BERNARD HOETGER – “LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
“LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
Bronze with a brown patina
Signed on the base
20 cm. high
Showing 289–312 of 698 results
EUGENE VALLIN – RARE MANTLEPIECE MIRROR FRAME, CIRCA 1900
RARE MANTLEPIECE MIRROR FRAME, CIRCA 1900
Carved wood and gilt stucco designed as “laser ribolum” leaves.
174 x 110 cm.
Restored.
Bibliography
Frédéric Descouturelles, Eugène Vallin Menuisier d’art de l’école de Nancy, imprimerie moderne, December 1998, ill. p. 84
Cadre de miroir de cheminée en bois et stuc doré à décor de laser tribolum.
Restauré.
174 x 110 cm
Bibliographie
Frédéric Descouturelles, Eugène Vallin Menuisier d’art de l’école de Nancy, imprimerie moderne, décembre 1998, repr. p. 84
EUGENE VALLIN – CONSOLE, CIRCA 1900
CONSOLE, CIRCA 1900
Wood.
95 x 210 x 90 cm.
Commissioned by Gaston Bachelard for their apartment in Paris after the couple has left Nancy.
Console en bois.
95 x 210 x 90 cm
Commandée par Gaston Bachelard pour leur appartement de Paris après que le couple ait quitté Nancy.
EUGENE VALLIN – JACQUES GRUBER – FIRESCREEN, CIRCA 1900
FIRESCREEN, CIRCA 1900
Carved walnut with inlaid panels of etched glass with clematis flowers and leaves.
123.5 cm. high; 104.5 cm. wide
Bibliography
Frédéric Descouturelle, Eugène Vallin, Menuisier d’Art de l’Ecole de Nancy, Imprimerie Moderne, Pont-à-Mousson, 1998, a variation of the design ill. p. 209
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 320
Ecran de cheminée en noyer massif mouluré encadrant un panneau de Gruber en verre de couleur gravé à décor de clématites.
Hauteur : 123,5 cm
Largeur max : 104,5 cm
Bibliographie
Frédéric Descouturelle, Eugène Vallin, Menuisier d’Art de l’Ecole de Nancy, Imprimerie Moderne, Pont-à-Mousson, 1998, forme du modèle reproduite page 209.
Victor Arwas, Art Nouveau – The French Aesthetic, Andreas Papadakis publisher, 2002, rep. p. 320
LOUIS-AUGUSTE THÉODORE-RIVIÈRE – “SALAMMBO CHEZ MATHO”, 1895
“SALAMMBO CHEZ MATHO”, 1895
Carved ivory
Signed and dedicated à mon ami A(ngelo) Mariani
Height: 28 cm.
Exhibition
Musée Galliéra, Exposition de la Statuette et du Meuble qui la présente ou l’accompagne, 1914, n. 373,
described as “Salammbô”, ivory (Collection of Mr Jacques Mariani)
Salammbô: Fureur ! Passion ! Elephants !, 20 October 2021-7 February 2022, exposition itinérante au Musée des Beaux-Arts de Rouen, au Mucem à Marseille et à l’Institut national du patrimoine à Tunis
Bibliography
Colette Dumas, Théodore Rivière – sa vie … Son œuvre, p. 61 to p. 66
Salammbo, Mucem, Réunion des Musées Métropolitains de Rouen, Institut National du Patrimoine de Tunisie, éditions Gallimard, 2021, ill. p. 110 in the exhibition catalogue
Provenance
Formerly in the Collection of Mr Angelo Mariani
Angelo Mariani, chemist and inventor of the “Vin Mariani”, a fortifying beverage based on coca bark, a true institution for nearly half a century before its essential component was banned, was the friend and patron of Theodore Riviere, who composed a collection of portraits and statuettes. The period documentation quotes a number of artworks exhibited at different Salons and having belonged to A. Mariani (or by descent to his son Jacques), such as La Caravane, plaster ; le Portrait de M. Mariani, bronze ; Salomé, ivory (our example) ; Les Huns ; Le Mur ; Le Silence, ivory, marble and bronze ; L’Empereur d’Annam, ivory and sculpted wood ; La Femme d’Elchi, ivory, marble and wood ; La brodeuse arabe, ivory, marble and enamels. Angelo Mariani was the patron of several artists including Jean Baffier.
Special order or gift of the artist, this sculpture, which is not among the works on display at the ivory exhibition at the Galliéra Museum in 1903, could have been executed around this date
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
EMILE GALLE – VICTOR PROUVE – “LES CISELEURS DE LA MER”, 1900
“LES CISELEURS DE LA MER”, 1900
Pitcher of flattened form with wheel-carved aquatic decoration
Engraved signature
25.5 cm. high; 10.5 cm. wide; 3 cm. thick
One of four known to exist
Exhibition
Exposition Universelle, Paris, 1900
Exposition de l’Ecole de Nancy, Paris, Pavillon de Marsan, 1903
Salon de la Nationale des Beaux-Arts, Paris, 1904
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, musée des Beaux-Arts, musée de l’Ecole de Nancy, Nancy, 6th May – 28th August 2006, n. 162 in the exhibition the catalogue, ill. p. 220
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
A. Duncan & G. de Bartha, Glass by Gallé, 1984, Thames & Hudson Limited, London, ill. page 58
Wood One Museum of Art, 2005, catalogue n. 63, ill. p. 64 (neck cut down)
The Paris Salons, vol. IV, ill. page 224
Provenance
Identical pitcher at the Musée de l’Ecole de Nancy and at the Danish Museum of Art & Design in Copenhagen
Similar model at the Roger Marx Sales, Paris, 13th may 1914, Galerie Manzi-Joyant, “Les Algues” n. 97 in the catalogue, ill. p. 17
The drawing of this piece with annotations by hand by Gallé is illustrated page 187 of the catalogue of the “Emile Gallé” exhibition presented in six Japanese museums in 2000-2001
BERNARD HOETGER – “PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
“PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
Bronze with a brown patina
Signed
9 cm high
Bibliography
Bernard Hoetger – Skulptur, Malerei, Design, Architektur, Hauschild, 1998, ill. p. 344, n. 236
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
EUGENE GAILLARD – “TREFLE” LOWER TABLE, 1913
“TREFLE” LOWER TABLE, 1913
Padouk wood and walnut with four nesting tables.
70 x 70 cm.
Another example of this design is in the collections of the Musée des Arts Décoratifs, Paris.
Exhibition
SAD, Paris 1913
Bibliography
M. P.-Verneuil, Le Salon de la Société des Artistes Décorateurs, Art et Décoration, January 1913, p. 96
Laurence Buffet-Challié, Le Modern Style, Baschet et Cie éditeurs, Paris, n.d., ill. p. 53
Anne-Marie Quette, Le Mobilier Français – Art Nouveau 1900, éditions Massin, 1995, ill. p. 57
Table à thé formant gigogne en bois de padouk et placage de noyer à quatre éléments amovibles, plateau circulaire de forme mouvementée, quatre tables gigognes à plateau triangulaire, piétement ajouré et rainuré sur sa face extérieure.
70 x 70 cm
Modèle identique au Musée des Arts Décoratifs.
Exposition
SAD, Paris 1913
Bibliographie
M. P.-Verneuil, Le Salon de la Société des Artistes Décorateurs en 1913, dans Art et Décoration, janvier 1913, p. 96
Laurence Buffet-Challié, Le Modern Style, Baschet et Cie, éditeurs, Paris, n.d., ensemble rep. p. 53
Anne-Marie Quette, Le Mobilier Français – Art Nouveau 1900, 1995 éditions Massin, repr. p. 57
EMILE GALLE – “AUX CAMPANULES” NEST OF FOUR OCCASIONAL TABLES, CIRCA 1900
“AUX CAMPANULES” NEST OF FOUR OCCASIONAL TABLES, CIRCA 1900
Graduated in size, sculpted wood, the tops inlaid in various woods, including rosewood, with magnolia, daisies and other flowers and leaves
Each signed Gallé
The largest: 75 cm. high; 70.5 cm. wide; 42 cm. deep
Bibliography
A table with the same sculpted decor is illustrated in: Gallé furniture, Antique collectors club, 2012,
p. 174
FRENCH – JEWELRY BOX, CIRCA 1903
JEWELRY BOX, CIRCA 1903
Wood, engraved copper and embossed leather decorated with horse chestnuts
Bearing the monogram M D G (attributed to Miss Denise Germain)
30 cm. high
Base: 40 cm. long; 24 cm. wide
Bibliography
Prince Bojidar Karageorgevitch mentions Denise Germain in Les objets d’art au Salon des artistes français, l’Art Décoratif, June 1903, page 28, “Un grand sous-main teinté de vert, un coffret gris décoré de feuilles de marronnier”
LOUIS-AUGUSTE THÉODORE-RIVIÈRE – ALEXIS RUDIER – “DANSE DU PAON” OU “DANSEUSE AU PAON”, CIRCA 1900
“DANSE DU PAON” OU “DANSEUSE AU PAON”, CIRCA 1900
Bronze with a black patina
Signed on the base; with foundry mark
31.5 cm. high
Bibiography
Théodore Rivière, sa vie, son oeuvre, Colette Dumas, nd, p. 55, n. 56
PIERRE-FELIX FIX-MASSEAU – “CONFIDENCES”
“CONFIDENCES”
Bronze
Signed
50 cm. high
Bibliography
L’Art Décoratif, June 1904, ill. p. 232
Exhibition
Société Nationale des Beaux-Arts, Paris, 1904, n°2490
KAI NIELSEN – “VENUS KALIPYGOS”, 1909
“VENUS KALIPYGOS”, 1909
Patinated bronze
Signed, titled and dated 1909
22 cm high
CARL VILHEM MILLES – ANDRO, Foundry – “TIGGERSKA”, 1901 (“MENDIANTE ET ENFANT”)
“TIGGERSKA”, 1901 (“MENDIANTE ET ENFANT”)
Bronze with a black patina
Signed and bearing foundry mark
30 cm. high
PIERRE-FELIX FIX-MASSEAU – SIOT-DECAUVILLE – “LE SECRET”, CIRCA 1900
“LE SECRET”, CIRCA 1900
Bronze with a brown patina
Signed, with foundry mark and numbered S291
The base in wood bearing the inscription Les artistes du théātre Michel / à leur ami et régisseur / Charles Maudru / 1893-1907
62.2 cm. high
Bibliography
L’Art Décoratif, March 1900, ill. p. 230
“L’année suivante (1894), il s’essaye à une oeuvre de dimension importante : La Maquette du Monument de Joséphin Soulary et à trois statuettes : sculpture monumentale et sculpture intime. Jamais du reste Fix-Masseau ne se dépassera lui-même dans sa compréhension si délicate de la statuette telle qu’elle nous apparaīt en des oeuvres comme l’Eve des Rèves, Le Secret et la Folle du Sonnet, cette dernière vivante et vibrante, les cheveux au vent, emportée par l’ardeur de sa course. Le Secret au contraire montre une sorte de mysticisme que nous retrouverons souvent chez lui. Notons en même temps, en admirant l’allongement de ce corps de femme en partie dissimulé par la draperie, que M. Fix-Masseau interprète largement la nature, mais ne la déforme jamais”.
Maurice Rheims, The Flowering of Art Nouveau, Harry N. Abrams, Inc. Publishers, N.Y., n.d. ill. p. 203, n. 251
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 76, n. 66
LOUIS DEJEAN – ADRIEN-AURELIEN HEBRARD – “ELEGANTE EN ROBE LONGUE, SEIN GAUCHE DECOUVERT”, CIRCA 1900
“ELEGANTE EN ROBE LONGUE, SEIN GAUCHE DECOUVERT”, CIRCA 1900
Bronze with a dark brown patina
Signed
With foundry mark and numbererd (M)
39 cm. high
JEAN BAFFIER – WINE JUG, CIRCA 1900
WINE JUG, CIRCA 1900
Pewter; decor of harvest scene
The handle shaped as a vine leaf
Signed. With foundry mark and numered 8578
23.5 cm. high
Bibliography
“En contraste avec l'étain d'orfèvre, M. Jean Baffier permet d'apprécier l'étain de sculpteur. Son service à vin comprend un plateau aux rebords légèrement ondés, sobrement ornés de feuillages, d'insectes et de petits animaux, d'un pichet ventru où s'allongent en léger relief des scènes de vendange et quatre tasses sortant d'un feuillage ornemental et fleuries aux anses. Cette rusticité très affinée et très somptueuse plaira partout” (Revue des Arts décoratifs, 1899, p. 328 and p. 332)
Catalogue de la maison Siot-Decauville, ill. p. 55
L'Art décoratif de Jean Baffier, La Renaissance de l'Art Français et des Industries de Luxe, January 1921, ill. p. 18 (Jacques Mariani collection)
Exhibition
Société Nationale des Beaux-Arts, 1899
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
LETTER OPENER, CIRCA 1900
LETTER OPENER, CIRCA 1900
Horn with a design of a carved fish in semi-relief
The eye, in ruby glass, is applied. The handle is openwork with a design of algae; three opal glass cabochons representing air bubbles
Unsigned. Has a new case
32.2 cm. long
FRANCOIS-EMILE DECORCHEMONT – THREE HANDLED SMALL BOWL “ALGUES”, 1911
THREE HANDLED SMALL BOWL “ALGUES”, 1911
Pâte d’émail. The base impressed with the usual seal and numbered CE9
5.25 cm. high
9 cm. diameter
According to Véronique Ayrolles, 10 examples were executed by Décorchemont between 1911 and 1912 numbered CE1 thru CE10. So far, only two examples have been traced
Bibliography
Véronique Ayrolles, François Décorchemont Maître de la pâte de verre, Editions Norma, Paris, 2006, ill. p. 53 and 229
Presently on loan to the Musée du Verre François Décorchemont, in Conches-en-Ouches
LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – FIVE PIECE SILVER TEA AND COFFEE SERVICE, CIRCA 1900
FIVE PIECE SILVER TEA AND COFFEE SERVICE, CIRCA 1900
Comprising a coffee-pot, tea-pot, sugar bowl with cover, cream jug and matching tray, decorated with chased clover leaves, finely carved wood handles
Each piece monogrammed and stamped Cardeilhac Paris, with French silver marks
The coffee-pot: 13.5 cm. high; the tea-pot: 12 cm. high; the sugar pot: 7.5 cm. high;
the cream jug: 4 cm. high; the tray: 35.5 cm. long
It is likely that this design was shown in the competition held in 1899 by l’Union Centrale des Arts Décoratifs for the purpose of selecting artists for the Exposition Universelle of 1900
for which Bonvallet, Cardeilhac and Viat were rewarded (Revue des Arts Décoratifs, 1899, p. 118).
GEORGES DE FEURE – THREE-LEAF SCREEN, CIRCA 1899
THREE-LEAF SCREEN, CIRCA 1899
Rosewood and embroidered felt. Carved Art Nouveaud design
The panels in green felt, decoration of stylized water lilies
135 cm. high
137 cm. wide