EMILE GALLE – VITRINE, CIRCA 1900
VITRINE, CIRCA 1900
Mahogany with a marquetry decoration of apple blossoms
150 x 40 x 30 cm.
Showing 121–144 of 410 results
EMILE GALLE SMALL BALUSTER VASE, CIRCA 1900
Internally decorated thick smoked glass, decorated with acid-etched and carved flowers
and leaves on a hammered background
The chased silver mount in vermeil with the same decor
Signed Emile Gallé / ft. underneath
EMILE JACOB & CIE – A SYMBOLIST VASE, CIRCA 1900
A SYMBOLIST VASE, CIRCA 1900
Glazed stoneware, vegetal shape, depicting a weeping woman leaning against a trunk
Monogram painted in green enamel under the base and numbered 817,
EJ engraved under the base
33.5 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015,
ill. p. 213
EMILE ROBERT – PLANT STAND, CIRCA 1900
PLANT STAND, CIRCA 1900
Wrought iron
69 cm. high
92 cm. wide
The vase is sold separately
Bibliography
Karin Blanc, Ferronnerie en Europe au XXème siècle, éditions Monelle Hayot, 2015, ill. p. 195
ERNEST BUSSIERE – “PERIANTHE” VASE, CIRCA 1900
Earthenware vase decorated with low-fired glazes
Signed underneath KG / Lunéville / Bussière and numbered 3 B
Exhibition
Exhibition at the Ecole de Nancy, Paris, 1903
Atlanta Nancy, Céramique Lorraine : chefs d’oeuvre des XVIIIe et XIXe siècles, Atlanta High Museum of Art, 1990-1991;
Nancy, Musée Historique Lorrain, 1991, cat. n. 216
L’Ecole de Nancy, 1889-1909 : Art Nouveau et industries d’Art, Nancy, Galerie Poirel, 1999, cat. n. 21
Metz Nancy, Nancy Metz : une histoire de frontière 1861-1909, Metz, musée de la Cour d’Or, 1999-2000, cat. n°231 and 232
Musée de l’Ecole de Nancy, Céramiques végétales / Ernest Bussière et l’art nouveau, 21 June-2 September 2000, cat. n° 64, 65 and 66,
illustrated on the cover
Bibliography
La Lorraine Artiste, L’Ecole de Nancy à Paris, Emile Gallé, 15 March 1903, ill. p. 86
Annabelle Hery, La faïencerie de Lunéville 1786-1923 : les Keller et Guérin, Vesoul, 1999, p. 103
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 84
ERNEST BUSSIERE – KELLER & GUERIN – “BRACTEE D’OMBELLE”, CIRCA 1900
Earthenware vase decorated with low-fired metallic iridescent glaze,
decorated with leaves and openwork stems
Signed underneath K.G. Lunéville BUSSIERE
Exhibition
Exposition de l'Alliance Provinciale des Industries d'Art, Union Centrale des Arts Décoratifs, Paris, march 1903
Nancy 1900 Jugendstil in Lothringen, Münchner Stadtmuseum, 1980, n° 409, p. 365
Christian Debize, L'Ecole de Nancy, Presses Universitaires de Nancy, 1993, ill. p. 89
Céramiques végétales – Ernest Bussière et l'Art Nouveau – Musée de l'Ecole de Nancy, 21 june-25 september 2000, ill. p. 44
ERNEST BUSSIERE – KELLER & GUERIN – “ORCHIDEES”, VERS 1900
Earthenware vase decorated with low-fired iridescent glaze
Signed underneath KG/Lunéville/Bussière
Bibliography
L’Estampille L’Objet d’Art, n. 349, Ernest Bussière, la redécouverte d’un céramiste Art nouveau, p. 26 to p. 29
Exhibition
Exposition de l’alliance provinciale des industries et d’art de l’école de Nancy, Pavillon de Marsan, Paris, 1903
Céramiques végétales – Ernest Bussière et l’art nouveau, musée de l’école de Nancy, 2000, ill. p. 49, n. 27
Die Jugend Der Moderne, Villa Stuck, Munich, 28 October 2010 – 23 January 2011, ill. p. 105, n. 88
ERNEST BUSSIERE – KELLER & GUERIN – GOURD, CIRCA 1900
Glazed stoneware depicting two lizards in high relief
Similar model at the Musée de l’Ecole de Nancy, Inv. Corbin 204,
donation of Jean Baptiste Eugène Corbin, 1935
Exhibition
Exposition de l’Alliance Provinciale des Industries d’Art, Pavillon de Marsan, Paris, 1903
Art Nouveau Symbolismus und Jugendstil in Frankreich, Darmstadt, 1999-2000, n°274
Céramiques végétales, Ernest Bussière et l’Art Nouveau, Musée de l’Ecole de Nancy, 2000, ill. p. 28, n. 2 in the catalogue
ERNEST BUSSIERE – KELLER & GUERIN – TRAY, “CAPUCINES”, CIRCA 1900
Stoneware
Signed K G Luneville and Bussière
Bibliography:
Céramiques végétales – Ernest Bussière et l'Art Nouveau, musée de l'Ecole de Nancy,
21 june – 25 september 2000, ill. p. 33, n°15
ERNEST BUSSIERE – KELLER & GUERIN – VASE “CHARDON”, CIRCA 1900
Glazed stoneware
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
ERNEST CARRIERE – COVERED POT
Stoneware and decorated with mythological and erotic scenes
The lid is decorated with fishes and eels
Signed
ERNEST LEVEILLE – BAMBOO VASE, CIRCA 1895
Molded and crackelled glass internally decorated with gold flecks ;
an applied decoration of tears and an inclusion of gold foil at the base
ERNEST-EMILE CHAPLET – VASE, CIRCA 1895
Grès with a sang-de-boeuf and celadon glaze
Signed, bearing a label of la maison Rouard
ETIENNE DINET – RENE KIEFFER – LE PRINTEMPS DES COEURS
SLIMAN BEN IBRAHIM : “Rabih el Kouloub ou le Printemps des cœurs”. Paris, Piazza, 1902. 1 volume in 8°
n. 287/300
ETIENNE MOREAU-NELATON – VASE, 1905
VASE, 1905
Trefoil neck; decorated with flowers and three flowers in high relief
Red glaze on mottled brown ground
Signed by hand with a diamond point and dated 1905
7 cm. high
EUGENE BAUDIN – ALPHONSE DEBAIN, SILVERSMITH – ESCALIER DE CRISTAL- VASE, CIRCA 1900
VASE, CIRCA 1900
Grès, silver mount
Signed, the mount is signed Escalier de cristal,
with maker and French Minerva marks
14 cm. high
EUGENE BAUDIN – ALPHONSE DEBAIN, SILVERSMITH – VASE, CIRCA 1900
VASE, CIRCA 1900
Stoneware
Silver mount with silversmith and French Minerva marks
24 cm. high
EUGENE BAUDIN – LUCIEN GAILLARD – GOURD SHAPED VASE, CIRCA 1900
GOURD SHAPED VASE, CIRCA 1900
Stoneware, decorated with a silver floral mount
Stamped LG, with silversmith’s mark, silver mark
and numbered 8038
12 cm. high
Exhibition
A variant of this model was exhibited at the Exposition universelle, 1900
EUGENE FEUILLATRE – INKWELL “PAVOT”, CIRCA 1898
INKWELL “PAVOT”, CIRCA 1898
Silver, with an enamelled decor of peacock feathers highlighted with gold; the lid in silver stylized as a poppy seed
Signed underneath and with maker’s mark on the lid
7 cm. high; 9 cm. diameter
Exhibition
Salon des Artistes français, 1898
French Jewellery of the Nineteenth Century – A Loan Exhibition, Wartski, London, 13-23 June 2001,
p. 51, n. 263 in the catalogue for a similar design illustrated
Bibliography
L’Art décoratif moderne, juin 1898, Les objets d’art aux salons by Arthur Maillet, ill. p. 133
Art et Décoration, 1904, vol. I, p. 39
Maurice Rheims, L’Objet 1900, Paris, 1964, ill. p. 34, pl. 18
Die Jugenstil Sammlung, Museum für Kunst und Gewerbe Hamburg, vol. I, cat. n°655
Michael Koch et al, The Belle Epoque of French Jewelry, 1850-1910, 1989, pl. 179
Eugène Feuillâtre started his career in 1890 as head of René Lalique’s enamelling workshop which he led for seven years.
Considered as one of the best enameller of his time, he was also a talented sculptor and goldsmith.
His creations were displayed for the first time in 1898 at the Salon of the Société des Artistes Français.
This exhibition brought him great success. During that year, he also acted as a member of the jury alongside Lalique
and Fouquet for an exhibition at the New Gallery in London. By 1899, he began working on his own.
He also joined the Belgian association «Libre Esthétique» and the Société des Artistes Français with whom he exhibited
until 1910.
The year 1900 brought him a gold medal at the Paris World Exhibition. This inkwell is one of his earliest and most
accomplished work. Other examples of this inkwell can be found in European museums such as the
Musée de l’horlogerie et de l’émaillerie, Musées d’Art et d’Histoire de la Ville in Geneva, Musée des Arts décoratifs in Paris,
Hessisches Landesmuseum in Darmstadt, the Museum für Kunst und Gewerbe in Hamburg, and the Kunstgewerbemuseum in Budapest.
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
EUGENE FEUILLATRE – VASE “SIX BUTTERFLIES”, CIRCA 1900
VASE “SIX BUTTERFLIES”, CIRCA 1900
Copper, decorated with six highlighted butterflies, small circles and flowering branches
The mount in chased silver with a vegetal decor
Signed
25 cm. high
EUGENE FEUILLATRE – VASE, CIRCA 1900
VASE, CIRCA 1900
Enamelled copper with gold cloisonné decor
Signed
10 cm. high
Exhibition
Salon de la Société des Artistes Français, Paris, 1899
Bibliography
Gustave Soulier, Art et Décoration, 1899, vol. II, ill. p.74
Der Modern Stil, Julius Hoffman jr., A. Guérinet éditeur, Paris, librairie d’art décoratif, vol. 4, pl. 78
EUGENE FEUILLATRE – VASE, CIRCA 1900
VASE, CIRCA 1900
Silver with an enamelled decor of wisteria flowers; gilt bronze mount attributed to Keller Frères
Signed
32 cm. high
After heading René Lalique’s enamelling atelier for seven years and working a short while for Lucien Falize, he establishes himself
in 1898 and starts exhibiting at major events. International recognition, prizes and praise soon followed.
As early as 1898, his exhibit at the New Gallery in London was completely sold out, all the pieces were acquired by museums
and English amateurs. The same year the French state acquires a vase and continued to do so the following years.
Museums all over Europe and as far as Japan bought his designs. He was awarded a gold medal at the Exposition Universelle in 1900.
His production includes jewellery and objets d’art in either translucent enamels or enamels applied to gold, silver or copper.
His early palette of colours centers on subdued and pale greens, blues and lilac yet turned more vivid and colourful after 1904.
His shapes are classic and elegant not overwhelmingly and freely organic. Just like his mentor Lalique, he drew his inspiration from
animals (peacocks, swans, swallows, hippocampus and other fishes, butterflies, dragonflies, grasshoppers, snakes, bats and scarabs)
and nature with a predilection for the plants and flowers in vogue (thistles, lillies, wisterias, poppies, mimosa, eucalyptus,
chrysanthemums, umbels, honesty leaves) and mythology (Ophelia, Juno). He died in 1916 fighting for his country in World War One.
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