Sabino
French glass company – makers of architectural lighting and objets d’art during the 1920’s – 1930s, who’s shop was at 17 Rue St Gilles, Paris.
Sandoz, Edward Marcel (1881 – 1971)
Along with Francois Pompon and Rembrandt Bugatti, Swiss born Edouard-Marcel Sandoz was one of the leading animal sculptors of the 20th Century.
After studying Chemistry in Geneva, he moved to Paris to study at the prestigious Ecole des Beaux-Arts. His work focused on both human and animal forms in bronze and stone. All of his sculptures are characterised by a geometric form which is strongly influenced by both the Art Nouveau and Art Deco styles.
Sandoz bronzes are increasingly collectable today, commanding premium prices. He is also well known for his design work for the Haviland porcelain company in Limoges, France, which resulted in many distinctive porcelain objects in the form of animals. Source – Tikiri Wanduragala.
Sandoz is one of the most famous animalier artists of the Deco period along with Pompon, Kelety, Laurent, Moreau and Le Verrier. He also produced portraits, monuments, terracotta’s and ceramic items. His animals frequently have a humorous and stylised quality and have been likened to the famous animals by Marcel Bouraine. Many items are very small and all work by Sandoz is now highly acclaimed and sought after.
Scarpa – Ricardo (1905 – 1999)
of Italian descent. Famous sculpture and medalist working in mainly terracotta animal studies. Very much in the pompon cubist style. Student of Loto and Carlo Lorenzetti at the Royal Academy of Venice. He arrived in Paris in 1928. He received a gold medal for all of his works in 1974 at the Salon du Grand Palais, France. Present in many French and Italian museums. He also worked in conjunction with the Le Verrier foundry on several of his pieces.
Schlevogt, Henry (1904 – 1984)
Famous Czech Art Deco glass maker, Schlevogt was the only son of Curt Schlevogt who was a Jewish jewellery artist working in the 1920s. Henry produced Art Deco intaglio items like vases and boxes. Often working in conjunction with his Father-in-law – Heinrich Hoffman. After the death of Schlevogt’s wife (the daughter of Hoffman) the two artist joined orcas and produced highly coloured malachite and lapis lazuli glass items and rare coloured glass. This line was called the Ingrid line, named after Schlevogt’s daughter.
Based in Paris in the 1950s, Henry Schlevogt opened a wholesale trade in crystals and glassware on rue de Paradis, as producer and as exclusive distributor of Val d’Andelle glassworks. He made a fortune with this and sold this business in 1972. He died in Paris in 1984.
Heinrich Hoffmann (1875 – 1939) and Henry Schlevogt (1904 – 1984) are relatives thanks to the marriage of the latter to the daughter of Hoffman, both artists, established in Gablonz in North Bohemia, can hardly be considered separately, because they worked in continuity, sometimes with the same design moulds, which were all exclusively pressed by the powerful family glassworks of Josef Riedel established in Polaun (Polubný).
Production ceased with the occupation of the Sudetenland by Nazi Germany in 1938, soon followed by the invasion of the rest of the country (Czech republic) and foreshadowing the general conflagration of the continent, and was a part of the tragic backdrop due the chain of personal events that awaited him.
Schneider, Charles (b. 1881)
Born in Chateau-Thierry, near Paris, on 23rd February 1881. At an early age he moved with his family to Nancy, the artistic centre of France, where he later studied at ‘L’Ecole des Beaux Arts’. He was a talented student and he used his abilities to engrave medals using his own designs. After his military service, from 1901 to 1902, he specialised in the art of glass and stone sculpture.
His brother, Ernest Schneider, started working for Daum in 1903, where he was an important designer. Two years later Charles joined the factory as a self-employed designer while continuing his studies in Paris. In 1909, the brothers decided to start their own business and bought a small glass factory, specialising in electric light bulbs, in association with a friend Henri Wolf, at Epinay-sur-Seine. This factory was known as ‘Schneider Freres et Wolf’ and it operated until 1914, when the brothers joined the army; the factory appears to have been closed until they were demobbed in 1917. The factory re-opened in 1917 under the new name of ‘Societe Anonym des Verreries Schneider’. At this time, public taste still favoured the Art Nouveau style, and the factory produced mainly cameo glass with floral and animal designs, and vases with applied handles and bubbles. Apart from the introduction of art glass, half of the production was of commercial drinking glasses.
In 1918, fire destroyed the studios at Galle and a group of artists went to Schneider’s to continue their production for Galle. This period was of great importance to Charles Schneider because he acquired the technique of ‘marqueterie de verre’ from Galle’s artists. This technique, similar to marquetry in wood, is where the design is carved out of a vase and filled with coloured glass. By 1920, the factory was working at full capacity making mainly art glass. In 1921, Schneider started new trade marks for his cameo glass, signing it ‘Le Verre Francais’ or ‘Charder’. Sometimes a vase or lamp would bear both signatures. The idea was to popularise art glass and make it more accessible to the public. Le Verre Francais was mainly sold at department stores like Gallery Lafayette, Le Printemps and Le Bon Marche. Pieces signed Schneider were sold by specialist art shops such as Delvaux, Rouard, La Vase Etrusque and Le Grand Dep’t.
Le Verre Francais was made exclusively using the technique of acid etching, which gave good quality at a low price. The technique of wheel engraving through different layers of glass was used only for special pieces. In 1924, the Schneider’s moved to a bigger factory with more modern furnaces, employing more people, and they changed the name again to Verrerie Schneider. After the 1925 exhibition, various new designs were created and the factory expanded to employ about 500 workers. Blank glass was also supplied to art shops (Delvaux etc.) to be decorated (enamelled, painted etc.) by their own artists, and commissions were received from perfumery companies like Coty. At this time, the company was at its peak due to the good designs of the previous years, such as the new style created in 1920 using new shapes and contrasting colours by applying black foot and handles to brightly colored vases and coupes, thus giving them a dramatic effect. Always innovative, Schneider created a new technique of ‘coloured powders’ whereby the pulverised glass was mixed with metal oxides to obtain different colours and then spread on a flat surface.
The glass blower would roll a gather of glass on the desired colour, which would melt and adhere to it; he would then blow it a little and repeat with different colours as many times as necessary to obtain the desired colour layers. It was then blown into a mould to give the final shape of vase, which would then be acid etched or wheel engraved, making the contrasting colours visible. Finally, the vase was polished in selected areas of the design to give a contrast of shiny and frosty surfaces. Typical designs were clear bubble or crackled glass between upper and lower bands of art deco motifs in overlay. Many of Schneider’s art vases and lamps were exported to America. After the Wall Street crash of 1929 demand dwindled and the factory started to decline. During the 1930’s production of art glass was down to a few pieces a day as they concentrated on making simple designs with less colours for the local market. In 1940, during the war, the factory was requisitioned by the German troops and used as a restaurant. After 1945, Charles Schneider and his son started working for a firm that specialised in enamels, called Soyer. In 1949, they opened a new factory called ‘Schneider’ but most of the designs were the creations of the son, using only crystal and clear glass. Up until Charles Schneider’s death in 1953, only crystal was produced until the factory was closed in 1981. Charles Schneider signed his glass on four different ways . . .
* Schneider
* Charder ( Charles Schneider )
* Le Verre Francais
* A little piece of wool ( candy cane ) in the colours red, blue and white, these were the French colours of freedom and were only used for one year in 1918.
Sega
Again, no information. I believe this artist was French, or certainly worked in France, produced many figural items including lamps and clocks.
Worked mainly in spelter and made many pieces using celluloid materials as covering for wooden bases and clock surrounds, with faux tortoiseshell and pearlised finishes.
Used a lot of classical subjects – Pan, Pannette and Diane the Huntress.
Seger, Ernst (1868 – 1940)
Born in Neurode, Silesia, he studied under Christian Behrens and worked in Berlin, specialising in memorials, portrait busts and classical groups with a penchant for unusual subjects. His works include genre figures of wrestlers, nudes and dancers.
Seifert, Victor Prof. (1870 – 1953)
Seifert was born in Vienna in 1870 and worked in Berlin for most of his career, he participated in the Grosse Berliner Kunstausstellung or Munchener Glaspalast exhibitions. His statues were produced by top German Foundries such as Ges. V Gladenbeck Sonh. He carried out several commissions and created several monuments for the city of Berlin. He is a well listed artist with many of his works shown in the Berman book of Bronzes. One of his most famous statues is Trinkende (Thirsty), a delicate female nude bather, but he is better know for his military statues. His work is considered on par with artist as Villanis and Barrias. Many of his statues can be found in the Schiffer book of Bronzes.
Shayo, Alberto
Not an art deco sculptor, nor an artist but a writer of books on art deco subjects and well worthy of a mention in this section. I’m lucky enough to call Alberto a friend and always enjoy our chats on everything deco.
Born in Buenos Aires, Argentina before gaining 2 degrees in the UK, he became a dermatologist. He decided to give that up and put all his attention into art deco and writing. He has produced a number of books on art deco personalities and general art deco subjects like statues. He now lives in Rio De Janeiro and works as an art consultant in addition to writing.
We have a selection of his books for sale via the website and recommend all of them. Extensively well researched and written, they contain biographies of the artists and contain photographs of some of the greatest works of art produced during this period.
Siegel, Paris
The Siegel shop fittings company supplied most of the Parisian stores with their mannequins during the deco years of the 1920s – 1930s.They also produced shop signs and modernist mannequins designed by Rene Herst. The company also worked with the Parisian company of Stockman who produced mainly tailors dummies. V.N. Siegel of Siegel and Stockman, Paris, established in 1867, experimented with articulated legs, arms and wooden hands with bendable digits in an effort to more closely mimic human activities and later in 1925 startled the display industry with modern abstract mannequins closely following the Art Deco style. The company are still in operation today.
Silvin
Paris foundry producing art deco statues in bronze and spelter (regule) or Des bronzes and Fontes d’art as they say on the front of their foundry catalogue. The foundry was called Silvin and was at 2 Rue des Arquebusiers Paris.
Simonet Frères (1919-1970)
Charles and Albert Simonet, active between 1919-1939. In 1919 they took over a foundry that specialised in gilt bronze works for candelabra, lamps and bases for lamps. They modernised the boundary and concentrated mainly on lamps in the art deco style. Albert Simonet was the bronze specialist and soon collaborated with Henri Dieupart and together they designed lamps, vases and clocks, often with geometric motifs or stylised floral motifs.
Sinko, Armand,
Sculptor and painter worked during the deco years. Italian Mother and Hungarian Father. Worked his skills at a young age and entered the Ecole des Arts Decoratifs when he was only 14 years old. After a few years he then went to Paris where he worked in the studio of Maurice Brianchon at the Ecole Nationale des Beaux Arts Superieure. At the age of 21 he won the Grand Prix of the Mediterranean and the first Grand Prix of Rome. He went to Rome in February 1956 to become a resident at the Academy of France, residing at the Villa Medici until April 1959. From 1950 to 1960 participated in exhibitions in Venice. He became an art teacher in high school French in Rome until 1968. Later he moved to southern France, in Grasse, where he was born.
Skeaping, John Rattenbury (b. 1901)
Born the son of a painter, Kenneth Skeeping, in 1901. His artistic career took him through several art colleges ending with scholarships at the Royal Academy schools. He won the Prix de Rome in 1924 where he went to study marble carving. In the early 1920’s he married the famous sculptress. Barbara (Skeaping) who is best known for her minimalist, organic forms in wood, stone and other media and her home and studio in St.Ives, Cornwall, England has been preserved as a site of public interest. Barbara was to have a profound influence on Skeaping who’s work gradually became more stylised and simple. He returned to England in 1926 and was introduced to Frank Wedgwood by Felton Wreford (manager of the Wedgwood showrooms in London who also introduced Keith Murray to Wedgwood a few years later). With the revival of figure making and the need for fresh ideas, Wedgwood commissioned Skeaping to produce a series of animal figures. A total of fourteen figures were designed, the first of these being a Deer.
Schmidt-Kassel, Gustav (1867 – 1954)
German statuary artist studied in Berlin, Italy Paris and Russia. Worked mainly in bronze and bronze and ivory. His pieces were produced by Preiss-Kassler and by Rosenthal.
Stickley, Gustav (1847 – 1942)
An American furniture designer. He opened a factory in New York producing furniture made by the traditional construction methods with an Arts and Crafts feel, notably his range of ‘Craftsman furniture’. The Stickley name is associated with plain furniture in solid mainly American white oak, often described as ‘mission style’ because of its similarity to pieces found in 19th century American mission churches.
Subes, Raymond (1871 – 1970)
French wrought iron artist working during the deco years. His work is considered as on par with Edgar Brandt. At the Exposition of Decorative Arts in 1925, he worked for several of the pavilions, most famous for Ruhlmann’s ‘Hotel du Collectionneur’ (Hotel of the Collector) salon. He is also famous for the works carried out for the large ocean liners of the time – The Ile de France in 1927, The Atlantic in 1932, The Normandy in the mid 1930s and The Liberty in the 1950s. He also produce large works for banks and shops and smaller items such as window panels, doors, staircases, table lamps and ceiling lamps.
Sudre
French artist producing 2-dimensional novelty items, usually in chrome. Cigarette dispensers, statues, cocktail stick sets, all with a cute comical theme similar to Benjamin Rabier pieces.
Some of the Sudre pieces are also marked Cado which I believe was the company who produced them. Similar 2 dimensional items are sometimes signed Pizette and Brette. However these could of course have been pseudonyms used by Sudre as many artists around this time used pseudonyms.
Sue et Mare
Louis Sue and Andre Mare, both originally painters and Sue was also an architect, founded the firm La Compagnie des Arts Francais in 1919. They collaborated to produce high quality are deco items and many of their designs were inspired by cubism. They exhibited at many of the Paris Salons. The pair worked on many interior design projects as well as creating individual, stylish furniture items, clocks, lighting and an assortment of other interior accessories. The company was sold to the galleries Lafayette department store in 1928 and Sue and Mare left the company due to creative disagreements with Jacques Adnet. Items created by Sue et Mare and now highly sought after and command extremely high prices.
Louis Sue (1875 – 1968)
The lack of a design or craft training led both Sue and Andre Mare to be grouped with the Colouristes in Paris before the First World War. Mare was involved with Duchamp Villon’s Maison Cubiste in 1912, while Sue worked with Poiret until the founding of La Maison Martine in 1912. In the same year, Sue set up his own decorating firm, L’atelier Francais, and began his association with Mare in 1914. This association became a partnership in 1919 with the foundation of La Compagnie des Arts Francais which lasted until 1928. Sue et Mare worked across the spectrum of the decorative arts from wallpapers to furniture. Their furniture used exotic woods and was clearly inspired by traditional French styles. At the 1925 Paris Exposition their pavilion, Un Musee d’Art Contemporian, rivalled Ruhlmann’s and the firm also exhibited furniture in the Ambassade Francaise and the Perfums d’Orsay boutique among other pavilions. The partnership ended in 1928 and Sue continued work in France throughout the 1930’s. Sue lived in Istanbul and taught fine arts there. He was made a Chevalier of the legion d’honneur in 1925.
Andre Mare (1887 – 1932)
Andre Mare was an artist, and studied at the Academie Julian. Louis Sue also trained as a painter, but turned to interior design as early as 1905. This lack of a design or craft training led both Sue and Mare to be grouped with the Coloristes in Paris before the First World War. Mare was involved with Duchamp Villon’s Maison Cubiste in 1912, while Sue worked with Poiret until the founding of La Maison Martine in 1912. In the same year, Sue set up his own decorating firm, L’atelier Francais, and began his association with Mare in 1914. This association became a partnership in 1919 with the foundation of La Compagnie des Arts Francais which lasted until 1928. Sue et Mare worked across the spectrum of the decorative arts from wallpapers to furniture. Their furniture used exotic woods and was clearly inspired by traditional French styles. At the 1925 Paris Exposition their pavilion, Un Musee d’Art Contemporian, rivalled Ruhlmann’s and the firm also exhibited furniture in the Ambassade Francaise and the Perfums d’Orsay boutique among other pavilions. The partnership ended in 1928 and Mare went back to his original painting pursuits and he died in 1932 from Tuberculosis due to the lasting effects of mustard gas poisoning. Mare made a Chevalier of the legion d’honneur in 1926.
Tedd
I believe Tedd was a small French Atelier who mass produced the cheaper spelter animal figures, which they probably supplied to other workshops to be used in figural groups along with ladies by the other foundries. They also produced some figural lamps and clocks themselves.
Tereszczuk, Peter (1875 – 1963)
Ukrainian sculptural artist, worked in Vienna. Produces statues, inkwells, table lamps and other items in bronze, bronze and ivory and also in glass.
Thenot, Maurice Rene (1893 – 1963)
Mainly famous for his medals and engravings. He was pupil to master engraver Patey. He won the gold medal at the Annual Competition for Young Workers in Paris in 1912. In 1920, he was accepted as apprentice at Arthus Bertrand, one of the leading manufacturers of medals in France. In 1921, he won the Grand Prize of Rome, studied at Villa Medici in Italy. In 1925, Thenot was awarded a silver medal at the International Exposition of Decorative Arts in Paris. From 1927-1935, he lived in Africa. In 1937 he was awarded a gold Medal at the International Exposition of Arts and Techniques in Paris. That same year he was selected for the position of Chief Engraver of the Casa de Moneda where he worked from 1937 to 1958.
Thomasch, Wilhelm
The company of Thomasch was formed in 1926. After training as a sculptor at Viennese schools of art he became works manager for Goldscheider and designed some very important figures. He left in 1926 and formed his own company.
Traverse, Pierre (1892 – 1979)
Born 1st April 1892 in St. Andre de Cubzac, Dordogne, France. Pierre was one of 7 children (4 sisters and 2 brothers) and by 1908 had produced his first known sculpture “Le Chien” (The Dog).
Pierre enlisted in Bergerac ahead of his call and served as an Infantry lieutenant during the 1st world war but was seriously wounded in 1916 at the Battle of Mesnil.
In 1919 Pierre married Valentine Foulon and they had 2 children.
Pierre then studied under Jean-Antoine Injalbert (1845 – 1933), and exhibited at the Salon des Artistes Francais of which he was an Hors-Concours member, the Salon d’Automne and the Salon des Artistes Decorateurs.
He received a silver medal in 1921, a gold medal in 1926 and a diploma of honour in 1937 at the Exposition Internationale in Paris. He was also awarded a Medal of Honour in 1942 and was decorated with the Legion d’Honneur in 1938.
Pierre’s work can be found in the Musee du Petit Palais in Paris and other fine collections held internationally today. He was a sculptor who worked primarily in bronze, stone, and white marble. One of his most well known art deco statues is his Diane and Deer statue named L’Atalante (right).
Pierre died on the 4th July 1979 in Paris and is buried in Neauphle le Château near his wife who predeceased him by 15 years.
We have recently (November 2023) had it confirmed by a member of the Traverse family that Pierre Traverse would sign his Ceramic items “Aladin”. This appears to be previously unknown information.
He produced items in a variety of sizes, some of them much larger than life-size. Pierre also produced paintings, mainly of scenery, in his early career.
If this information is interesting to you then we insist that you read our Blog on Pierre Traverse which dives into much greater detail on his life.
Tribout, George Henri (b. 1884)
French artist born in Paris in 1884. He studied at the Universite de Notre Dame in Boulogne. He started painting in the Cubist style and exhibited at the Salon des Independants in 1909. At the time he lived in Saint Cloud and he was friend with Ensor, Montald, and Stephen Zweig, who all advised him on his painting. After the 1st war he painted landscapes and portraits and exhibited at the Galerie Alligons in Paris, his works were permanently displayed there. He exhibited in the expositions of ceramics at L’Exposition des Arts Decoratifs in 1925, in Paris. At this time Tribout also designed posters, theatrical costumes and sets and ceramics. Many of his ceramics works were produced by Sevres.
Triomphe, Joseph Sapey (1897 – 1956)
A French sculptor born in March 1897 in Lyon and died July 18, 1956 in Paris. He was a student of Jean-Baptiste Larrivé at the National School of Fine Arts in Lyon, where he obtained the first prize in 1923 followed by the Paul Chenavard prize at the École nationale supérieure des beaux-arts in 1926. During the 1920s he exhibited at the Salon d’Automne in Lyon, reliefs and various topics, nudes, animals in the simplistic line of François Pompon , religious allegories and treated with art stylization close of the Art Deco which prefigures neoclassicism , such as the bust of La Tête de Geoffroy. In 1926 the French government brought from him for the Salon d’Automne in Lyon his statue The Virgin. During the 1930s he designed perfume bottles for Lanvin, and base reliefs for musical and electric companies like Pathe-Marconi and Hohner accordions. He had an atelier in Paris. In September 1943, his workshop at 5 rue Jean-Ferrandi in Paris was totally destroyed by a bomb targeting the Montparnasse station . All works from this period are destroyed. Many or his works are in public collections.
Turin, Pierre (1891 – 1968)
French medalist. He studied at Ecole Nationale Superieure des Beaux-Arts in Paris, pupil of Vernon and Patey. Won the Premier Grand Prix de Rome de gravure en medailles in 1920. Medaille d’honneur at Salon des Artistes Francais.
Tutter, Karl (1883 – 1969)
born in Germany, Karl Tutter was one of the most famous porcelain modellers of the 20th century, along with Carl Werner. He gained fame and acclaim internationally for his porcelain masterpieces and was probably the artist most responsible for the reputation of Hutschenreuther art figurines. He was a prolific artist for Hutschenreuther, and produced memorable pieces including Mephisto, Sonnenkind, Nach dem Bade and Finale, for over 40 years.
Uriano
Uriano was, I believe a pseudonym used by Ugo Cipriani. Cipriani used many pseudonyms – Uriano, Menneville, Roggia, De Viggo and of course his own name – Ugo Cipriani.
Many artists at this timer used pseudonyms and many of the pseudonyms were family related names. Note that Uriano uses letters from his real name – Ugo Cipriani.
Statuary pieces produced during the deco years were mainly in spelter but also in bronze. Most of the spelter pieces were produced by the Costan and Sylvin foundries – who were cousins.
Vallet-Bisson, Frederique (1862 – 1949)
Vallet-Bisson was born soon 29 April 1862 in Amiens but moved to Paris, where she became a pupil of Jules-Joseph Lefebvre at the Academie Julian. She showed works at the Paris Salon from 1890 to 1945 and exhibited at Chicago World Exposition in 1893.
Van Den Bossche, Dominique (1854 – 1906)
Born and worked in Belgium, producing Art Nouveau statues.
Van Der Straeten, Georges (or Joris) (1857 – 1938)
Born in 1857, Ghent, Belgium. Studied law by day and sculpture by night, but his love of the art won over and he became a professional sculpture. He studied under G. Kasteleyn and Jef Lambeaux. By 1878 he had become one of Brussels most prolific sculptors. He moved to Paris on advice of his friend the renown painter, Jan Van Beers and became well known for his figures of clowns, pierrot, ragamuffins, circus performers, buxom peasant girls and seductive Parisian ladies. He also gained recognition for his portrait busts of contemporary notables and beautiful women. He had an uncanny skill at capturing facial expressions which clearly portrayed sadness or joy. Some of his female figures are very similar to Emmanuelle Villanis pieces. He worked in Paris and exhibited at the salon from 1912 onwards.
Van de Voorde, Georges-Abel Vandevoorde (1878 – 1964)
Born Kortrijk (Belgium) 1878, died 1964 Anderlecht. Sculptor and medallist. He was a pupil of (among others) Constant Devreese and Julien Dillens. Helped Victor Rousseau and worked as his atelier for 7 years. He also taught and later became president of an art-academy.
He won the Second Price Godecharle in 1905 and regularly showed his work at national and international exhibitions. He sculpted several larger monuments, including a war-memorial in Brussels, the sculpture of Pieter Coutereel in Louvain and the monument in white stone of Saint John Nepomucenus which was his last monumental design, and is located in his birthplace Kortrijk.
He made portrait-busts of famous people which can be seen in parks all over Belgium, and he occasionally liked working around a particular theme, for instance elderly people. He worked in many mediums, including ivory, clay, stone, wood, spelter and bronze.
Vargas, Alberto (1896 – 1982)
The most famous and best respected of all the pin-up girl artists. Born Febuary 9th 1896 in Arequipa, Peru, he died in 1982. The word ‘Vargas’ has actually been applied to almost every kind of pin-up subject – a fitting tribute to the most famous and talented glamour artist of all time. He was the son of respected portrait photographer Max Vargas. His father secured an apprenticeship for Vargas at Julien Studios in Switzerland in 1915. He studied in Zurich and Geneva before leaving Europe because of the war and arriving on Ellis Island in October 1916.
Vargas maintained a full schedule throughout the 1920’s, working for a diverse group of clients in addition to the Follies and Paramount. He painted front covers for Tatler and Dance magazines, did hairstyle illustrations for Harper’s Bazaar, and even designed some countertop displays for Old Gold cigarettes. Yet he still found time to paint his favourite Ziegfeld Follies stars for his own pleasure, including the daring Shirley Vernon, whose 1927 portrait was preserved in his private collection.
After two lucky breaks, producing lobby paintings for Ziegfield Follies in the 20’s and Hollywood portraits of stars in the 30’s, Vargas was approached to provide artwork for the newly started Esquire Magazine in 1940. When Vargas and Esquire went their separate ways in 1946, the artist immediately embarked upon a project to publish his own yearly calendar. In the meantime, the magazine published an Esquire Calendar for 1947 that consisted completely of unsigned Vargas paintings. By the time Vargas’ 1948 calendar was published, Esquire had a court order barring the artist from selling or distributing any product bearing the name ‘Varga’, which the magazine had copyrighted.
In 1950, a court ruled that Vargas would have to sign all his subsequent paintings with his full name. Although he worked into the 1970s, his best work was produced from 1940 – 1947 which was when he produced the famous Varga girls centre folds, and calendar works for the new Esquire magazine mens magazine.
Varnier, R
Sculptural artist working during the deco years. Made statues and car mascots in shelter, ivory and bronze and ivory.
Villanis, Emmanuel, (1858 – 1914)
Born in France to Italian parents, he was educated in Italy, but work and exhibited in France in the Salon de Paris and at the Paris Exposition Universelle where in 1889 he received an honourable mention. The realistic expression of the eyes of his subjects is due to his innovative technique of deep cut, he was strongly committed to the Art Nouveau movement, and together with Moreau, Bouval, Luidgi, Picault, Barrias, he produced some of the most remarkable studies of the powerful, sensual and yet subtle female form.
His sculptures where cast by well known foundries such as Vrai Bronze Garanti Paris, fabrication Francais, Societe des Bronzes, Eugene Blot.
Villeneuve – Jacques Louis Robert (1865 – 1933)
Born in Basson, France, January 1865 and died Paris February 1933. Pupil of Injalbert and Thomas. He exhibited at the Salon des Artistes Francais. Won 3rd class medal (1897) / 2nd class medal (1899) / 1st class (1904). Also was awarded Legion d’honneur in 1906. Produced mainly genre groups, and classical, heroic and historical scenes, and busts of his contemporaries.
Villien, Andre
Meal worker producing art nouveau and deco items such as bowls, vases jugs and boxes. He worked in conjunction with Louise Dage, Dage made the majolica slip wear and then it was clad by Villien in gilt bronze mounts and handles. Stunning quality and highly sought after. Andre Villien, marked “A.V. Paris, l’etain Francais , Depose a la Marquise de Sevigne”, active 1905-1924, production most likely 1915 to 1920’s.
Voysey, Charles, A (1847 – 1941)
Originally trained as an english architect, designing buildings and whole interiors including wallpapers, textiles and furniture strongly influenced by the English Arts and Crafts movement mostly to commission. His furniture was hand-made in native woods such as oak and beech with his own very distinctive style.
Wagenfeld, Wilhelm (1900 – 1990)
German architect-industrial designer, was an assistant instructor at the Bauhaus school in 1925. His MT8 table lamp is one of the earliest examples of Bauhaus design philosophy and is still being produced. Best known for his jewellery and glasswork, he designed many kitchen and tableware products in the 1940’s. Later projects included hospitality packs for Lufthansa, porcelain tableware for Rosenthal, appliances for Braun, and lighting for WMF and Schott. His designs and writing stressed a functional approach as a prerequisite to good design.
Wahliss, Ernst
Ernst Wahliss of Turn-Wien, Austria, was a highly regarded artist who designed Amphora art pottery and art nouveau figures and busts. He enjoyed much success beyond Europe. Wahliss produced between 1897 and 1906 some of the most beautiful female art nouveau busts and figures which are highly sought after today by collectors given their beauty and technical complexity. Wahliss was unique among the amphora manufacturers for having his own retail shops in London and Vienna.
Walery, Lucien (1863 – 1935)
Lucien Walery’s contribution to the art deco movement is primarily due to his photography and reproduction as photogravures of a catalogue of nude dancers in Paris in 1923 – many from the Ballet Russe and Folies Bergere in art deco poses – some of which were copied by the statue artists of the time.
There is some confusion over the name of Walery as there were two or more photographers using the same name including the Lithuanian Count Stanislaw Julian Ostrorog (1830-1890) who used the name as an adaption of his wife’s name Waleria. His son also followed in his fathers footsteps and Walery and his son were later based in Britain and were responsible for a number of photographs of famous people of the time including Queen Victoria.
The younger Count Ostrorog is often confused with Lucien Walery, who lived and worked in Paris in the period 1900-1930, and is known for his photographs of dancers mentioned above as well as photographs of leading ladies of the period including Mata Hari and Josephine Baker. Lucien signed his photographs ‘Walery – Paris’, ‘Yrelaw’, or ‘Laryew’. Some believe that Lucien is the same as the younger Count Ostrorog, who is supposed to have moved to Paris, around 1900. More likely Lucien is altogether a different person of which there appears to be very little information.
Because of the nature of his photographs, (which were considered very risque to say the least in the 1920’s), he published them using his pseudonym which was Laryew. Walery was just a rearrangement of the letters of his name. Many artists did this at that time. He moved to Marseilles and then on to Paris following in his fathers footsteps as a photographer to the rich and famous. Whilst in Paris he befriended Josephine Baker and photographed the girls of the Folies Bergere. He is considered by many to have been a true master of art deco photography. I have several of these photogravures and apparently all the ladies in them were dancers from the Folies Bergere, each one is numbered with a Roman numeral. Our selection of Walery pictures were published as a collection of 100 photogravures by Librairie des Arts Decoratifs. However, we do not have the entire catalogue and we also have several doubles of the same picture.
Walther, Ludwig (1890 – 1972)
Ludwig Walther was born in Erbach, Germany in 1890 where he also died in 1972. He trained under Carl Haebler in Baden-Baden and later under Ferdinand Preiss in Berlin, where he specialised in the production of dancers. Many of the ivory nudes from the Preiss-Kassler workshop attributed to Preiss were designed by Walther.
Werner, Carl (1895 – 1980)
A sculptor and one of the most important German porcelain modellers of the 20th century. He studied at the University of Art, Weimar and also in Prague and Cologne. In 1922 he started work as a sculptor for Hutschenreuthr AG, in 1960 he was appointed head of the department. He created many wonderful figurines including Die roten Schuhe, Bajadere and Schwerttanzer and also many animalier sculptures.
Wiener Werkstatte (Vienna Workshops) (1903 – 1932)
Series of Austrian craft workshops founded by Koloman Moser who was inspired by the attempts of the Vienna Secessionists to bring more abstract and purer forms to design. Mostly famous for its ceramic creations including many wall masks. Associated designers included Josef Maria Olbrich and Koloman Moser. Their designs included silver, glass, metalwork, furniture and even buildings. Koloman Moser was originally trained as an architect (as is often the case), he was influenced by the Scottish born Charles Rennie Mackintosh and the Glasgow School.
Wright, Frank Lloyd (1867 – 1959)
A prolific commercial and residential American architect and designer, father of the Prairie school of architecture. His works are well documented.
W.M.F. (Wuttembergische Metallwarenfabrik), (1880 – present)
This Austrian metalwork foundry was the most successful German art pewterer of the Art Nouveau period. Mass producing good quality, mainly decorative wares in high Nouveau style. The firm also produced items in glass.
Zach, Bruno (1891 – 1945)
Art Deco and art nouveau sculptor born in the Ukraine but moved to Austria as a young man where he studied at the Vienna academy. He worked from 1918 to 1935, mainly in bronze but also made chryselephantine pieces (bronze and ivory) and a few spelter pieces.
He devoted most of his talents to the exotic and erotic, although a few sporting figures and dancers were also produces. Some of his models were prostitutes, in whose company he apparently frequently spent some of his evenings. Rumour has it that he proposed to one of them and was refused.
Most of his subjects are female with a few dancing couples. He signed most of his pieces Bruno Zach or B. Zach but also used two pseudonyms – Pro Tuch or K. Salat. His erotic statues were usually scantily clad ladies in stockings, garters and high heels and he even created one of a female hugging a male penis known as the Hugger. Some even bordered on the sadomasochistic theme as shown in his most famous statue – the riding crop.
His bronze sculptures were generally fired and coated with chemical patinas in mid-brown colours but were sometimes cold painted or polychromed. He used ivory, sparingly, and it was generally very well carved. Zach’s work was edited by several firms, including Argentor-Werke (Vienna), Broma Companie, S. Altmann and Company, and Franz Bergmann. He died in Vienna in 1945.
Zelikson, Serge (b. 1890)
Born 1890 in Polotski, Russia. He won a scholarship to travel in 1912 and went to Paris where he studied at the Ecole des Beaux Arts under the guidance of Injalbert, Bouchard and Landowsky. He took French naturalisation in 1920. He specialised in genre figures and figural groups, busts and medals and bas-reliefs of contemporary personalities. He exhibited his works at Le Salon d’Automne, the Nationale and the Independants also at provincail gallerys around France. The Paris Municipal Museum displays his famous figure of a Volga Boatman.