. Miklos 29, stamped with foundry mark C. Valsuani, Cire perdue24 ½ x 7 ½ x 10 ¾ in (62 x 19 x 25 cm)

PROvENANCE: The artist’s estate; Bob Walker

lITERATuRE: D. Cichocka, Gustave Miklos: Le Moderniste Byzantin, catalogue raisonné, vol. 2: sculpture, decorative arts and paintings, Paris, 2014, pp.16 and 79, no.S86, plaster cast also illustrated; for the plaster cast see also L. Benoist, ‘Gustave Miklos, sculpteur,’ Art et Décoration, February 1931, p.45 and C. Patkaï, Gustave Miklos 1888–1967: sa vie et son oeuvre de sculpteur, Paris, 1978, no. 70

This sculpture highlights many of the key characteristics of Miklos’s practice. The use of a bronze base, for example, to extend and elongate the piece is typical. The influence of Byzantine Art is patent in the prominence of the fore-head, as well as the linear, graphic quality, which exagger-ates the stretched face, neck, nose and almond eyes. Jean Selz comments that, much like Brancusi, Miklos’s man-nerist distortions suggest self-reflection or reverie (see Cichocka, p.16). He was also interested in the mathematic principle of the nombre d’or that he employed to attain bal-ance and beauty in his work. The close attention to surface quality is characteristic of Miklos, who was obsessed with the way light played across the surface, supervising the physical making and finish of all his cast work.

Miklos studied at the Fine Art School in Budapest before moving to Paris in 1909 to join his friend Joseph Czaky. He was quickly ensconced in the art scene there, exhibiting at both the Salon d’Automne and the Salon des Indépendant, before joing the French army in 1914. Returning to Paris after the war he became more involved with the artist avant-garde. Miklos’s sculptural works from the 1920s represent the central body of his oeuvre. In these works, as exemplified here, he treads the line between figuration and synthetisation, applying Cubist principles. During this period Miklos significantly exhibited at The International Exposition of Modern Industrial and Decorative Arts – where the term ‘art deco’ was coined. Miklos subsequently held a solo exhibition of sculptural work in 1928, featuring works with Constructivist leanings. Miklos also took part in the first exhibition of the Union des Artistes Modernes, Paris 1930, exhibiting alongside René Herbst, Le Corbusier, Mallet-Stevens, Jean Fouquet and Ferdinand Leger amongst others.

I had never heard of Mikos before I saw this one in Bob Walker’s flat near Vincent Square, Victoria. I loved her at first sight! Normally I get to know an artist and spend a lot of time searching his standing and prices. Miklos had just died. Bob had heard the news and beat all the dealers to the deceased’s home. Madame Miklos was anxious and sold Bob the entire atelier. Bob was a superb dealer and named a price. Happily I had just sold a piece of land (3,000 sq ft in Ibiza) and so paid him immediately. It is a piece unique. Miklos was a contemporary of Brancusi but was never as famous. Success is most capricious – I prefer Miklos but I also love Brancusi’s Madame Pogany. JS

86 THE JOHN SCOTT COllECTION guSTAv mIklOS 87

Marcel Bouraine 1886–1948 and Gabriel Argy-Rousseau (1885–1953)

92 Dancing figure, c.1925

Pâte-de-Cristal, incised Pâte de Cristal / d’Argy-Rosseau / 11Height 12 in (30.5 cm)

lITERATuRE: J. Bloch-Dermant, G. Argy Rousseau, London, 1991, a version of this statuette ill. pp.133 and 218

Originally made as a lamp. JS

Jean Chauvin 1889–1976

93 Abstract sculpture

Bronze, impressed CHAUVIN, 2/5 and sun rise logo (possibly foundry mark)Height 13 ¼ (33.5 cm) without base; 15 ½ (39.5 cm) with base

PROvENANCE: Bob Walker

Bought from the maestro Bob Walker. Bob and his wife made cakes for Chauvin who lived in a shed north of Paris. JS

88 THE JOHN SCOTT COllECTION JEAN CHAuvIN 89

Maurice Lambert 1901–1964

95 Nimbus, 1928

Patinated cast-iron and coloured concrete, signed ML43 ½ x 34 ¾ x 17 in (110.5 x 88.3 x 43.2 cm); socle 17 inches x 12 in diameter (43.2 x 30.4cm)

PROvENANCE: Ben Nicholson; Helen Sutherland

EXHIbITED: London, Arthur Tooth & Sons, 1929 (10); London, The Fine Art Society, 7&5 Society, 2014

lITERATuRE: V. Nicholson, The Sculpture of Maurice Lambert, Farnham, Surrey, 2002, no.49, pp.32, 53, 54, 102, ill. p.32, maquette ill. p.103

This sculpture was given, or sold, to Ben Nicholson by Lambert. In turn it entered Helen Sutherland’s collection. Sutherland was one of Ben Nicholson, and his peers, most supportive early patrons.

Leon Underwood 1890–1975

94 Nucleus, c.1923

Carrara marble, on the original ebonised oak turning socle8 ¾ x 9 7/8 inches (22.2 x 24.2 cm)

EXHIbITED: London, Kaplan Gallery, An Exhibition of Sculpture by Leon Underwood, 1961 (64); Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 1969 (112); London, The Royal Academy, Modern British Sculpture, 2011 (34); London, The Fine Art Society, Carving in Britain, 2012; London, The Fine Art Society, 7&5 Society, 2014

lITERATuRE: B. Whitworth, The Sculpture of Leon Underwood, Wakefield, 2000, no.10, pp.19–20, 122

90 THE JOHN SCOTT COllECTION mAuRICE lAmbERT 91

Salvador Dali 1904–1989DAum (mAkER)

96 Poisson Malebranche, 1973

Edition 103 of 150Pâte de verre, with clear glass orb; moulded Dali signature, Made in France, 103/150 and DAUMHeight 16 in (40.5 cm)

An early pâte de verre sculpture by Daum. Salvador Dali’s Poisson Malebranche. JS

Joyce Bidder 1906–1999

97 Angel of Mercy

Carved mahogany, stained, polished and heightened with silver colour, signed m JOYCE BIDDER32 x 4 ¼ x 3 ½ in (81.3 x 10.6 x 8.9 cm), supported by a green marble base 2 in (5 cm)

I love ebony, the artist can’t cheat. JS

Daisy Borne 1907–1998

98 The Little Mermaid

Glazed earthenware, with wooden base; applied paper label inscribed The National Society, Schedule no: 1(?), Title of Work: The Little Mermaid, Artist’s Name: Daisy Borne, Address: The Studio, 19 Spencer Hill Road, Wimbledon, price £12d1212 x 8 ¼ in (30.5 x 21 cm)

92 THE JOHN SCOTT COllECTION JOYCE bIDDER 93

Albert Paley b.1944

99 Dragon’s Back floor lamp, c. 2000

Formed and fabricated steel, with glass shade 79 x 27 in (201 x 69 cm)

A similar style bench has been beside the Hereford Screen in the V&A for the last 10 years. JS

References are to page numbers, not catalogue numbers.

Bayes, Gilbert 74– 79 Bidder, Joyce 93 Birmingham Guild Ltd. 70 – 73 Borne, Daisy 93 Bouraine, Marcel & Argy-Rousseau, Gabriel 88–89 Brandt, Edgar 80–81 Brangwyn, Sir Frank 64–65 Chauvin, Jean 89 Dali, Salvador 92 Daum 68, 92 Deck, Théodore 10 Décorchemont, François Emile 82 Delaherche, Auguste 36 Fonderies de Saint-Dizier 50 – 53, 60 – 63 Gilbert, Walter & Weingartner, Louis 70 – 73 Gallé, Emile 12 – 22 Garchey, Pierre de Verre 59 Gilbert, Sir Alfred 26 – 33 Gill, Eric 84 Guimard, Hector 42 – 63 Hoole & Co. 9 Houle D. & C. 11 Jagger, Charles Sargeant 84–85 Johann Loetz Witwe Glassworks 24–25 Knox, Archibald 38 – 41 Lambert, Maurice 90–91 Liberty & Co. 38–41 Manufacture Nationale de Sèvres 82 Massier Fils, Jérôme 12 Miklos, Gustav 86–87 Minton & Co. 10 Néret, Georges 54 – 56 Obrist, Hermann 37 Paley, Albert 94 Pecs, Zsolnay 11

Phillippon 46–47 Pomeroy, Frederick William 34–35 Ramsden & Carr 80 Rousseau, François-Eugène 12 Rowley Gallery 64–65 Royal Doulton 76 – 79, 83 Stanton, Harry E. 83 Stephens, Sir William Reynolds 37 Stevens, Alfred 9 Sykes, Godfrey 10 Tiffany, Louis Comfort 22–23 Trager, Louis-Jules 82 Underwood, Leon 90 Voysey, Charles Francis Annesley 36 Walter, Almeric 68 Wildt, Adolfo 66–67 Wood, Francis Derwent 68

I N D E X

THE JOHN SCOTT COllECTION 95


148 New Bond Street · London W1S 2JT+44 (0)20 7629 5116 · [email protected]

Published in an edition of 1300 copies for the exhibition The John Scott Collection: Art Nouveau, Continental Design & Sculpture held at 148 New Bond Street, London W1, 25 February to 19 March 2015.

The Fine Art Society would like to thank John Jesse for his kind suggestions for cataloguing some these items.

Catalogue © The Fine Art Society, London Text © the authors

ISbN 978 1 907052 52 1

Catalogued and edited by Rowena Morgan-Cox and Annamarie Phelps Assisted by Laetitia Guillotin and Marian Casey

All photography © Michael Whiteway, except inside cover and cats 1, 3, 11, 13, 26–30, 36, 41, 53–54, 71, 73, 75–76, 88–89, 91, 94–95 and 97 © A.C. Cooper Designed and typeset in Verdigris by Dalrymple Printed in Belgium by Albe De Coker

Front cover: Hector Guimard 1867–1942, Occasional table, 1909 [cat.39] Back cover: Gilbert Bayes 1872–1953, The Underworld, 1913 c.1900 [cat.75] Inside cover: Owen Jones 1809–1874

‘Stanhope’ textile design, 1872


Documents

THE FINE ART SOCIETY · Gallé was the essence of Art Nouveau. His ‘verres parlants’ the spiritual kernel of the age. ‘Je n’ai d’autre affaire ici-bas que d’aimer’ said