ANDRE METHEY – VASE, 1913
VASE, 1913
Enamelled floral decor with applied openwork design
Signed with the monogram of the artist; marked Methey 1913
32 cm. high
Exhibition
Exposition Universelle, Gand, 1913
Showing 49–72 of 419 results
LOUIS MAJORELLE – KELLER & GUERIN – VASE, CIRCA 1900
VASE, CIRCA 1900
Polychrome earthenware with a design of flower buds and leaves
Signed KG/Lunéville/Majorelle
48 cm. high
LEON BENOUVILLE – TABLE, CIRCA 1901-1902
TABLE, CIRCA 1901-1902
Mahogany, marquetry and brass table with a floral decor in marquetry
91 cm. high
73 cm. wide
52 cm. deep
Bibliography
Alastair Duncan, Fin de siècle masterpieces from the Silverman collection, 1989, similar example ill. p. 118, n. 58
RENE LALIQUE – “SERPENT” DESK MAGNIFYING GLASS, CIRCA 1900
“SERPENT” DESK MAGNIFYING GLASS, CIRCA 1900
Brown patinated bronze, designed as two coiling snakes holding a citrine cabochon in their fangs
Signed
Possibly unique
No other example known to exist
27 cm. long
ERNEST BUSSIERE – KELLER & GUERIN – VASE “CHARDON”, CIRCA 1900
VASE “CHARDON”, 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
EMILE GALLE – VASE “LOTUS”, CIRCA 1900
VASE “LOTUS”, CIRCA 1900
Fine wheel-cut and fire-polished cameo glass
Signed in cameo, the underside marked Gesch & depose
35 cm. high
RENE BUTHAUD – VASE, 1924
VASE, 1924
Polychrome enamelled crackled ceramic, featurig three stylized women sitting in different postures
Signed R & B and dated 1924
32 cm. high
Bibliography
Pierre Cruège René Buthaud 1886-1986, les éditions de l’amateur, 1996, front cover page and p. 79
LOUIS WELDEN HAWKINS – “PORTRAIT OF A MODERN WOMAN”, CIRCA 1900
“PORTRAIT OF A MODERN WOMAN”, CIRCA 1900
Oil on canvas
Original carved wood frame
73 x 60 cm.
LOUIS-AUGUSTE THEODORE-RIVIERE – “LES DEUX DOULEURS”, CIRCA 1910
“LES DEUX DOULEURS”, CIRCA 1910
Bronze with a black patina
Signed and bears the foundry mark of Susse Frères
Smaller version of the plaster cast of 1904
31 cm. high
Bibliography
Colette Dumas, Théodore Rivière, sa vie … son oeuvre, nd, the plaster cast ill. n. 126
EMILE GALLE – VASE “CYCLAMENS”, 1898-1900
VASE “CYCLAMENS”, 1898-1900
Flattened glass with intercalary inclusions, decor in marquetry
finely wheel carved
Signed
22 cm. high
Bibliography
Richard Dennis, The Glass of Emile Gallé, Antiques International, London 1967, p. 189, pl. 17
EMILE GALLE – COLOQUINTE VASE, CIRCA 1900
COLOQUINTE VASE, CIRCA 1900
Multilayered glass with inclusions, decoration of waterlilies in marquetry and chased
Signed
25 cm. high
DAUM NANCY – VASE “CINERAIRES”, CIRCA 1910
VASE “CINERAIRES”, CIRCA 1910
Clear glass with white, yellow and blue inclusions
The flowers and leaves are acid-etched and wheel carved
Signed
40.5 cm. high
Bibliography
Clotilde Bacri, Daum, Michel Aveline éditeur, 1992, ill. p. 68
JULES DESBOIS – MIRROR, CIRCA 1900
MIRROR, CIRCA 1900
In sculpted and patinated wood; with its box in sculpted and patinated wood
The mirror and the box signed
Mirror: 39 x 14,6 cm.
Box: 43 x 18 cm.
EUGENE GRASSET – VEVER – “APPARITIONS” BROOCH, CIRCA 1900
“APPARITIONS” BROOCH, CIRCA 1900
Gold, enamel, ivory and cabochons topaz
Signed; with gold mark and maker’s mark
6 x 4 cm.
Exhibition
Exposition Universelle, Paris, 1900, groupe XV, classe 95 (now at the Musée d’Orsay), ill. in colour on the cover
of the Decorative Arts catalogue of the Musée d’Orsay
Le Bijou 1900, Hôtel Solvay, Bruxelles, May 1965, n. 83
French Jewellery of the Nineteenth Century, Wartsky, Londres, 13-23 June 2001, ill. in color on the cover of the catalogue
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, Nancy, Musée des Beaux-Arts, Musée de l’Ecole de Nancy,
6 May-28 August 2006, ill. p. 232, n. 170 in the exhibition catalogue
Eugéne Grasset, 1845-1917. L’art et l’ornement. Musée cantonal des Beaux-Arts, Lausanne, 18 March-13 June 2011,
n. 167, ill. p. 149
Bibliography
Maud Ernstyl, Les Bijoux d’Art à l’Exposition de 1900, Revue de la Bijouterie, Joaillerie, Orfèvrerie, n. 9, January 1901, ill. p. 152
Henri Vever, La Bijouterie française au XIXème siècle, Paris, 1908, ill. p. 669
International Exhibition of Modern Jewellery 1890-1961, Goldsmith’s Hall, London 1961 n. 352
G. Hughes, Modern Jewelry. An International Survey 1890-1964, London 1964, p. 103, ill. n. 172
Jean Lanllier, Marie-Anne Pini, Fünf Jahrhunderte abendländischer Schmuckkunst, München 1971, ill. p. 205
Victor Arwas, Berthon & Grasset, Academy editions, London, 1978, ill. p. 82
Anne Murray-Robertson, Grasset – Pionnier de l’Art Nouveau, Bibliothèque des Arts, Paris, 1981, ill. p. 90
Les Fouquet, Musée des Arts décoratifs, Flammarion, 1983, ill. p. 20
Vivienne Becker, Art Nouveau Jewelry, Thames and Hudson Ltd, London 1985, ill. p. 56, ill. n. 62
Michael Koch, Evelyne Possémé & al., Pariser Schmuck Vom Zweiten Kaiserreich zur Belle Epoque, Hirmer Verlag München, 1989, ill. p. 202, n. 123
A. Kenneth Snowman & al., Ma?tres Joailliers, Thames and Hudson Ltd, London, 1990, repr. p. 150
Art Nouveau 1890-1914, V & A publications, 2000, ill. p. 23
Philippe Thiébaut et al., l’ABCdaire du Symbolisme et de l’Art Nouveau, Flammarion, Paris, 1997, ill. p. 51
Rolende van Strydonck de Burkel, Le Bijou Art Nouveau en Europe, Editions Racine, Bruxelles, 1998, ill. p. 96
Anne Murray-Robertson, Eugène Grasset – Un certain regard de la femme, 1998, ill. p. 50
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 259, n. 261
ANDRE KAUFFER – GOLD, ENAMEL BROOCH, CIRCA 1900
GOLD, ENAMEL BROOCH, CIRCA 1900
Designed as a vine leaf in translucent enamel; the grape is decorated with opals
Signed
7 x 5 cm.
JOE DESCOMPS – LEON GARIOD – GOLD, ENAMEL, PERIDOT, PEARL PENDANT, CIRCA 1900
GOLD, ENAMEL, PERIDOT, PEARL PENDANT, CIRCA 1900
Bearing the monogram of the artist
With eagle’s head and maker’s mark
Bibliography
We can compare this pendant to a pendant exhibited at the Salon des Artistes Français in 1901 and ill. in l’ Art Décoratif, July 1901, p. 142
Mario Amaya, Art Nouveau, Studio Vista Limited, 1966, ill. p. 113
Ulrike von Hase-Schmundt, Jugendstil schmuck – Die europäischen Zentren – Von 1895 bis 1915, Wilhem Heyne Verlag, München, 1998, similar example ill. p. 57
Imperishable Beauty – Art Nouveau Jewelry, MFA Publications, Museum of Fine Arts, Boston, USA, ill. p. 140, (Collection Sataloff)
EUGENE FEUILLATRE – JOE DESCOMPS – GOLD AND ENAMEL NECKLACE, CIRCA 1900
GOLD AND ENAMEL NECKLACE, CIRCA 1900
Featuring a woman in chased gold encircled with green enamel flowers. Her hair and the flowers are chased on the reverse
With its original gold chain
LUCIEN GAILLARD – GOLD, ENAMEL, DIAMONDS, OPAL NECKLACE, CIRCA 1903
GOLD, ENAMEL, DIAMONDS, OPAL NECKLACE, CIRCA 1903
Translucid enamel thistles circled by diamonds. The hearts are decorated with grapes in opal
Signed; with silversmith’s mark
In its original box
35 cm. long
Exhibition
From Slave to Siren, The Duke University Museum of Art, 1971, Durham, North Carolina, USA, pl. 13, n. 153
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.112 in the exhibition catalogue
Bibliography
Dora Jane Janson, From Slave to Siren, p. 72, pl. 13
MANUFACTURE NATIONALE DE SEVRES – “VASE DE CREUSOT”, 1898
“VASE DE CREUSOT”, 1898
Porcelain, decorated with irises
Bearing the manufacturing seal for 1898 and decoration seal for 1901
Signed in fine gold L. MIMARD
45 cm. high
AGATHON LEONARD – SUSSE FRERES – “DANSEUSE AU COTHURNE”, CIRCA 1900
“DANSEUSE AU COTHURNE”, CIRCA 1900
Bronze
Signed and titled COTHURNE and numbered 2
With foundry mark
27.5 cm. high
VICTOR PROUVE – “PORTRAIT DE MLLE PAUL”, 1891
“PORTRAIT DE MLLE PAUL”, 1891
Pastel on wood
Signed and date 1891
Carved frame in Sainte-Lucie cherry
193 x 135 cm.
Exhibition
Société Nationale des Beaux-Arts, 1892, n. 1331
Bibliography
Chantal Humbert, Les Arts Décoratifs en Lorraine de la fin du XVIIème siècle à l’ère industrielle,
les éditions de l’amateur, ill. p. 136
EMILE GALLE – “LES OMBELLIFERES”, CABINET, CIRCA 1900
“LES OMBELLIFERES”, CIRCA 1900
Sculpted walnut and exotic wood marquetery, mother-of-pearl inlay, chased and patinated bronze
Two doors in the upper part, two shelves
Signed in marquetry on the lower shelf Gallé
Incribed in marquetry on the right door L’Instant / est si beau de/ Lumière / au Fond / de nous dans notre coeur / Verhaeren
Incribed in marquetry on the back Le chardon bleu des sables. Victor Hugo (extract of a poem of Victor Hugo PAROLES SUR LA DUNE, from
Les Contemplations, L’ETE RIT, ET L’ON VOIT SUR LE BORD DE LA MER FLEURIR LE CHARDON BLEU DES SABLES)
153 x 67 x 47 cm.
Exhibition
Exposition Universelle, 1900
Pavillon de Marsan, Programme de l’Ecole de Nancy, 1903, ill. p. 10
Gallé, Paris, Musée du Luxembourg, 29 November 1985-2 February 1986, ill. p. 272
Bibliography
Charles Gennuys, Exposition Universelle de 1900. Les essais d’art moderne dans la décoration
intérieure, Revue des Arts Décoratifs, September 1900, ill. p. 289
Lucien Magne, Le mobilier moderne à l’Exposition de 1900, Revue des Arts Décoratifs, January 1901,
p. 11: “Les ombelles et le chardon ont donné tout le décor de deux meubles, une étagère et un dressoir, qui sont parmi les plus remarquables
qu’ait créés M. Gallé. Les tiges nerveuses supportent les tablettes alternées, tandis que les fleurs épanouies couronnent les supports isolés, garnissent
les angles entre les tablettes et le pied, ou forment le couronnement ajouré le plus délicat. Un décor de marqueterie enrichit les fonds
du meuble par une série de tableaux très harmonieux”.
Emile Nicolas, Meubles de M. Emile Gallé, La Lorraine artiste, 15 March 1901, p. 113
Louis de Fourcaud, Emile Gallé, Paris, 1903, p. 81
Art et Décoration, February 1911, ill. p. 246. See Roger Marx’s article which describe this piece as a masterpiece by Emile Gallé.
L’Art appliqué aux métiers / Meubles et Sièges, Henri-Marcel Magne, Paris, Librairie Renouard, H. Laurens, editor, 1928, ill. p. 43, fig. 23
L’Art des origines à nos jours, tome II,
p. 229. Edition Larousse
Philippe Garner, Gallé, Flammarion, 1976, ill. p. 72
Victor Arwas, Art Nouveau The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 296
DENYS PUECH – “LA SEINE”, 1902
“LA SEINE”, 1902
White marble
Signed and dated 1902
20 x 52 cm.
A bas relief in bronze was exhibited at the Exposition Universelle of 1900 and is illustrated in the exhibition catalog
Bibliography
Denys Puech, 1854-1942, Musée des Beaux-Arts Denys Puech, Rodez, 1993, p. 90, p. 91
EDWARD COLONNA – TWO CHAIRS, CIRCA 1900
TWO CHAIRS, CIRCA 1900
Sculpted wood
90.5 cm. high
Bibliography
Art et Décoration, 1900, vol. II, ill. p. 44
G. Weisberg, Art Nouveau Bing, ill. p. 181, fig. 177