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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

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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

SOLD

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LOUIS-AUGUSTE THEODORE-RIVIERE – “LA POMME D’OR”, CIRCA 1900

“LA POMME D’OR”, CIRCA 1900
Original sculpture of a figure representing Eve, carved in ivory, set in a sculpted mahogany tree, a snake applied in enameled silver
Signed on the wooden base
37.5 cm. high

To the best of our knowledge, three works by Théodore-Rivière incorporated enamel by René Lalique among which “La brodeuse arabe” or “La brodeuse tunisienne” from 1897, and a Cambodian dancer. Therefore, it is very likely that our piece was enameled by Lalique as well.

Bibliography
Colette Dumas, Théodore Rivière, sa vie, son œuvre, 1998, ill. page 89, n. 102

Provenance
Private collection of Louis-Auguste Théodore-Rivière
Théodore-Rivière sale, Hôtel Drouot, room 10, 1st December 1909, lot 36

The Musée d’Orsay keeps in its archives the sales record established by Jean (Théodore) Rivière. It comprises 45 lots originating directly from the studio of the artist, among which bronze sculptures in large part, without any of them being cast, thus unique; two or three marbles, two terracottas and two ivory sculptures, one of them being “La Pomme d’Or”. A few works were bought in, and the total of the sale reached 15.251 francs. Two lots reached the highest bid of 1.500 francs, lot 32: “Néron”; turquin blue marble, unique artwork, 36 cm. high; and lot 36: “La Pomme d’Or”, described as “statuette ivoire, serpent argenté émaillé, sur bois des îles socle marbre, hauteur moyenne 40 cent”.

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EMILE GALLE – “BERCE DES PRES” LADIES DESK, CIRCA 1900

“BERCE DES PRES” LADIES DESK, CIRCA 1900
Variation of “Les Ombellules” desk exhibited at the Exposition Universelle of 1900
Exotic marquetry inlaid wood, with botanical decor
With its key in gilt bronze
Signed GALLE

Bearing a paper label from the 1950/1960s on which can be read “N°7399 – Salle des Ventes – Santé
Frères et Cie – Pau » with the lot number, its description, the name of the buyer and the price
(the company Santé Frères et Cie put an end to its public sales in 1970)
157 cm. high ; 77 cm. wide ; 55 cm. deep

Exhibition
Exposition Universelle, Paris 1900. A design, which can be compared to our desk, titled “Les Ombellules” by Emile Gallé himself in a publication at the time, was shown by the artist during the event.

Musée d’Orsay, Paris. A “Les Ombellules” desk, comparable to ours, is in the collection of the Musée d’Orsay (inventory OAO 1467 coming from the Rispal donation)

Provenance
This desk was acquired by the former owner at a public auction in the 1950/1960s from the Salle des Ventes Santé Frères et Cie, rue Emile Garet in Pau. This company, which started out with public auction sales, simultaneously as a transporter, right after the post-war years, enrolled a notary or a court bailiff, but lost the office in 1970 when the French government appointed a ministerial officer as an auctioneer in Pau.

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PAUL BRINDEAU DE JARNY – MURAL PORTE-DOCUMENTS, CIRCA 1900

MURAL PORTE-DOCUMENTS, CIRCA 1900
Wood and embossed copper
Fire-stamped monogram on the back, decoration of leaves and burrs of plane trees
32 cm. high; 44.5 cm. in maximum width

Exhibition
IIème Exposition d’Etrennes d’Art de La Plume, 1901:
97. Porte-journaux “Houx”, 50 fr.

Bibliography
Karin Blanc, Ferronnerie en Europe au XXème siècle, éditions Monelle Hayot, 2015, ill. p. 156

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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

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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

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LUCIEN GAILLARD – “POURPRE D’AUTOMNE” PERFUME BOTTLE, CIRCA 1900

“POURPRE D’AUTOMNE” PERFUME BOTTLE, CIRCA 1900
Decorated with leaves and fruits from red chestnut trees
Enameled stopper
Titled on each side
Comes with its splendid marbled box, with a round label showing the same pattern as on the bottle, garnished with satin (slightly stained)
Executed for Volnay (Veolay), “Veolay” being the phonetic transcription of “Volnay” found on the bottles intended for the American market.
11,6 cm. high (very rare in this size)

Bibliography
Christie Mayer Lefkowith, L’Art du Parfum, éditions Celiv, 1994, ill. p. 137

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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

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CARLO BUGATTI – ADRIEN-AURELIEN HEBRARD – FISH PLATE, 1907

FISH PLATE, 1907
Long silver plate, decorated with marine monsters
Signed Bugatti and A. A. Hébrard Rue Royale Paris
Hallmarks
62 cm. long; 30.5 cm. wide

To this day, only one other example of this model is known to exist, sold at the sale of Maître Thierry de Maigret, Paris, Art Nouveau – Art Déco, 7 April 2004, lot 111
The provenance indicated in the catalog stated “Formerly in the collection of Miss S., close relation to Hébrard. Inheritance of her niece, Miss X.”
This model was exhibited at the Galerie Hébrard, 8 rue Royale, Paris, 2 – 25 December 1907

Exhibition
Galerie A.-A. Hébrard, 8, rue Royale, Paris, 2 – 25 December 1907
ReConnaître Carlo Bugatti, Musée d’Orsay, Paris, 10 April – 15 July 2001, ill. p. 61, n. 79 in the exhibition catalog
Uzès Exposition, ancien Évêché, Monticelli, précurseur de l’impressionnisme & Bugatti, une dynastie de créateurs, 22 June – 13 October, 2024

Bibliography
ReConnaître Carlo Bugatti, Musée d’Orsay, Paris, 2001, ill. p. 58 and p. 61, n. 79 in the exhibition catalog

SOLD

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MULLER FRERES – PITCHER, CIRCA 1900

PITCHER, CIRCA 1900
Multilayered pitcher, overlaid, acid etched and wheel carved, enameled design in the “fluogravure” technique, applied handle, gold highlights
Signed
20 cm. high

Exhibition
Sunderland Museum & Art Gallery, The Art of Glass – Art Nouveau to Art Deco, 17 July – 27 October 1996
Verrerie Art Nouveau, l'Exemple des Frères Muller, Musée de l'Ecole de Nancy, 6 October 2007 – 7 January 2008, ill. p. 85, n. 16 in the exhibition catalogue

Bibliography
Victor Arwas, The Art of Glass, Andreas Papadakis publisher, 1996, p. 32, n. 42.

Provenance
Dr Henry Blount, Chattanooga, Tennessee, USA

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HENRY CROS – PLATE “THE NYMPH GALATEA”, CIRCA 1900

PLATE “THE NYMPH GALATEA”, CIRCA 1900
Exceptional medallion in pâte de verre figuring Galatea asleep being watched by a beast, in shades of pink, yellow brown and orange on a blue background
Signed

Diameter: 27 cm

A similar piece is in the collections of the Musée des Arts Décoratifs, Paris, inventory n° 19647, acquired at the sale of the Roger Marx collection in 1914

Exhibition
Chefs d'oeuvre de la verrerie et de la cristallerie française au Musée des Arts Décoratifs, 1800-1990, Suntory Museum of Art, Tokyo, Japan, 1991, p. 32, n. 25, in the exhibition catalogue

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FREDERIC BOUCHERON – LUCIEN HIRTZ – RARE TEA SERVICE, CIRCA 1900

RARE TEA SERVICE, CIRCA 1900
Design attributed to Lucien Hirtz (1864-1928)
Chased silver and vermeil, comprising a teapot, a sugar bowl, and a milk jug decorated with flowers and leaves
Signed F. Boucheron, with silversmith marks
The teapot: 13 cm. high; 18.5 cm. long
The sugar bowl: 8 cm. high; 13.75 cm. long

Bibliography
Compare the design of the teapot with another one in Tony Bouilhet, L’Orfèvrerie française au XXe siècle, éditions Emile-Paul frères, Paris, inset plate
The Report of the International Jury of the Universal Exhibition of 1900, imprimerie nationale, Paris, 1902, pp. 59 to 61, mentions:
“Tea service composed by Hirtz, chiselled by Richard (coffee pot at the Museum of Decorative Arts)”
We have not found this coffee pot in the collections of the Museum of Decorative Arts
A teapot produced by Frédéric Boucheron is illustrated in: Tony Bouilhet, L’Orfèvrerie française au XXème siècle, Émile-Paul frères editions, Paris, 1903 model
In 1907, at Hébrard, he exhibited a silver and vermeil tea and coffee service, the teapot of which is illustrated in the exhibition catalogue. This same service will be exhibited by Hébrard at the Buenos Aires International Exhibition of 1911

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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

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LUCIEN GAILLARD – VERY IMPORTANT TEA AND COFFEE SET, 1904

VERY IMPORTANT TEA AND COFFEE SET, 1904
Very important coffee set and tray comprising a coffee pot, a sugar bowl, a milk jug, two cups and saucers
The tray in lacquered wood, the four corners with an applied silver gilt motif with turquoise cabochons, all other pieces in hand repoussé silver gilt, ivory and turquoise cabochons
Each element bears the makers mark and is dated 1904

Most probably unique

Exhibition
Société Nationale des Beaux-Arts, 1904

Bibliography
Art et Décoration, 1909, vol. II, page 55. Three pieces illustrated

Provenance
Acquired in 1983 from Jean-Claude Brugnot

Soon after being rewarded a first class medal at the 1900 Exposition Universelle, Lucien Gaillard retained the services of Master Japanese lacquerers and engravers as well as metal alloys experts to work exclusively for him. They produced very few silver and lacquer objects such as the panel we exhibited at Masterpiece London in 2014 as well as objects and vases with patinas imitating tree barks made of metals of a special alloy often wrongly described as bronze. The highly technical lacquered composition of our tray could have only been executed by such a master. The set was executed and exhibited in 1904, the year Gaillard was awarded another first class medal at the Société Nationale des Beaux-Arts.

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LUCIEN GAILLARD – PANEL, CIRCA 1906

PANEL, CIRCA 1906
Lacquered panel, mixed metals and mother-of-pearl inlays
Signed
43.5 x 63 cm

Exhibition
Japonisme: From Falize to Fabergé. The Goldsmith and Japan, Wartski, London, 10-20th May 2011,
n. 67,  ill. p. 39

Bibliography
Art et Décoration, 1906, vol. I, page 187, Les Arts décoratifs aux salons. Mention of Gaillard’s lacquered panels with mother-of-pearl inlays inspired by Japanese art

Provenance
Formerly in the collection of Anna Blake, Cape Town, South Africa, acquired directly from Lucien Gaillard