Showing 265–288 of 609 results

HENRI HUSSON – ADRIEN-AURELIEN HEBRARD – “SENECON” VASE, CIRCA 1900

“SENECON” VASE, CIRCA 1900
Bronze and silver, vegetal shape with an applied insect
Signed H. Husson and A. HEBRARD PARIS and bearing the mark H h in a square
18 cm. high

Exhibition
Exhibition of fifty original works by H. Husson, Galerie A.-A. Hébrard, 8, rue Royale, Paris, number 44

Bibliography
Dominique Forest, Marie-Cécile Forest, La Dinanderie Française 1900-1950, les éditions de l’amateur, Paris, 1995, ill. p. 8

ALBERT DAMMOUSE – IMPORTANT BOWL, CIRCA 1900

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

RENE LALIQUE – “LES TROMPETTES DE LA RENOMMEE” NECKLACE, CIRCA 1900

“LES TROMPETTES DE LA RENOMMEE” NECKLACE, CIRCA 1900
Gold, Pâte de verre and enamel
Signed
With its original chain
In its original box    Sold

Exhibition
Artistic Luxury-Fabergé Tiffany Lalique, The Cleveland Museum of Art, Cleveland, Ohio, 19 October 2008-18 January 2009
Fine Arts Museums of San Francisco, San Francisco, 7 February 2009-31 May 2009, ill. p. 108

LA MAISON MODERNE – HAND MIRROR, CIRCA 1900

HAND MIRROR, CIRCA 1900
Silver
With French Minerva mark
23.5 cm. long

Design probably attributed or in the style of Henry Van de Velde for La maison Moderne

The mirror was made for the German restaurant Konss, designed by the German architect and urban planner Bruno Möhring (1863-1929). On Boulevard des Italiens in Paris, it’s interior decoration was commissioned to La Maison Moderne in 1901. The hand mirror was probably part of a set for the dressing rooms.

GEORGES DESPRET – YVONNES SERRUYS – VASE, CIRCA 1900

VASE, CIRCA 1900
Multilayered glass with powder inclusions imitating hard stones
Signed, bearing the monogram of Yvonne Serruys and numbered 606
33 cm. high

Bibliography
“Le maître verrier Despret a eu l’heureuse idée de demander à un sculpteur de talent, Mlle Serruys, les belles formes robustes de ses coupes ; pour leur robe, d’une sourde splendeur, il semble avoir eu la collaboration de la terre et des siècles.” L’Art Décoratif, 1906, p. 182

DAUM NANCY – VASE “VIGNE ET ESCARGOTS”, MODEL N. 2434, 1904

VASE “VIGNE ET ESCARGOTS”, MODEL N. 2434, 1904
Conical shape with circular foot, clear glass with colored powders inclusions, overlaid and cut with foliage and vines, two applied snails
Signed
32.5 cm. high

Bibliography
The Daum firm has the original drawing for this and other vessels with the same decoration.

SERAPHIN SOUDBININE – PAUL JEANNENEY – “LA DOULEUR”, 1907

“LA DOULEUR”, 1907
Grès overlaid with green glaze
Signed and dated
35 cm. high
32 cm. wide
19 cm. deep

Bibliography
Marc Ducret and Patricia Montjaret, L’école de Carriès, art céramique à Saint-Amand-en-Puisaye
1888-1940
, Paris, éditions de l’Amateur, 1997, similar example ill. p. 125
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, similar example ill. p. 349

RENE LALIQUE – “HUIT NAIADES” CIRE-PERDUE, CIRCA 1895-1900

“HUIT NAIADES” CIRE-PERDUE, CIRCA 1895-1900
Silver
Signed LALIQUE
6 cm. high
16 cm. long
16 cm. wide

Bibliography
For the motif in ivory on a jewel by René Lalique, see the Lalique sale, Sotheby’s New York, 1 December 1995
A centerpiece with a similar motif in silver was donated by Mr and Mrs Gillion Crowet to the Royal Museums of Fine Arts of Belgium, in 2006. See Michel Draguet, l’Art Nouveau Retrouvé, Skira/Seuil, Milan, 1999 , p. 85

ALPHONSE LAMARRE – MAISON PAUL LOUCHET – MAISON PILLIVUYT – VASE, CIRCA 1901

VASE, CIRCA 1901
Porcelain decorated with peacock feathers,
the mount in vermeil with the same decor
The mount signed LOUCHET
11.2 cm. high

Exhibition
A variation of this design was displayed in 1901

In 1907 Pillivuyt & Cie. displayed about fifty pieces at l’Exposition de la porcelaine, son décor, sa monture
that was held at Musée Galliéra. The exhibition catalog mentions a silver mounted vase
with the same decor designed by Lamarre and mounted by Louchet (see exhibition catalogue, p. 5).
This is the vase that had already been displayed in 1901 (See The Paris Salons, vol. V, p. 391).

ERNEST BUSSIERE – KELLER & GUERIN – “CHARDON” VASE, CIRCA 1900

“CHARDON” VASE, CIRCA 1900
Glazed stoneware
28.5 cm. high

Similar example at the musée de l’Ecole de Nancy

Exhibition
Exposition de la Céramique, Esplanade des Invalides, Paris 1900
Pavillon de Marsan, Paris, 1903
Nancy 1900 – Jugendstil in Lothringen, Münchner Stadtmuseum, 28 August 1980-6 January 1981,
n. 410, n. 67
Céramiques végétales – Ernest Bussière et l’Art Nouveau, musée de l’Ecole de Nancy,
21 June-25 September 2000, ill. p. 46, n. 48

Bibliography
La Lorraine, July 1900, ill. p. 27
Der Moderne Stil, volume 4, Julius Hoffmann junior, ill. pl. 50
Klopp, Gérard, Nancy 1900 – Rayonnement de l’Art Nouveau, 1991, n. 217
Jean-Paul Midant, L’Art Nouveau en France, L’Aventurine, Paris, 1999, ill. p. 35

ALBERT DAMMOUSE – GILBERT RENE PEJAC – TABLE LAMP, UNIQUE, 1910

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

EMILE GALLE – LOUIS HESTAUX – “CHAUVE-SOURIS ET PAVOTS” BOTTLE, CIRCA 1890-1892

“CHAUVE-SOURIS ET PAVOTS” BOTTLE, CIRCA 1890-1892
After a design by Louis Hestaux
Multilayered and parly hammered glass, acid-etched and wheel-carved decor of a bat and poppies
Signed underneath: Emile Gallé fecit.
24.5 cm. high

Exhibition
Exposition Emile Gallé et Toulouse-Lautrec / Lumières et couleurs de la Belle Epoque, 1995, Suntory Museum of Art, Tokyo, p. 30 et 31 in the exhibition catalogue, n. 16
Exhibition on Emile Gallé in five museums in Japan between April 2000 and March 2001, ill. p. 57, 58 and 59, n. 19 in the catalogue.
Gallé et le Japonisme, 2008, Tokyo-Osaka, n. 62 in the exhibition catalogue
Emile Gallé / Nature & Symbolisme / Influences du Japon, Musée Départemental
Georges de la Tour, Vic-sur-Seille, 5 May-30 August 2009, ill. p. 135, n.114
Bestiaire de verre, de la fin du XIXe siècle à nos jours, Musée du verre, Conches en Ouche, 9 March-24 November 2019, ill. pp. 16, 17

Bibliography
Janine Bloch-Dermant, L’Art du verre en France 1860-1914, Edita Denoël, 1974, ill. p. 63

CARLO BUGATTI – ADRIEN-AURELIEN HEBRARD – AN IMPORTANT SILVER TEA AND COFFEE SERVICE “LIBELLULES”, CIRCA 1907

AN IMPORTANT SILVER TEA AND COFFEE SERVICE “LIBELLULES”, CIRCA 1907
Comprising a coffee pot, a tea pot, a creamer and sugar bowl, with tray
Each item signed Bugatti, with foundry mark A. Hébrard Paris, silversmith and French
Minerva marks
The tray: 89 cm. long
25 cm. wide

Exhibition
Galerie A.-A. Hébrard, 8, rue Royale, Paris, 2-25 December 1907
Salon d’Automne, 1909
Salon de la Société des Artistes Décorateurs, 1910
Bugatti, 18 July-19 September 1999, The Cleveland Museum of Art, USA, ill. p. 25, fig.
36 and under n. 38 in the exhibition catalogue
ReConnaître Carlo Bugatti, Musée d’Orsay, Paris, 10 April-15 July 2001, n. 76 in the
exhibition catalogue, ill. p. 61

Bibliography
L’Art Décoratif, October 1909, the coffee pot ill p. 126, the other items p. 127
P. Dejean, Bugatti, Editions du Regard, Paris 1981, p. 110
Art et Décoration, April 1910, the sugar bowl and creamer ill. p. 132
L’Estampille – L’Objet d’Art, n. 358, May 2001, ill. p. 51
Victor Arwas, Art Nouveau – The French Aesthetic, Andreas Papadakis publisher, 2002,
ill. p. 587

The widow of a South African magnate who had made his fortune in the Transvaal gold mines, Anna Blake settled in Paris in 1902 together with her two children. She began to accumulate works by the most important modern designers such as René Lalique, Carlo Bugatti and Lucien Gaillard.
Fascinated by the work of Carlo Bugatti, Anna Blake commissioned a large portion of the designer’s limited silver output. She soon became one of his best clients, and around 1907 commissioned a silver tea and coffee service. Receiving drawings for three different designs, and unable to make a selection, Blake commissionedall three examples the finest example decorated with dragonflies that we will have the honour to offer at Design Miami/ Basel 2017. Prolific as he was as a furniture designer and maker, Carlo Bugatti’s known silverware number only a handful of objects. The “Dragonfly” service is a unique piece that was already exhibited at the Musée d’Orsay, Paris, and The Cleveland Museum, Ohio.
Epitomizing Carlo Bugatti’s flights into his exotic imagination, it reflects the artist’s fascination with nature that characterized the end of the 19th century and the early 20th century.