MICHEL CAZIN – VASE, 1907
VASE, 1907
White grès with a design in semi-relief of primroses
The base and the lid in patinated gilt bronze
Signed MICHEL CAZIN / 1907 / n° 4
Total height: 18.5 cm
Showing 73–96 of 203 results
EMILE GALLE – TWO COLOCYNTHS RARE VASE, CIRCA 1900
TWO COLOCYNTHS RARE VASE, CIRCA 1900
Japanese inspiration, in faience with a high-fired polychrome design on white glazed cover
The two colocynths have stylized cutouts on the belly, to receive the flowers
Some small scratches, firing cracks and a restored chip at the back
Black enamed signature under the base E. Gallé / Faïencerie de Nancy
Height: 33 cm
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 173
PACO DURRIO (DURRIO DE MADRON FRANCISCO) – SCULPTURE, CIRCA 1900
SCULPTURE, CIRCA 1900
Earthenware; multilayered in green, beige, white and shades of brown
Bearing the artist's monogram
11 cm. high; 20 cm. long
Exhibition
A retrospective exhibition was held at the Bilbao Museum of Fine Arts in 2013
Bibliography
French Art Nouveau Ceramics by Paul Arthur, Norma editions, 2015, p. 154.
ALPHONSE DEBAIN – GIRAULT, DEMAY & VIGNOLET (G.D.V.) – IMPORTANT VASE, CIRCA 1900
IMPORTANT VASE, CIRCA 1900
Grès with a glazed cover
The mount by Debain with a floral decor
Signed under the base BRUERE and G.D.V.
With French Minerva mark and silversmith mark
38 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 182
FELIX BRACQUEMOND – ERNEST-EMILE CHAPLET – IMPORTANT ZOOMORPHIC PITCHER, CIRCA 1900
IMPORTANT ZOOMORPHIC PITCHER, CIRCA 1900
Grès; beige and brown glaze
Signed
34.5 cm. high
Bibliography
Compare with the models executed in glass for the Manufacture Nationale de Sèvres and illustrated in Gustave Kahn, La Verrerie – verrerie usuelle – la verrerie de table, Art et Décoration, December 1901, pp. 129 à 139
“….En France, Bracquemond donna ses soins à trouver quelques modèles de verrerie. Le principe de cette recherche, où il ne semble pas avoir persisté, semble avoir été d’appliquer à la verrerie quelques-unes des formes utilisées dans la céramique, et stylisées en vue de l’usage nouveau”
SET OF FOUR SALT CELLARS AND SPOONS AND A MUSTARD JAR, CIRCA 1900
SET OF FOUR SALT CELLARS AND SPOONS AND A MUSTARD JAR, CIRCA 1900
Grès by Eugene Baudin, the spoons mounted by Debain
Two spoons are new
Fitted box
CLEMENT MASSIER – LUCIEN LÉVY-DHURMER – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Ceramic, polychrome design of a crab and seaweed on a iridescent background
Signed Clément Massier Golfe Juan (A.M.)
52.5 cm. diameter
RORSTRAND PORSLINFABRIKER AB – WALDEMAR LINDSTRÖM – “RAIES” VASE, 1901-1902
“RAIES” VASE, 1901-1902
Porcelain
Bearing the manufacturer’s stamp, bearing the monogram of the artist, numbered 12806
22.5 cm. high
AGATHON LEONARD – SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
Enamelled stoneware
Signed with monogram A.L. under the base
8 cm. high
Exhibition
Agathon Léonard had exhibited stonewares at the Nationale des Beaux-Arts from 1901
VICTOR PROUVE – JOSEPH and PIERRE MOUGIN – “AUX ROSES” VASE, CIRCA 1900
“AUX ROSES” VASE, CIRCA 1900
Beige earthenware, the three sided vessel decorated with a woman holding a rose, the rim adorned with roses in full relief
Signed Mougin frères céram., numbered 1355 and signed V Prouvé
(the letters V and P intertwined)
53.2 cm. high
A similar vase without Prouvé’s decoration is at the Musée de l’Ecole de Nancy, gift of J.-B. Corbin
to the town of Nancy in 1935. No other example of our vase is known to exist
Exhibition
Victor Prouvé 1858-1943, Musée de l’Ecole de Nancy, 17 May-21 September 2008,
ill. p. 204, n. 143 in the exhibition catalogue
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022
Bibliography
Jacques G. Peiffer, Les frères Mougin, sorciers du grand feu-grès et porcelaine 1898-1950, éditions Faton, ill. p. 159
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, our example ill. p. 309
MANUFACTURE NATIONALE DE SEVRES – LÉON KANN – “POMMES DE PIN” COFFEE SERVICE, 1902
“POMMES DE PIN” COFFEE SERVICE, 1902
Comprising four cups and saucers and one sugar bowl porcelain with a relief decoration of pinecone scales
Bearing the manufacturer’s marks S/1905, pâte nouvelle
Sugar bowl: 14.2 cm. high
Each cup: 6.8 cm. high
Each saucer: 13 cm. diameter
Another example of the sugar bowl is part of the collections of the Château-Musée de Boulogne-sur-Mer (INV. 480L)
Exhibition
1904, St. Louis: Exposition internationale
HENRI LAURENT-DESROUSSEAUX – BALUSTER VASE, CIRCA 1900
BALUSTER VASE, CIRCA 1900
Ceramic with a white glaze mottled in gray and pink. Decor in light incised relief and reddish-brown enamel of three chestnut leaves
Signed ROBALBHEN, Henri LAURENT-DESROUSSEAUX and located Paris
26 cm. high
Exhibition
Europaische Keramik des Jugendstils, Hetjens Museum, Dusseldorf 1974, No.104, p. 86
Bibliography
Paul Arthur French, Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 234
PAUL JEANNENEY – SMALL POT, CIRCA 1900
SMALL POT, CIRCA 1900
Japanese inspiration
Grès overlaid with dark green glaze with a design of three incised cercles
Signed and numbered 61
12.5 cm. high
EMILE GRITTEL – SMALL CYLINDRICAL VASE, CIRCA 1900
SMALL CYLINDRICAL VASE, CIRCA 1900
Brown and ocher glazed grés
The decor is incised with applied drippings
Signed with the initials of the artist E.G
7 cm. high
PAUL JEANNENEY – CORNER FLOWER POT, CIRCA 1900
CORNER FLOWER POT, CIRCA 1900
Inspired by japanese flowerpots
Grès overlaid with reddish-brown and beige glaze and green drippings
Signed
14.2 cm. high
PAUL JEANNENEY – WALL FLOWER POT, CIRCA 1900
WALL FLOWER POT, CIRCA 1900
Grès overlaid with pale green glaze. Green enamels drippings mottled brown
Signed
16.3 cm. high
PAUL JEANNENEY – “CITROUILLE” VASE, CIRCA 1900
“CITROUILLE” VASE, CIRCA 1900
Grès
14 x 22.5 cm.
NILS DE BARCK – RARE VASE, CIRCA 1900
RARE VASE, CIRCA 1900
Incised and sculpted grés representing a datura flower capsule
Incised signature
30.5 cm. high
Bibliography
Le Style Moderne – L’Art appliqué, 1ère année, 1904-1905, H. Laurens, éditeur, ill. pl. 3.
Der Moderne Stil, 1905, ill. pl. 3.
Marc Ducret et Patricia Monjaret, L’Ecole de Carriès – L’Art céramique à Saint-Amand-en-Puisaye, Les éditions de l’amateur, Paris 1997, similar example ill. on a period photograph, p.72
ETIENNE MOREAU-NELATON – VASE, CIRCA 1900
VASE, CIRCA 1900
Grés with an enameled design of holly branches on an enameled white cream background
25.5 cm. high; 17.2 cm. diameter
Bibliography
Roger Marx, La Décoration et les Industries d’Art à l’Exposition de 1900, Ch. Delagrave éditeur, Paris, 1901
Exhibition
Exposition universelle, Paris, 1900
ALEXANDRE BIGOT – BOUCHERON, Maison – LINZELER ROBERT, Silversmith – BEER PITCHER, CIRCA 1901
BEER PITCHER, CIRCA 1901
Cream stoneware with dripping brown tones, blue-gray mottled steel and mounted in solid silver
Signed BOUCHERON / PARIS – LONDON, Mce POUSSIELGUE RUSAND and numbered 4627
With French Minerva marks and mark of Robert Linzeler
27 cm. high
Similar examples :
Rijksmuseum, Amsterdam.
Museum of Applied Arts, Budapest
Exhibition
Salon of 1901
Première Exposition des Arts du Foyer consacrée à l’orfèvrerie dedicated to goldsmithery, November 1901, Salon de la Plume, 31 rue Bonaparte
Bibliography
“Le pot à bière, grès et argent poli, de M. Linzeler, sera sans doute aussi commode à l’usage qu’il est satisfaisant à l’œil. Voici donc un morceau beau par lui-même, en dehors de toute espèce d’ornement sculpté. Il fournit la preuve palpable qu’il n’est nullement nécessaire d’écraser toutes surfaces sous un déluge de “motifs” pour que l’objet contente notre sens esthétique. L’artiste, ici, n’a cherché son effet que dans l’harmonie du galbe, dans le jeu des tons et des matériaux, dans le sentiment de confortable, de logique qui émane de son œuvre. Et il a pleinement réussi.
C’est bien ainsi que veut être le véritable art industriel : harmonique et commode. S’il n’est qu’art, nous souffrons dans notre bien-être ; s’il n’est qu’industriel, nos yeux s’attristent de sa sécheresse. Ainsi les deux vases qu’expose en même temps M. Linzeler nous donnent, malgré la recherche de leur décor, une certaine impression de lourdeur à côté de la masse tranquille de ce broc où le ton du grès se marie si bien à l’éclat de l’argent.” Charles Torquet, L’Orfèvrerie et le bronze, L’Art Décoratif, août 1901, page 214
L’Orfèvrerie aux Salons de 1901, Revue de la bijouterie, de l’orfèvrerie et de la joaillerie, August 1901, ill. p. 132
“Quelques artistes cependant obéissent à la logique. C’est ici Marcel Carlier, dessinateur de l’orfèvre Linzeler, dont le pichet et la théière sont très bien conçus, avec leurs panses de grès qu’entourent des armatures d’argent. Le métal accuse les lignes, affirme la volonté architecturale”. Albert Thomas, Première Exposition des Arts du Foyer consacrée à l’orfèvrerie, l’Art Décoratif, December 1901, p. 125
Der Moderne Stil, 4ème volume, Julius Hoffmann junior, ill. pl. 63
Annelies Krekel-Aalberse, Argenterie Art Nouveau et Art Déco, les éditions de l’amateur, 1990, ill. p. 74, n°39
Hélène Bédague, Alexandre Bigot, Chimiste et Céramiste, éditions Louvre Victoire, Paris, 2016, ill. p. 178
MANUFACTURE NATIONALE DE SEVRES – LEON KANN – “VASE GOURDE DE BRUYERES”
“VASE GOURDE DE BRUYERES”
Pâte Nouvelle (PN) of 1900
Designed by L. Kann, 1899
21 cm. high
Bibliography
Antoinette Faÿ-Hallé, Barbara Mundt, La porcelaine européenne au XIXe siècle, Office du Livre, Fribourg, Suisse, 1983, ill. p. 252, board 413
Jean Paul Midant, SEVRES La Manufacture au XXème siècle, Paris, Michel Aveline Editeur, 1992, p. 38
Provenance
An identical piece in a paler and monochromic shade can be found in the collections of the Musée National de Céramique in Sèvres, inventory n. MNC 25 522
Another item is part of Mobilier National’s collection
A third piece is in the collection of the Musée National Adrien-Dubouché in Limoges, inventory n. 7704
LUCIEN GAILLARD – CLEMENT MASSIER – “CHARDONS” VASE, CIRCA 1900
“CHARDONS” VASE, CIRCA 1900
Turquoise and brown ceramic, with two handles in the shape of horns, imitating Chinese vases
Silver mount adorned with thistles
Small warranty silver and Lucien Gaillard hallmarks
LG seal in a rectangle
8 cm. high
Bibliography
Victor Arwas, Art Nouveau – The French Aesthetic, Andreas Papadakis publisher, London, 2002, ill. p. 399
Provenance
Lillian Nassau, New York, acquired in 1994
ALBERT DAMMOUSE – COUPE, 1899
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
ANDRE METTHEY – LOUIS DEJEAN – “DEPART POUR LE BAL”
“DEPART POUR LE BAL”
Grès
Signed by both artists
22 cm. high
A similar example in the Roger Marx collection, May 13, 1914, lot 49
These models in collaboration with the ceramist Methey are listed:
Femme à la canne, Sortie de spectacle, Diseuse, Coursière, Femme au chapeau, (2) danseuses, Femme à l’éventail, Jeune Mariée, Sortie de Bal, Buste d’enfant, Buste paysan, Tête de Femme (1ère Exposition des Arts du Foyer, 1901)
Bibliography
Die Kunst, 1900, vol. II, ill. p. 330
L’Art et les Artistes, april 1907, ill. p. 22
André Metthey, la quête du feu et de la couleur, MUDO, Musée de l’Oise, 2022, ill. p.35