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Down to Part II

Down to Part III

Ever-changing images to attract one's gaze.

The origin of Erté's table mirrors is an interesting story. Erté, the Estoricks and I were having lunch In New York when I expressed an interest in table mirrors. Erté thought about the request and designed a new concept for table mirrors in a few minutes. He quickly recommended the adaptation of some of his earlier designs to this new format. In less than five minutes, at age 93, this remarkable man again demonstrated his virtuosity as the leading artist-designer of the 20th century. No wonder Charles Spencer, Erté's biographer, has favorably compared him to Leonardo and Michelangelo, who made their mark as designers as well as artists.

The novel design allows the mirror to be rotated 360° and to be adjusted about 40° to either side In order to use the mirrored surface or enjoy the bas relief. Erté's ingenious mixing of bronze, brass, plexi and mirror has created a work of art of first importance. These are not vanity mirrors designed only for women. The fact that one may readily use one is secondary to its aesthetic power. The mirrored base allows one to turn the object 360°, allowing the base to reflect various images in the room. It is a kinetic art form which changes through movement or altering the illumination in the room.

The table mirrors are designed for multiple placements in the home. As a centerpiece for a dining table, a table mirror adds a touch of luxury and serves as a wonderful conversation piece. It transforms all ordinary coffee table into a base for a remarkable work of art. On a bureau, sideboard or end table, this mirror serves as a great place to put your keys, currency, jewelry or glasses when you conic home While cry few people use it as a vanity mirror (because they want it to be more easily seen by it is functional, and when finished making rip, one's cosmetics call be stored or bidden front view behind the bronze relief.

These mixed media objects of art work in any room of your home no matter what the decor.

Transcendence was an appropriate first release for table mirrors because the philosophy behind this creation has meaning to all of us. On the bas relief, a beautiful female figure is floating above the clouds in the sunlight. The dark clouds are symbolic of what each of us must face in our lives, yet this serene figure has risen up beyond her problems -- transcended to another plateau where the sun is shining and she is floating freely, effortlessly, with a butterfly (symbol of freedom) flying at her side. Erté is saying that no matter how bleak things may appear, there will always be a bright tomorrow. I can think of no better way to reinforce this positive philosophy than to gaze upon this piece daily.

Part II

Femme Fatale has the allure to appeal equally to men and women. Men cannot resist the beauty and sensuality of the piece. Women find the power that woman has over a man very exciting. As the name implies, Erte presents a woman in the full blossom of her beauty. Femme Fatale portrays woman at her most erotic and at her most deadly. The temptress dances before a man who falls victim to her glittering allure. Her fatal fascination is represented as flowers. Like roses dipped in deadly poison, they render him powerless and despite his physical strength, he is as helpless as a child at her feet. All the while she exults her victory by dancing in the radiant sunlight

In May of 1920, Erte spelt the summer in Monte Carlo. Working, writing and enjoying.
Joy of Life expresses for me one of the reasons that Erté has lived a long and productive life. He doesn't have time or the disposition to let the negative factors of life bother him. His expression of the joy of life in this instance is a beautiful woman swaying through the clouds. Her hair and skirt are blowing... one shoe sails through the air as she kicks her leg back. Like the child in all of us, she is happy ... without a care in the world. I remember how much fun it was to swing in the small park in Hamlin, Texas, where I grew up. Nothing could interfere with my joy of life when swinging or riding my bicycle. This mirror keeps my perspective in focus when professional and business pressures build up.

Part III

The Vanity table mirror also required complex slitting of tile glass - this time in a stepped-up art deco pattern. This mirror was designed in September 1930 as a mirror for "every woman's face." It is very interesting to note that this was Erté's 1,701st work of art. Imagine that he has completed over 20, 000 additional works since then! Notice the polished bronze oil the lights illuminating the beautiful woman as she applies her cosmetics. Truly, "Vanity, thy name is woman." Thank God for her beauty and patience to make herself so wonderful.

The Peacock mirror is another novel design. In fact, if one chose to collect only Erté's most unusual and innovative designs, acquiring all of his table mirrors would give you remarkable range of his greatness and be something of value for many generations. Peacock was designed in May 1925 as a Harper's Bazaar cover. The birds kissing and the woman's lips (originally heart-shaped) symbolize love and contentment. The red, vibrant "Peacock" patina is unusual for Erté mirrors and this rarity, coupled with its beauty, makes it one more sought-after table mirrors.

Papillon shares with Transcendence three common features: shape, size and still motif. While the sunburst pattern in transcendence symbolized the beginning of a new day, in Papillon it symbolizes the beginning of a new life. The woman has undergone a metamorphosis in her life and she is unfolding a new life. Like a butterfly emerging from its cocoon, she is free to be herself, free to fly and to explore her dreams. Both Transcendence and Papillon make wonderful companions that remind us how wonderful life, growth and change call be.

For a tall and stately bride, Erté designed "a perfect wedding dress" in May of 1920. This design has been adapted into a large (17") fully functional table mirror called Lily. The silver dress patina against tile white gold background provides a sophisticated juxtaposition of silver hues that are arresting. Her sleev is full and embroidered heavily with huge conventional water lilies, while the other is wound closely about the arm. The girdle, which is really a continuation of the right sleeve, forms the train and ends in a gleaming mass of silver lilies. Instead of the usual bouquet, the bride carries a single long-stemmed lily. Erté's love of simple white lilies was best expressed in 1924 when he planted them in his impressive garden