ERNEST LEVEILLE – VASE, CIRCA 1900
VASE, CIRCA 1900
Green tinted transparent blown glass with red powder and silver inclusions
Signed E. Léveillé
Height: 16.5 cm
Showing 97–120 of 711 results
THEO PERROT – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Red-brown enamelled grès with ocher streaks. The handle featuring a flower stem
Signed Théo PERROT, and numbered 87 incised under the base
Height: 15.5 cm.
ALBERT DAMMOUSE – ERNEST-EMILE CHAPLET – ROLL-SHAPED VASE, CIRCA 1900
ROLL-SHAPED VASE, CIRCA 1900
Terracotta decorated with barbotine
Floral design of Japanese composition executed by Albert-Louis Dammouse; impressionist technique by Ernest Chaplet excecuted in the Haviland workshop, Auteuil
Bearing the artist’s seal, label from the Roger Marx’s collection and an other old label A la paix …avenue de l’opéra on the reverse
Height: 33.5 cm.
Bibliography
Europäiche Keramik der Jugendstilzeit, Art Nouveau Modern Style, exhibition catalogue,
Hetjens-Museum, Düsseldorf (Allemagne), 1974, p. 50, n. 40 for a similar vase
Félix Marcilhac, Art nouveau 1900, éd. Ouest-France, 1981, ill. p. 25
Anne Lajoix, La céramique en France 1925-1947, éd. Sous le Vent, Paris, 1983, ill. p. 11
Provenance
Collection Roger Marx, Paris
ALBERT DAMMOUSE – IMPORTANT PLATE, 1903
IMPORTANT PLATE, 1903
Enamelled design of three blooming red flowers on a green background highlighted with purple, red, green and brown foliage
Stamped A.Dammouse – S
Diameter: 42 cm.
PIERRE-ADRIEN DALPAYRAT – JEAN COULON – “ANDROMEDE” EXCEPTIONAL PITCHER, CIRCA 1893-1906
“ANDROMEDE” EXCEPTIONAL PITCHER, CIRCA 1893-1906
Grès, brown-green glaze with sang de boeuf dripping
Stamped twice
Height: 28.5 cm.
Exhibition
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzerland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium
Bibliography
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, n. 92, p. 147
Provenance
Collection of Jean-Pierre Hassler, Switzerland
ERNEST BUSSIERE – JOSEPH ET PIERRE MOUGIN – “PETALES” VASE, CIRCA 1900
“PETALES” VASE, CIRCA 1900
Grès
Height: 27 cm
Very rare model, especially since it is known as made by Keller & Guérin, an example of which is in the collections of the Ecole de Nancy museum (inv. AD 326)
Exhibition
Exposition de l'Ecole de Nancy, Paris, 1903 (Model realized by par Keller & Guérin)
Céramiques végétales / Ernest Bussière et l'art nouveau, musée de l'école de Nancy,
21 June – 25 September 2000, n. 60 ill. p. 51
HANS STOLTENBERG LERCHE – COUPE, CIRCA 1900
COUPE, CIRCA 1900
Enamelled grès with metallic reflections
Central design of a medallion with an ocher female profile
The side of the plate is decorated with blue, green and purple flowers
Signed with the seal and Saint-Lerche
Diameter: 20 cm.
Bibliography
“En Norvège, la note originale est donnée par M. Lerche, qui expose des plats, des vases, des coupes d’une facture très large et très osée, où le décor arrive même parfois à confusion. Mais l’artiste est un chercheur ; des sculptures très nerveusement modelées, des plateaux ou des corbeilles d’étain montrent son activité et son intelligence de l’ornement. Il a même inauguré quelques essais curieux de motifs de décoration céramique, où la fonte de métal s’unit aux incrustations d’émaux”, Alexandre Sandier La Céramique à l’Exposition (de 1900), Art et Décoration, vol. I, 1901, p.54 and p. 55
At the Société Nationale des Beaux-Arts of 1910, Hans Stoltenberg Lerche exhibits a plate in ceramic decorated with a head
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 350
GUSTAV ADOLF MOSSA – LA CIRCE, 1906
LA CIRCE, 1906
Watercolor, gouache, black ink and pencil
Signed, dated HOC OPUS NICIENSIS FECIT / GUSTAV ADOLF MOSSA MCMVI lower right
Titled LA CIRCE / Ah combien j’ai bu de boissons faites de larmes de Syrènes, / distillées dans des alambics aussi effroyables que l’enfer
65 x 43 cm.
Exhibition
5ème Exposition des Beaux-Arts de Cannes, Cannes, Hôtel de Ville, 1907
Gustav Adolf Mossa et les symboles, 1883-1971, Nice, galerie des Ponchettes et musée des Beaux-Arts Jules Chéret, 7 July – 31 December 1978, n. 114
Gustav Adolf Mossa, l’oeuvre symboliste, 1903-1918, Paris, pavillon des arts, 19 June – 27 September 1992, Montauban, musée Ingres, 22 October 1992 – 3 January 1993, p. 147, n. 72
Gustav Adolf Mossa, l’oeuvre symboliste, 1903-1918, Thessalonique, Centre culturel Vellidio,
5 January- 4 February 1995, Athènes, Institut français, 13 February – 3 March 1995, n. 28
Gustav Adolf Mossa Symbolistiske Arbejder, 1903-1918, Holte, G. Holtegaard, 4 March – 20 June 1999, p. 37, n. 46
L’œuvre secrète de Gustav Adolf Mossa, Namur, Musée Félicien Rops, 30 January – 16 May 2010,
p. 88
Bibliography
G. de Jarrie, L’Exposition des Beaux-Arts de Cannes, in L’Eclaireue de Nice, 17 January 1907, p.5
Le Bourgeois, L’Exposition des Beaux-Arts de Cannes, in Le Journal des Arts, 19 January 1907, p.3
Jean-Roger Soubiran, Les Aquarelles symbolistes et la création plastique symboliste de Gustav Adolf Mossa, PhD dissertation, Aix-en-Provence University – Marseille, 1978, p. 129-130 and p. 500-501,
n. 106
Jean-Roger Soubiran, Les influences gothiques dans l’art symboliste de Gustav Adolf Mossa, in Nice historique, 1978, n. 2, p. 75
Jean-Roger Soubiran, Gustav Adolf Mossa, 1883-1971, Nice, 1985, pp. 60, 80, 212 et fig. 91 p. 81
Sylvie Lombart, Jean-Roger Soubiran, Gustav Adolf Mossa, Catalogue Raisonné des oeuvres symbolistes, Paris, 2010, p. 184-185, n. A116
Exhibition
Formerly in the collection of France Mossa-Lombart, then by descent
ERNEST-EMILE CHAPLET – VASE
VASE
High-fired porcelain. Purple glaze
Signed with the monogram of the artist and X
Height: 21 cm.
ERNEST-EMILE CHAPLET – HAVILAND & CIE – DOUBLE SHOULDERED BOTTLE WITH THREE SMALL HANDLES, CIRCA 1885
DOUBLE SHOULDERED BOTTLE WITH THREE SMALL HANDLES, CIRCA 1885
Porcelain, with a brown-green glaze mottled with blue-purple and green-celadon
Signed with the rosary mark and bearing the monogram H & Cie
Height: 21 cm.
Provenance
Madame Lenoir, granddaughter of the painter Henri Lebasque who was maried to one of Ernest Chaplet’s daughters
COMPAGNIE DES BRONZES DE BRUXELLES – JEAN-BAPTISTE SLOODT, attr. to – MANTELPIECE SET, CIRCA 1900
MANTELPIECE SET, CIRCA 1900
Bronze with a green patina, enamelled sheet metal and gilt bronze for the dial mount, consisting of a pendulum with enamel dial signed in Brussels with metal suspension movement, with two candelabras with three lights with vegetal patterns
Stamped A D. Mougin deux médailles
Height: 45.5 cm. and 41 cm.
LEOPOLD BERNHARD BERNSTAMM – HENRI NAVARRE – “RECLINING NUDE” or “NU COUCHE”
“RECLINING NUDE” or “NU COUCHE”
Lost-wax casting in translucid white glass
Signed indiscriminately
Height: 11 cm.
Length: 28 cm.
A signed and identical example in bronze was sold at Sotheby’s in New York, June 12, 1992, lot n. 11
Léopold Bernhard Bernstamm was born in Riga, now Latvia, where he entered the studio of Prof. David Jensen at age 13, and at 14 entered the Imperial Academy of Fine Arts of Saint Petersburg, where he won several awards
In the early 1880s he made about thirty busts of celebrated Russians including Fyodor Dostoyevsky (from a death mask, 1881), Denis Fonvizin, Aleksandr Ostrovsky (for the foyer of the Alexandrinsky Theater), and Mikhail Saltykov-Shchedrin (erected at the writer’s grave in 1900). These busts established his reputation. He then spent 1884 in Rome and Florence, continuing his studies under a Professor Rivalti
In 1885 he settled in Paris, often returning to Saint Petersburg. His sculptures of eminent Frenchmen soon made him famous, including portraits of François Coppée, Paul Déroulède, Gustave Flaubert, Ludovic Halévy, Ernest Renan, Victorien Sardou, Émile Zola, and Jean-Léon Gérôme. He also made portraits of Czar Nicholas II of Russia and members of the Imperial family (1896), Anton Rubinstein (1901), and Alexander Pushkin (1911)
Thanks to his rapidity of execution and his sense of the physiognomy, he became chief sculptor of the museum Grévin for which he modeled effigies of numerous wax models
His last work for Saint Petersburg was the bust of Czar Alexander III of Russia (erected in the Russian Museum garden, removed in 1918). All told, he sculpted approximately 300 portraits of Russian and European representatives of culture, science and politics, and sculpted some monuments. Bernstamm was made chevalier of the Légion d’honneur in 1891
ERNEST-EMILE CHAPLET – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with a sang-de-boeuf glaze, in shades of purple blue
Signed with the rosary mark
Height: 13 cm.
CLEMENT MASSIER – ALEXANDRE VIBERT – VASE, CIRCA 1900
VASE, CIRCA 1900
Iridescent ceramic with a design in semi-relief of a naked woman
Signed Clément Massier Golfe Juan under the base
Height: 30 cm.
Exhibition
De Munch à Tiffany, Lumière sur la collection Newmann, Fondation Newmann, 4 March-15 August 2004
GEORGES FLAMAND – SYMBOLIST BUST, CIRCA 1900
SYMBOLIST BUST, CIRCA 1900
Bronze with a gilt and black patina. Marble base
Signed
Height: 20 cm.
Width: 21.7 cm.
GABRIEL ARGY-ROUSSEAU – LETTER OPENER, CIRCA 1920
LETTER OPENER, CIRCA 1920
Pâte de cristal
Signed
29.4 cm. long
GABRIEL ARGY-ROUSSEAU – “ANEMONE” COUPE, 1920
“ANEMONE” COUPE, 1920
Pâte de verre
Signed G. ARGY-ROUSSEAU
Height: 8 cm.
Diameter: 11 cm.
Bibliography
Janine Bloch-Dermant, Argy-Rousseau Catalogue raisonné, ill. p. 183 under the n. 20.15
GEORGES FLAMAND – “LE TOURBILLON” VIDE-POCHE, CIRCA 1900
“LE TOURBILLON” VIDE-POCHE, CIRCA 1900
Patinated and gilt bronze, turquoise cabochons
Signed
22 x 25 cm.
RAYMOND-LOUIS-MARIE PETIT – HAND-MIRROR, CIRCA 1900
HAND-MIRROR, CIRCA 1900
Repoussé and incised silver leaf decorated with bees and with mother-of pearl
honesty leaves
Signed Petit
20.5 cm. long
PAUL-FRANCOIS BERTHOUD – “LOYSE” BUST
“LOYSE” BUST
Patinated stoneware
Probably executed by Jeanneney
Signed under the base P. F. Berthoud / S A F 1900 / P.4
20 cm. high
Exhibition
Salon des Artistes Français, 1900, n. 1838
Bibliography
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 45
LOUIS-AUGUSTE THEODORE-RIVIERE – “JEUNE MUSICIENNE ALGERIENNE”, CIRCA 1890
“JEUNE MUSICIENNE ALGERIENNE”, CIRCA 1890
Oil on panel, signed
25 x 34 cm.
EMILE GALLE – “LA BERCE DES PRES” DISPLAY CABINET, CIRCA 1900
“LA BERCE DES PRES” DISPLAY CABINET, CIRCA 1900
Decorated with sculpted umbellifers ; the wall studs of the piece of furniture are in beech ; the stems of the umbels are also in beech, as well as the stems starting from the posterior legs meeting in the middle behind the furniture item ; the lateral shelves in the shape of umbels are in walnut, as well as the sculpted umbels above the piece of furniture ; the top of the item is in elm burl veneer ; on the door, the waterway decor is in Japanese “ toné ”, the decor above this aquatic decoration is in ash.
The interior of the piece of furniture is in flame maple ; two shelves are in maple, they correspond with a superior level of positioning in the furniture item, and a shelf is in pine and corresponds to a positioning in the lower part of the piece of furniture.
158 cm. high; 95 cm. wide; 40 cm. deep
Bibliography
Georges de Bartha, Gallé furniture, 2012, The Antique Collectors’ Club, ill. p. 308, pl. 43 together with Gallé’s sketches
Provenance
To the best of our knowledge, only the Museum of Decorative Arts in Lyon owns an identical example which used to belong to Albert Daigueperce ; Albert Daigueperce (catalogue of the Museum of Nancy, Art Nouveau et industrie d’art, page 118)
EDGAR WILLIAM BRANDT – PAUL BONNAUD – VASE
VASE
Copper, repoussé and entirely hammered with a decor of algae
The neck is enamelled and signed by Paul Bonnaud Limoges. The base is signed Brandt
In its original fitted box
Height: 15 cm.
RUPERT CARABIN – MOLINES, editor – A GROUP OF SCULPTURES IN GRES, CIRCA 1894-1895
A GROUP OF SCULPTURES IN GRES, CIRCA 1894-1895
“FEMME PIEUVRE” INKWELL
Enameled grès
Bearing the monogram of the artist, numbered 100
Edition of 110. Edited by Molines, 20 rue Laffite à Paris
16 cm. high
Similar model numbered 104 at the Musée des Arts Décoratifs in Paris
Exhibition
Société Nationale des Beaux-Arts, Paris, 1897
Galerie Laffite, 1894-1895
Les Industries d’Art au Salon de la libre Esthétique, Bruxelles, 1897
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974
Bibliography
Salon de la libre esthétique, Bruxelles, 1897 (galerie Laffite)
Catalogue de la Société Nationale des Beaux-Arts, 1897
Art et Décoration 1897, ill. p. 46
Justice 22 octobre 1897 “Un encrier en grès, d’une belle venue et d’une composition simple. Une femme nue, bien modelée, d’un aspect agréable, est assise sur une pieuvre, les jambes croisées entre lesquelles elle maintient ouverte avec ses mains la gueule d’un mollusque d’où sort un liquide noir et visqueux comme l’encre.”
“Nous avons des chandeliers, des baguiers, des salières qu’encombrent des feuillages parasites, que peuplent de gênantes petites femmes. Nous avons des salières, des baguiers, des chandeliers qui sont des femmes et des feuillages absolument. Certaines de ces choses constituent de véritables rebus, ressemblent à ces images où quelque figure dissimulée dans le sujet apparent défie la sagacité du chercheur : Où est le lièvre ? Où est le gendarme ? – Où est la lampe ? Où est l’encrier ? – L’encrier, qui le découvrirait dans cette pieuvre de M. Carabin aux prises avec une sirène robuste… “. Albert Thomas, Les Salons de 1901 – Les objets d’art, L’Art Décoratif, August 1901, pp. 180 & 181
Catalogue de l’Exposition à la Galerie du Luxembourg, Paris 1974, p. 229, n. 188
Laurence Buffet-Challié, Le Moden Style” Baschet & Cie Editeurs, n.d. p.74, pl. No.2
Alastair Duncan, Art Nouveau Sculpture, London, 1978, ill. p. 20
“FEMME A LA COLOQUINTE”
Grès enameled in shade of green with red glaze
Bearing the monogram of the artist and numbered
14 cm. high
Similar example is in the collection of Zimmerli Art Museum, Rutgers, The State University of New Jersey
Exhibition
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, p. 230, No.189
Bibliography
Breaking the Mold – Sculpture in Paris from Daumier to Rodin, Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, October 23, 2005 – March 12, 2006, ill. p. 107, n. 249
“FEMME COURGE” TABACCO POT
Grès enameled in shade of green with red glaze
Bearing the monogram of the artist and numbered 19. Edited by Molines, 20 rue Laffite à Paris
17 cm. high
Similar example is in the collection of Zimmerli Art Museum, Rutgers, The State University of New Jersey
Exhibition
Société Nationale des Beaux-Arts 1897, Paris
Galerie Laffite 1894-1895 et 1896
Les Industries d’Art au Salon de la libre Esthétique, Bruxelles 1897
Bibliography
Salon de la libre esthétique, Bruxelles, 1897 (galerie Laffite)
Catalogue de la Société Nationale des Beaux-Arts 1897
Art et Décoration 1897, Vol I, described p. 46
Catalogue de l’Exposition de l’Œuvre de Rupert Carabin à la Galerie du Luxembourg, 1974, p. 228, n. 187
Breaking the Mold – Sculpture in Paris from Daumier to Rodin, Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, October 23, 2005 – March 12, 2006, ill. p. 107, n. 250
DRAGEOIR
Grès with a brown glaze. The lid featuring a woman in crouching position
Bearing the monogram of the artist and numbered 21. Edited by Molines, 20 rue Laffite à Paris
15 cm high; 20 cm. long
Similar example is in the collection of Zimmerli Art Museum, Rutgers, The State University of New Jersey
Exhibition
Galerie Laffitte 1894-1895
Société Nationale des Beaux-Arts, 1897
Les Industries d’Art au Salon de la Libre Esthétique, Bruxelles, 1897
L’Œuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974, n. 190, p. 231
Bibliography
Salon de la libre esthétique, Bruxelles, 1897 (galerie Laffite)
Catalogue de la Société Nationale des Beaux-Arts 1897
Catalogue de l’Exposition de l’Œuvre de Rupert Carabin à la Galerie du Luxembourg, 1974,
page 231, n. 190
Breaking the Mold – Sculpture in Paris from Daumier to Rodin, Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, October 23, 2005 – March 12, 2006, ill. p. 107, n. 248