CARL VILHEM MILLES – “APRES LE CAFE”, 1901
“APRES LE CAFE”, 1901
Bronze with a brown patina
Signed and bearing the Cire Perdue stamp of the foundry DBB (Danish)
33.5 cm. high
35 cm. long
Showing 73–96 of 600 results
DAUM FRERES – “VIGNE VIERGE” BALUSTER VASE, CIRCA 1910
“VIGNE VIERGE” BALUSTER VASE, CIRCA 1910
Brown and green shaded pink marmoreal glass
Titled Pleurent les pampres morts et les roses fanées
Signed
34.5 cm. high
Diameter: 21.5 cm.
DAUM NANCY – JACQUES GRUBER – JULES MARCHAND, Engraver – “VIGNE” VASE, 1895
“VIGNE” VASE, 1895
Moulded, blown, internally decorated glass, overlaid in black, deeply acid-etched
and wheel-carved, applied decoration
Gilt intaglio signature Daum Nancy with the cross of Lorraine, inscribed Mo and Fecit, dated 1895,
signed Gruber Del and J. Marchand
46 cm. high
Jacques Gruber was the most prominent designer working at Daum between 1893 and 1897.
From 1893, he designed vessels intended for national and international exhibitions,
most of which were unique pieces. He is most probably the author of the shape that appeared
in 1894 and of which very few examples are known, more or less all equal in height and with
various designs of poppies, thistles, sweet peas, and peacock feathers.
Most of them are presently in museums. We were unable to locate a similar example in that particular height.
Jules Marchand was the principal engraver at the Daum workshop. Working with an oil lamp, he ended his life blind
MANUFACTURE NATIONALE DE SEVRES – GENEVIEVE RAULT, (active at Sèvres between 1896 and 1915) form designer – LOUIS-JULES MIMARD (Born 1868) decorator – “VASE DE CHATOU”, 1899
“VASE DE CHATOU”, 1899
After a design by Emile Belet
White porcelain glazed with a japonist decor of weeds on a pale yellow background
Bearing the manufacturer’s stamp for 1903 and decoration for 1909
24 cm. high
The vase de Chatou also comes with a stopper, handles applied decoration
PFULB & POTTIER – CHALICE, CIRCA 1890
CHALICE, CIRCA 1890
Enamelled glass
Signed
11 cm. high
9.7 cm. diameter
HENRI LERICHE – “THEODORA, VIERGE ET MARTYRE”, 1892
“THEODORA, VIERGE ET MARTYRE”, 1892
Oil on panel
Signed, dated and inscribed VILLA MEDICIS Jier 1892 / h. Leriche
Illegible dedication. Inscibed “THEODORA VIRGO
51.2 x 41.5 cm.
EDMOND LACHENAL – EWER, CIRCA 1900
EWER, CIRCA 1900
Grès
Signed underneath in ink
35 cm. high
SUGAR SPOON, SUGAR TONG – CIRCA 1900
EUGENE-ALFRED LELIEVRE – SUGAR SPOON, CIRCA 1900
Melted and chased silver with a design of leaves. The handle in the shape of foliage
Modern fitted box
18.6 cm. long
Exhibition
Société des Artistes Français, Paris, 1904
LOUIS MATHEY – SUGAR TONG, CIRCA 1900
Silver representing a stylised squid
Signed
15.8 cm. long
Box of: Louis Mathey
Joaillier
14 rue Sainte Anne
Paris
GEORGES BARBOTEAUX – VASE, CIRCA 1908
VASE, CIRCA 1908
Bronze with a design of pine cones
Signed
7.8 cm. high; 11 cm. diameter
In 1908, the French State acquired a small vase in bronze with a design of pine cones,
exhibited at the Salon des artistes français. At the same salon the following year,
Barboteaux exhibited small vases in bronze decorated with ears of barley, one of which was purchased
by the musée des Arts décoratifs, and another decorated with pine cones illustrated in Art et Décoration.
Ha also exhibited an inkwell “coiffé d’une pomme de pin stylisée, de composition assez curieuse”.
Exhibition
Société des Artistes Français, Paris, 1909
Bibliography
M.-P. Verneuil, Les Objets d’Art aux Salons in Art et Décoration, July 1909, page 59: Illustration of a small bronze vase decorated with pine cones, more elongated, exhibited in the Salon d’Automne de 1909.
AUGUSTE DELAHERCHE – IMPORTANT PLATE, CIRCA 1900
IMPORTANT PLATE, CIRCA 1900
Grès, with a design in full relief of waterlilies
Signed with the circular seal and numbered 3105. Restauration on a stem
Probably executed in the workshop in rue Blomet (1887-1894) or in Armentières during the summer of 1891. (see the article by Lucien Falize dedicaced to E. Gallé on the Revue des Arts Décoratifs, 12th year, 1891-1892, pp. 234 & 235)
47.3 cm. diameter
Bibliography
“Delaherche, lui aussi, avait cru à l’exposition de la plante, et il s’était mis résolument au travail. Vous le connaissez et vous l’aimez, ce doux colosse qui tuerait un bœuf d’un coup de poing, et dont les doigts ont des caresses d’enfant. Il aime son grès comme vous aimez le verre. Il passe ses nuits, lors des fournées, à veiller son feu ; il couche auprès comme un gardien jaloux ; celui-là ne sait pas séparer l’Art du métier, les deux mots n’ont qu’un sens, et il a conquis presque aussi vite que vous l’attention des gens de haut goût. On dit : Gallé et Delaherche, comme si vous étiez deux artistes d’autrefois, et vos meilleures œuvres sont déjà des pièces de collection.
Donc, Delaherche a, cet été, quitté Paris et l’atelier de la rue Blomet, et il s’en est allé avec sa femme vivre près de Beauvais, son pays, comme vous près de Nancy. Il a acheté une maison de paysan, a bâti son four, a gâché sa terre et il a cherché. Dans une pomme de pin il a trouvé un vase simple et charmant, dont la forme simplifiée convient aux nuances du grès flambé ; il l’a fait sans s’inquiéter de savoir que le pin était consacré à Cybèle, et que ses fruits étaient offerts, dans les sacrifices, à Bacchus. Il a ramassé des marguerites dans les prés, et du calice entr’ouvert d’une de ces fleurs qu’il a grandi, il a fait un porte-bouquet délicieux que vernisse l’émail.
Le nénuphar est devenu un plat, une patène, une coupe à libation, je ne sais quoi de noble, de superbe, qui n’est plus le nénuphar, qui n’est pas une rosace, mais qui convient au grès, s’accorde logiquement avec les conditions de tournage et de cuisson, d’émail et de coloration, qu’il semble que cela ait toujours existé ainsi.
Le talent de Delaherche est simple, sa ligne puissante, il voit grand et n’a pas souci du détail ; il s’entend à tracer un profil, à tourner un bassin, à inscrire un motif large dans une forme appropriée ; son art n’est compris à cause de cela que des artistes et des gens doués d’un goût parfait. Rien n’est complet comme une belle plante dans un de ses grès, cela forme un tout harmonieux, et il en faut faire l’expérience sur les enfants pour voir combien leur esprit droit et prime-sautier est séduit par l’accord de la fleur et du vase.
Delaherche a donc rapporté de sa saison d’été toute une première démonstration tirée de la plante, et le sentiment public lui a donné raison : ses premières fournées ont été enlevées d’enthousiasme”. La Revue des Arts Décoratifs, 12ème année, 1891-1892, pp. 234 & 235
Paul Arthur French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p. 134
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
Grès height: 13 cm.
Total height: 18.5 cm
ALPHONSE DEBAIN – ADOLPHE TRUFFIER – SERVING SET, CIRCA 1900
SERVING SET, CIRCA 1900
Silver comprising:
12 spoons, 12 forks, 12 dessert knives. Decor of ginko flowers.
Modern fitted box
With silversmith and French Minerva mark
Extra: 3 spoons, 2 forks, 2 knives
Bibliography
David Allan, Le couvert et la coutellerie de table française au XIXème siècle, éditions Faton, 2007, a serving set ill. p. 50, n. 31
HENRI HUGUENIN – “LE MYSTERE DU RUISSEAU”
“LE MYSTERE DU RUISSEAU”
Symbolist medallion in bronze
Signed and titled
8 x 3.4 cm.
JEANNE BORGEAUD – “MEDITATION”
“MEDITATION”
Symbolist medallion
Signed and titled
6.5 x 5.1 cm.
ALEXANDRE-LOUIS-MARIE CHARPENTIER – “LA PEINTURE”
“LA PEINTURE”
Medal in silver
2.5 x 5.1 cm.
In its fitted box
RUPERT CARABIN – “LA DANSE”
“LA DANSE”
Two-sided bronze medal
Numbered 102
Edited by la Société des Amis de la Médaille Française
4.9 cm. diameter
Exhibition
Société nationale des Beaux-Arts, Paris 1902
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974, cat. n. 136
Bibliography
G. Coquiot, Biographies Alsaciennes X, François Rupert Carabin, Revue Alsacienne Illustrée, 1901, ill. pp. 145-149
P. Gsell, Rupert Carabin, La Contemporaine, January 25, 1902, ill. p. 372
L’Art Décoratif aux expositions des Beaux-Arts, 1902, tom I, pl. 51
Société des Amis de la médaille française, annuaire de 1902, ill. pl. V
LOUIS DEJEAN – “LE PRINTEMPS”
“LE PRINTEMPS”
Two-sided bronze medal
Numbered 108
Edited by la Société des Amis de la Médaille Française
5.9 cm. diameter
LOUIS DEJEAN – “ADOLESCENTS”
“ADOLESCENTS”
Two-sided bronze medal
Numbered 114
Edited by la Société des Amis de la Médaille Française
5.6 cm. diameter
PIERRE ROCHE – “LOIE FULLER”, 1900
“LOIE FULLER”, 1900
Magnificent and rare two-sided medal in silver
From an edition of 109
Representing Loie Fuller on one side and flowers on the other side. A verse of Baudelaire is inscribed: UN ÊTRE QUI N'ETAIT QUE LUMIERE OR ET GAZE
Signed PR
7.2 cm. diameter
ALEXANDRE-LOUIS-MARIE CHARPENTIER – TWO-SIDED COMMEMORATIVE MEDALLION
TWO-SIDED COMMEMORATIVE MEDALLION
Silver, for la Société des Amis de la Médaille Française
Signed with the monogram of the artist and numbered 48
6.7 x 7.3 cm.
A similar example in bronze is to be found at the Musée d’Orsay, MEDOR 268
Exhibition
Salon de 1902
Hôtel de la Monnaie, La Médaille en France de Ponscarme à la fin de la Belle Epoque, June to September 1967, n. 151, pp. 24 & 26
Bibliography
Art et Décoration, January 1902, p. 54
L’Art Décoratif aux Expositions des Beaux-Arts, 1902, tome I, pl. 75
GEORGES BROCARD – VERRERIES DE BAR SUR SEINE – VASES, CIRCA 1900
VASES, CIRCA 1900
Clear glass, acid-etched highlighted with gold and decorated with grasshoppers and dragonflies
Signed and located at Bar-sur-Seine
10 cm. high
Transparent glass slightly tinted in green and mottled white. Design of mulberry branches, leaves and fruits applied in translucid green and amethyst enamels highlighted with gold
14 cm. high
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.
FALIZE FRERES – COFFEE POT, 1902
COFFEE POT, 1902
Repoussé and chased silver with a design of peacock feather, in three parts
Lid in carved and patinated ivory grip decorated with coffee beans
Carved ivory handle decorated with peacock eyes
In its fitted box titled FALIZE / Orfèvre-Joaillier / 8 rue d'Antin / PARIS
Lid bearing the inscription G. G. SOUVENIR DU 27 AVRIL 1902
With French Minerva mark et silversmith mark
20.5 cm high
According to the seller, this object was offered by the State to Mr. G. Griffon, consul of China. However this information could not be verified
Exhibition
Falize – A dinasty of jewelers, Wartski, London, June 10 – June 19, 1999, n° 162
1900, Galeries nationales du Grand Palais, Paris, 14 March – 26 June, 2000, ill. page 161, n°132
Bibliography
Katherine Purcell Falize – A dinasty of Jewelers, Thames and Hudson, 1999, illustrated 271, pl. 392. Another coffee pot of a similar shape can been seen in a “in situ” photograph representing the showroom in rue d'Autin in 1911, ill. p. 46, pl. 52
Provenance
Formerly in the collection of Mr. Griffon fils, Paris XVIème
TONY SELMERSHEIM – COLIN & CIE. – PAIR OF LAMPS, 1903
PAIR OF LAMPS, 1903
Gilded bronze and molded glass
50 cm. high
Bibliography
Art et Décoration, 1903, vol. I, illustrated p. 156 in an article by Frantz Jourdain that describes a building built avenue Victor-Hugo by Charles Plumet and whose interior was realized in collaboration with Tony Selmersheim