“ALGUES MARINES” OR “LEZARD ET CORAIL”
Gypsograph in two colors
From an edition of 100, from “L’Estampe Originale” published by André Marty and Roger Marx
Numbered 62, signed in pencil. The double sheet on the back that contains the dry seal is missing
Similar model (n. 49) at the Fine Arts Institute of San Francisco, Achenbach Foundation for Graphic Arts, 1963.30.1523. Another one at the Minneapolis Institute of Art. Another one (n. 86) at the National Gallery of Art, Washington
Exhibition Sea Algae (Algues marines), 1893, another example in the collections of the Metropolitan Museum of Art, New York, Accession number 22.82.1-35
BUST OF A YOUNG WOMAN
Model of the sculptor CISEAU
Patinated terracotta
Signed. Bearing the editor’s mark and numbered 2789
Height: 60 cm.
Width : 44 cm.
Bibliography
Robert E. Dechant, Filipp Goldscheider, Goldscheider, History of the Company and Catalogue of Works, Arnoldsche, p. 366, n. 2789
“DANSEUSE TAMBOURIN A DROITE, N. 4, 1ERE GRANDEUR”
Biscuit
Signed and bearing the manufacturer's stamps
Height: 49 cm.
Identical model in the following public collections:
Frankfort, Museum für Kunsthandwerk
Hambourg, Museum für Kunst und Gewerbe
Copenhagen, Kunst-Industri-Museet
London, Victoria & Albert Museum
Saint-Petersbourg, Ermitage
Sèvres, musée national de Céramique
Bibliography Agathon Léonard , Le geste Art nouveau, Somogy éditions d'art, 2003, ill. p. 51 n. 12 in the exhibition catalogue at the museums of Roubaix and Beauvais
IMPRESSIVE TERRACOTTA VASE, 1876-1881
Terracotta vase featuring blooming roses on a dark green background
Bearing the artist’s monogram within the decor and impressed with the manufacturer’s stamp: Haviland & Cie/Limoges/75/2
Height: 31 cm.
Diameter: 32 cm.
Bibliography Emaux atmosphériques : la céramique impressionniste, 26 Avril-4 November 2001, Musée Fournaise and Laurent d’Albis, Chatou, n. 32, Rouen 2010, p.112-113
IMPORTANT “PRIMEVERES” VASE, MODEL N. 4093, CIRCA 1910
Multilayered glass with orange and blue-purple powder inclusions, overlaid in green and etched with primroses and leaves
The flowers in white glass are applied and finely wheel carved
Wheel carved signature
Height: 47 cm
“Vase de Varennes”, 2ème grandeur, 1897
White porcelain with an iridescent glaze; the stopper and mount in bronze with a decor of leaves and waterlilies
Bearing the manufacturer’s triangular stamp for 1906
Height: 20.5 cm.
COVERED POT, CIRCA 1890-1895
Grès covered pot, the base and cover in gilt bronze
Impressed signature “à la grenade éclatée”
Bears a label of L’Escalier de Cristal
Height: 25 cm
“AUTOMNE” RARE VASE, CIRCA 1906
Grès. Baluster shaped with an elongated neck, decorated with a leafy branch in high relief. The glaze, in
the usual manner of the school of Carriès, is applied as a”guilloché” surface in a rotating movement
Handwritten signature under the vase, 623 L and 68467/EB in ink
Height: 45 cm.
AIGUIERE AUX IRIS, 1893
Multilayered glass, partly hammered with small irregular facets and wheel-carved decor of iris flowers
Height: 22 cm.
Most likely blown and engraved in Meisenthal then wheel-carved in Nancy
Designed to be mounted in silver, an example was acquired directly from Emile Gallé in 1893 by the Union Centrale des Arts Décoratifs, the current Musée des Arts décoratifs, inventory number 7775. The mount is by Joseph Joindy, chased by Francis Peureux who was the main silver chaser at the Maison Boucheron. Our example is the unmounted one that remained in Emile Gallé’s family and no other example known to exist.
In his book L’Oeuvre de verre d’Emile Gallé, copyright 1998 Editions Messene, Paris,
François Le Tacon illustrates a ewer in red and black multilayred glass, that he dates 1893 and which is located in the castle museum of Boulogne-sur-Mer, inventory n. 750, height: 25 cm.; We read: “A l’opposé, une cruche de 1893 (fig.62), sans caractère symbolique, est un objet intrinsèquement décoratif. Soufflée et gravée à Meisenthal à l’acide, puis reprise à la roue à Nancy, elle était destinée à être montée à Paris sur argent doré, comme l’exemplaire du musée des Arts décoratifs. Elle est en cristal triple couche : une interne translucide, une intermédiaire noire foncée et une externe rouge. L’opposition violente entre le noir et le rouge donne à cette pièce un aspect particulier, encore souligné par l’agressivité de la gravure qui s’apparente beaucoup à une taille. La monture en argent ciselé et doré, de style rocaille, avec deux serpents s’enroulant autour de l’anse, plutôt de style Art nouveau, accentue encore les oppositions. La pièce parisienne, à décor d’iris, a été achetée directement à Gallé par le musée; celle de Boulogne, à décor de lys, appartenait à Charles Lebeau”.
ALEXANDRE SANDIER (1843-1916), form designer
HENRI-LOUIS-LAURENT ULRICH, decorator
LÉONARD GEBLEUX (1861-1930), decor designer
“Vase de Montchanin”, 1896
White porcelain glazed blue with a stylized floral pattern
Bearing the manufacturer’s oval stamp for 1899
23 cm. high
Exhibition
Exposition Universelle, 1900
ALEXANDRE SANDIER (1843-1916), form designer
DENIS LIGUÉ (active at Sèvres between 1881 and 1911), decorator
“Vase de Monchanin”, 1896
White porcelain glazed polychrome with a floral pattern
Bearing the triangular manufacturer’s stamp for 1900 and decoration mark for 1904
23 cm. high
ALEXANDRE SANDIER (1843-1916), form designer
“Vase de Montchanin”, 1896
White porcelain glazed pink, red and gold with a decor of waterlilies
Bearing the triangular manufacturer’s stamp
23 cm. high
“LA SOURCE TARIE” INKWELL, 1906
Bronze with a dark brown patina
Signed
18 x 25.5 cm.
Exhibition
Salon d’Automne, Paris, 1906, n. 349 (plaster)
Musée d’Orsay, Alexandre Charpentier Naturalisme et Art Nouveau, 22 January-13 April 2008
Bruxelles, musée communal d’Ixelles, 29 May-31 August 2008, ill. p. 167, n. 171
Bibliography
Madeleine Charpentier-Darcy, Introduction à l’art d’Alexandre Charpentier. Catalogue sommaire de l’oeuvre (sculpture – art décoratif)”, Bulletin de la Société de l’Histoire de l’art français, année 1996, published in 1997, Sc 29, p. 219
