ALBERT DAMMOUSE – A PAIR OF PLATES, CIRCA 1900
A PAIR OF PLATES, CIRCA 1900
Decorated in polychome enamel with blooming flowers
Signed AD /S at the back
Diameter: 22.5 cm.
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A PAIR OF PLATES, CIRCA 1900
Decorated in polychome enamel with blooming flowers
Signed AD /S at the back
Diameter: 22.5 cm.
A PAIR OF CHARMING PLATES, CIRCA 1900
One decorated with flowers and leaves in polychrome enamel, signed at the back AD / S and
numbered 9, the other with a crab amidst seaweeds in polychrome enamel, signed at the back AD / S.
Diameter: 13 cm.
ROLL-SHAPED VASE, CIRCA 1900
Terracotta decorated with barbotine
Floral design of Japanese composition executed by Albert-Louis Dammouse; impressionist technique by Ernest Chaplet excecuted in the Haviland workshop, Auteuil
Bearing the artist’s seal, label from the Roger Marx’s collection and an other old label A la paix …avenue de l’opéra on the reverse
Height: 33.5 cm.
Bibliography
Europäiche Keramik der Jugendstilzeit, Art Nouveau Modern Style, exhibition catalogue,
Hetjens-Museum, Düsseldorf (Allemagne), 1974, p. 50, n. 40 for a similar vase
Félix Marcilhac, Art nouveau 1900, éd. Ouest-France, 1981, ill. p. 25
Anne Lajoix, La céramique en France 1925-1947, éd. Sous le Vent, Paris, 1983, ill. p. 11
Provenance
Collection Roger Marx, Paris
IMPORTANT PLATE, 1903
Enamelled design of three blooming red flowers on a green background highlighted with purple, red, green and brown foliage
Stamped A.Dammouse – S
Diameter: 42 cm.
PLATE, CIRCA 1900
Stoneware
Stamped A DAMMOUSE, with the letter S (for Sèvres)
23 cm. diameter
Bibliography
Paul Arthur French, Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 327
No other similar piece executed by Dammouse is known to exist. Nevetheless we know Alexandre Bigot executed similar works designed by the sculptor Pierre Roche, who collaborated with Dammouse. This piece is probably a result of their collaboration
“LA SALAMANDRE”, CIRCA 1903
Stoneware overlaid with sang-de-boeuf and beige glaze
Monogrammed AD and S (for Sèvres) and signed in full
20 x 21 x 15 cm.
Identical example inventoried in the collections of the Petit Palais, musée des Beaux-Arts
de la ville de Paris
A similar example was part of the Marcel Tessier collection, Les Arts du Feu, Drouot, Mes Glück et Mercier, 16 June 1978, lot 77
Exhibition
Société Nationale des Beaux-Arts, 1903
Albert Besnard, Modernités Belle Epoque, Evian, Paris, 2016
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, Armand Guérinet Editeur, Paris, 1903, ill. pl.1.
Art et Décoration, June 1903, p. 200
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill. p. 57
PITCHER, CIRCA 1900
Grès with a floral design on a turquoise background with sang-de-boeuf glaze
Signed underneath with the initials and S (For Sèvres)
Height: 11 cm.
BALUSTER VASE, CIRCA 1900
Enameled Grès with sang-de-boeuf glaze
Bearing the monogram of the artist and located at Sèvres
Height: 16.5 cm.
BALUSTER VASE, CIRCA 1900
Enameled grès with a decor of a blackbird and flowers
Signed with the circular stamp. Some firing losses at the base
Height: 27 cm.
SHOULDERED BALUSTER VASE, CIRCA 1900
Grès with a design in pâte d’émail of anemones and white rowan, yellow-green and brown on a red ocher background
Signature with stamp
Height: 40 cm.
COUPE, 1899
Footed coupe in brown stoneware engraved with flowers and leaves in relief and embellished with cream-colored flowers and green leaves in porcelain, the inside of the neck covered in sang-de-boeuf and turquoise blue enamel
Impressed circular stamp signature
12.5 cm high
Exhibition
Société Nationale des Beaux-Arts, 1899
Bibliography
Art et Décoration, July 1899, pages 4 and 104
PLATE
Deep plate in porcelain, with cutout edges on a basketwork background, decorated with a bird on a branch in Japanese taste on a lacustrine landscape background, polychrome enamels with blue edges
Signed on the back Dammouse et Sèvres 731 and Tiffany & Co in fine gold
24 cm in diameter
IMPORTANT BOWL, CIRCA 1900
Pâte d’émail with a design of roses and foliage
13.5 cm. high
12 cm. diameter
Exhibition
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002, ill. p. 513
TABLE LAMP, UNIQUE, 1910
The base in copper; the shade in pâte d’émail with a decoration of leaves and butterflies in flight
27 cm. high
11 cm. diameter
At the Société Nationale des Beaux-Arts of 1910, Gilbert Pejac exhibited two table lamps in patinated copper with shades by Dammouse
The other was offered at Christie’s Geneva in 1993
Exhibition
Musée du verre de Conches, Conches en Ouche, Animal – Bestiaire de verre de la fin du XIX siècle à nos jours, 9 March-24 November 2019, ill. pp. 32, 33
Bibliography
Karin Blanc, Ferronnerie en Europe au XXème siècle, éditions Monelle Hayot, 2015, ill. p. 195
Provenance
Acquired from Dammouse nephews
A RARE COVERED PITCHER, CIRCA 1890
Glazed stoneware, thickly overlaid with sang-de-boeuf glaze, the lid in vermeil stylized as a flower
Impressed circular signature A DAMMOUSE S (for Sèvres)
with silversmith and French Minerva marks
18.5 cm. high
BOWL, CIRCA 1900
Pâte d’émail
Impressed circular stamp
7 x 10 cm.
A MUSTARD POT WITH COVER AND SPOON, CIRCA 1900
Sang-de-boeuf glazed ceramic and chased silver mount decorated with mustard leaves and seeds
Signed A D and S, stamped Cardeilhac, with French Minerva and silversmith marks under the base
9 cm. high
Provenance
Baron Rodolphe Planta de Wildenberg, Parisud Enchères, Versailles, estate sale, 24 October 1999
A SET OF FOUR PLATES, CIRCA 1900
Enamelled earthenware; butterflies and floral decoration in shades of green,
blue and pink on a pale blue background
Bearing the monogram AD S at the back (Albert Dammouse Sèvres)
24 cm. diameter
CUP, CIRCA 1897
Gilt-cloisonné enamelled stoneware, decorated with flowers and insects
Signed and dedicated to Jeanne Dammouse
Height: 9.5 cm.
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill. p. 354
At the 1900 Exposition Universelle, Thesmar presents his works in gilt-cloisonné enamelled stoneware
for the first time. We have no evidence that Thesmar designed ceramics. We know that he decorated
Sèvres porcelain with enamels ; the ceramics were provided by the Manafacture Nationale.
Because this piece is dedicated to Jeanne Dammouse, we assume it was provided
by the ceramist Albert Dammouse
According to our records, no other example is known to exist