Nouveau to Modern:

Transitions in Art and Design

January 16 – March 16, 2013

Store Display Head
ca. 1930s-40s
molded frosted glass, aluminum base
19 x 5 x 9 in. (with base)

Art Nouveau Velvet by Alphonse Mucha (Czech, 1860-1939)
1898-99
printed velour
21 1/2 x 29 1/2 in.

Louis Comfort Tiffany
Tiffany Studios "Jack-in-the-Pulpit" Vase
1906
glass
19 x 9 3/4 x 5 3/4 in.
etched on bottom: "L. C. T. 1010A"

Manierre Dawson
Three Trees
1911
oil on canvas
15 x 22 in.

Joan Busquets
Pair of Arm Chairs (Palacio Güell)
1885-89
gold leaf on wood with fabric
29 1/2 x 25 1/2 x 25 in.

Reuben Nakian
Pouter Pigeon
1923
marble
11 x 6 x 10 1/2 in.
Incised: Nakian 1923"

Art Deco Figure
chromium-plated metal
14 x 3 x 5 in.
incised: "T Comanici/942"

Carlo Bugatti
Chair (Chaise Ronde a Colonne)
ca. 1900
ebonized wood, copper, pewter, suede, parchment, silk tassels
52 1/2 x 18 x 16 in.

Songye Style Janiform Stool
20th century
wood with brown patina
24 1/4 x 15 x 22 in.

John Graham
Untitled
1941
pencil, colored pencil and ink on paper
11 1/2 x 8 in.

Pierre Puvis de Chavannes

Pierre Puvis de Chavannes
Torse nu (Nude)
1887
pastel on paper
34 7/8 x 34 1/2 in.
signed: "P.Puvis de Chavannes" upper left

Makonde Body Mask, Tanzania
20th Century
wood with dark brown patina
32 x 15 x 10 in.

Alfred Boucher
Au But! (To the Finish!)
ca. 1890
bronze
13 x 9 x 17 in.
signed: "A Boucher" and stamped: "Siot-Paris"

Elie Nadelman
Ideal Head
n.d.
bronze on stone base
20 1/2 x 7 1/4 x 7 1/4 in.
signature inscribed verso at base of neck

Jean Besnard
Vase
ca. 1930s
glazed ceramic and enamel
15 1/2 x 10 x 10 in.
incised on underside: "Jean Besnard France"

Press Release

Allan Stone Gallery is pleased to present Nouveau to Modern: Transitions in Art and Design, January 16-March 2 (extended through March 16), 2013, part of an ongoing series of exhibitions investigating the late Allan Stone’s wide range of interests as a dealer and collector.

This exhibition gathers an array of works from the Allan Stone Collection, including decorative art, furniture, glass, painting sculpture and drawing, as well as African art, that together represent how changes in visual expression manifested from the late 1800s to 1945. Like the period of flux from which these works emanate, this exhibition allows the works to interact organically, evincing stylistic interconnections, formal influences and theoretical exchange.

Included are works by Alfred Boucher, Harry Bowden, Manierre Dawson, Willem de Kooning, Andre Derain, Arshile Gorky, John Graham, Franz Kline, Gaston Lachaise, Georges Lavroff, Elie Nadelman, Reuben Nakian, Pierre Puvis de Chavannes, John Storrs, Van Dearing Perrine, and A. A. Weinman, with decorative works from the Art Nouveau and Art Deco movements, Jean Besnard, Carlo Bugatti, Joan Busquets, Antoni Gaudi, Lalique, Loetz, Sevre and Louis Comfort Tiffany, as well as African sculpture from the Makonde, Mende, Nafana, Pende, and Songye.

Though he is most recognized for handling New York School artists such as Willem de Kooning and Joseph Cornell, Allan Stone had a covetous appetite for objects of formal vitality, visceral intrigue, unselfconscious conviction and personal vision. Combined with passionate connoisseurship, this appetite brought together the extraordinarily rich cross section of material from which this exhibition is drawn. In addition to reflecting the formal exchange that fueled Modernism, this exhibition alludes to how Allan Stone lived with and dealt with fine art, decorative art, and African art in a fluid flow, each informing the other, and each holding an equal place in his estimation.