Showing 121–144 of 609 results

HENRY CROS – “GALATEA” PLATE, CIRCA 1900

“GALATEA” PLATE, CIRCA 1900
Pâte de verre featuring Galatea asleep being watched by a beast, in shades of pink, yellow brown and orange on a blue background
Signed
27 cm in diameter

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

FREDERIC BOUCHERON – A RARE TEA SERVICE, CIRCA 1900

A RARE TEA SERVICE, CIRCA 1900
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

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.

LUCIEN GAILLARD – PANEL, CIRCA 1906

PANEL, CIRCA 1906
Metal lacquered panel, silver overlays and mother-of-pearl inlays
Signed
43.5 x 63 cm

Exhibition
Japonisme: From Falize to Fabergé / The Goldsmith and Japan, Wartski, Londres, 10-20th May 2011, n°67 of the catalogue, 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, acquired directly from the artist

PAUL GRANDHOMME – ALFRED GARNIER – “LE PRINTEMPS”, CIRCA 1890

“LE PRINTEMPS”, CIRCA 1890
Large plaque in copper, translucent enamels, on a golden foil, showing one of the characters from “Primavera” by Botticelli
Signed by both artists
Wooden frame
30 cm. high; 14.5 cm. wide

An identical plaque is in the collection of the National Ceramics Museum in Sèvres. It was part of an order by the State and is registered in the State’s records. It was removed by the national museums on October 16th, 1891 (archives of the Musée d’Orsay).
Our plaque comes from Roger Marx’s inheritance. After his passing, it was bought back by his family at the estate sale on May 13th, 1914. It still bears on the back of it, the label corresponding to lot 114.

Exhibition
Société Nationale des Beaux-Arts, 1891, n°55 (5)

Bibliography
Pascal Massé “Gustave Moreau, Botticelli et la peinture des Maîtres dans les arts du feu sur métaux à la fin du XIXème siècle – Un émail peint de Grandhomme et Garnier au Musée National de Céramique : Flora”, Revue de la Société des Amis du Musée National de Céramique, n° 10, 2001

Provenance
Formerly in the collection of Roger Marx

FREDERIC CHARLOT DE COURCY (attributed to) – AFTER GUSTAVE MOREAU – “L’ENLEVEMENT D’EUROPE”, CIRCA 1880

“L'ENLEVEMENT D'EUROPE”, CIRCA 1880
Enamel on copper
10 x 12.5 cm
After the right hand side of the painting titled “L'enlèvement d'Europe”, circa 1869 by Gustave Moreau and kept at the Musée d'Orsay

Bibliography
The painting illustrated in: Pierre-Louis Mathieu “Gustave Moreau / Monographie et nouveau catalogue de l'Oeuvre achevé“, ACR édition, 1998, page 58

JEAN-LEON GEROME – SIOT-DECAUVILLE – “LA FEMME AU VOILE”, CIRCA 1900

“LA FEMME AU VOILE”, CIRCA 1900
Bronze with green and dark patina, and marble
Signed and bearing the Siot-Decauville foundry mark
66 cm. high

Bibliography
Gerald M. Akerman, La vie et l’œuvre de J. L. Gérôme, catalogue raisonné, A.C.R. Edition, p. 331, n° S 65
Catalogue de l’exposition de la galerie Tanagra J.-L. Gérôme, sculpteur et peintre de l’art officiel, Paris, 25 avril au 15 mai 1974, n° 14

TIFFANY & CO. – ALBERT DAMMOUSE – PLATE

PLATE
Deep plate in porcelain, with cutout edges on a basketwork background, decorated with a bird on a branch in Japanese taste on a lacustrine landscape background, polychrome enamels with blue edges
Signed on the back Dammouse et Sèvres 731 and Tiffany & Co in fine gold
24 cm in diameter

LOUISE ABBEMA – PORTRAIT OF SARAH BERNHARDT

PORTRAIT OF SARAH BERNHARDT
Bronze plate representing the actress’ bust from the side, signed and dated (or numbered) 75
16 x 15.5 cm
An identical work is on view at the following museums :
– Kunsthalle Museum in Bremen, inv. n° 426-1965/3
– Billy Rose Theatre Collection, The New York Public Library for the Performing Arts

Exhibition
“Sarah Bernhardt, the Art of High Drama”, The Jewish Museum, New York, December 2, 2005 to April 2, 2006, ill. p. 48.

Bibliography
Renate Ulmer “Art Nouveau Symbolismus und Jugendstil in Frankreich”, Arnoldsche Art Publishers, ill. page 82, n° 68.

CECILE COMBETTE – LADY BAG, CIRCA 1900

LADY BAG, CIRCA 1900
Supple veal, embossed, patinated and gilded on both sides, decorated with branches, leaves and berries
Inside, doubled with chamois leather, compartments in leather and shot silk containing a small toilet bag in its leather case, mirror, powder compact and tiny purse covered in chamois leather
17 x 26 cm (when closed)

Bibliography
Comparer à des pochettes à peu près identiques reproduites dans l'Art Décoratif aux Expositions des Beaux-Arts, 1901, planches 99 et 100

MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900

VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900
Gourd-shaped, covered in blue and green overlaid
Designed by Alphonse Sandoz in 1898
Signed with the triangular mark dated 1900
14,5 cm. high

Exhibition
“Sèvres 1900”, Musée des Beaux-Arts de Nancy, identical model in dark colored overlaid, ill. p. 30 of the exhibition catalogue, collection of the Musée National de Sèvres, inventory n° 924 1 6.

Bibliography
Jean Paul Midant “Sèvres – La Manufacture au XXème siècle”, Michel Aveline éditeur, 1992, p. 27 : Illustration du même vase en 2ème grandeur et à couverte à cristallisations, collection Mobilier National, Paris.

MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE D’APREMONT, 1902

VASE D’APREMONT, 1902
Colocynth vase in hard-pasted new porcelain with faceted body with decor in relief and application of leaves and vine branches wrapped around the vessel, forming two handles
Enamels in lovat green, ochre and brown on yellow background
Designed by Alphonse Sandoz
Bearing the manufacturer’s stamp for 1902
35,4 cm. high
An identical vase is in the collection of the Musée National de la Céramique, Sèvres, inventory n°15 913

Exhibition
1900, Galeries nationales du Grand Palais, Paris, 14 March-26 June 2000, ill. p. 282, n°300 in the exhibition catalogue

Bibliography
E. Molinier “Les plus récents Travaux de la Manufacture de Porcelaine de Sèvres”, Art et Décoration, November 1903, ill. p. 364, “Signalons encore une autre innovation : les vases à décor en relief exécuté par le moulage. On trouvera ici quelques échantillons de ces nouvelles pièces, notamment une bouteille de M. Sandoz qui est d’une belle venue. En ce genre et dans cette nouvelle voie on peut produire beaucoup de choses intéressantes”.
Antoinette Faÿ-Hallé, Barbara Mundt : “La porcelaine européenne au XIXème siècle”, Office du Livre S.A., Fribourg, Switzerland, 1983. ill. p. 232, pl. 415.

HENRI SIMMEN – VASE, CIRCA 1910

VASE, CIRCA 1910
Stoneware vase in yellow ochre in the shape of a cone turned upside down and sunk neck leaving in reserve four handles, enhanced with lines and dots in gold
Signed
Small firing crack at the base
21,5 cm. high

Bibliography
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p. 347

JEAN CARRIES – VASES, CIRCA 1900

VASE, CIRCA 1900
Colocynth stoneware vase with silver and grey dripping
14 cm. high  Sold

Provenance
Collection of Jean-Pierre Hassler, Saint-Georges, Switzerland

VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, brown-marbled, covered in ocher and grey, pink and dark purple enamel dripping from the neck
Incised signature under the base
13 cm. high

Provenance
Formerly in the collection of Maître Francis Lombrail

VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, covered in yellow ocher, marbled with brown spots and pink with hints of grey enamel dripping from the neck
Unsigned and numbered 91
13 cm. high

Provenance
Formerly in the collection of Maître Francis Lombrail
Drouot-Montaigne, 22nd april 1997, lot n° E
Jean-Pierre Hassler collection, Switzerland

JEAN CARRIES – VASE WITH GOLDEN SPOTS, CIRCA 1900

VASE WITH GOLDEN SPOTS, CIRCA 1900
Stoneware vase with hemmed neck and incised striae on its bulge, covered in chamois and grey dripping from the neck, enhanced with golden spots
Engraved signature under its base
15 cm. high; 18 cm in diamater

Bibliography
L'Estampille, n°32, May 1972, ill. p. 62

Provenance
Formerly in the collection of:
– Alain Blondel, Galerie du Luxembourg, Paris
– Alain Lesieutre, Paris
– Maître Francis Lombrail
– De Quay-Lombrail, Drouot Montaigne, 22 April 1997, lot L
– Jean-Pierre Hassler, Switzerland

EMILE GALLE – “LES ROCHERS DANS LA MER” VASE, CIRCA 1900

“LES ROCHERS DANS LA MER” VASE, CIRCA 1900
Outstanding vase in multilayered glass with marine landscape decor
Original bronze base cast with butterflies
Engraved signature
54 cm. high

Bibliography
Janine Bloch-Dermant, L'Art du verre en France 1860-1914, Edita-Denoël, 1974, ill. p. 62

Provenance
Private collection, Italy

EMILE GALLE – “ANEMONE” VASE, CIRCA 1897-1900

“ANEMONE” VASE, CIRCA 1897-1900
Conical multilayered vase, internally decorated and engraved
Signed
21.5 cm. high

Exhibition
Emile Gallé, Exhibition in six Japanese museums, 2000-2001, n. 45 in the exhibition catalogue, ill. pp. 90 and 91 (example at the Juken museum)

Bibliography
A similar 27 cm. high vase in the collections of Juken Museum of Art, Yoshiwa, prefecture of Hiroshima, Japan
Another, 28,2 cm. high, is in the collection of Her Royal Highness Margrethe II, the Queen of Denmark

EMILE GALLE – “MEDUSE” VASE, CIRCA 1900

“MEDUSE” VASE, CIRCA 1900
Double glazed footed vase modelled as a fish, internally decorated with powder inclusions, partially iridescent, ornamented with an acid-etched and wheel-carved jellyfish on a hammered background echoing the surface of the water
Wheel-carved signature
30 cm. high

EMILE GALLE – CONICAL VASE, 1898

CONICAL VASE, 1898
Multilayered and wheel-carved conical vase with faceted corners in amber, purplish-blue and red marquetry glass, internally decorated with columbines on a background with silver foil inclusions, acid-etched, the original bronze base in the shape of leaves and spurs
Signed and dated 1898
26.1 cm. high

Exhibition
Société Nationale des Beaux Arts, 1898
Wood One Museum of Art, Hiroshima, Japan, 2005, n.33, ill. p. 36 in the exhibition catalogue
Emile Gallé – Nature and Symbol / Le Langage des Fleurs et des Choses Muettes, 16 January – 10 April 2016, Tokyo Metropolitan
Teien Art Museum; 24 April – 5 June 2016, Utsunomiya Museum of Art, n. 069, ill. p. 90

Bibliography
Revue des Arts Décoratifs, 1898, ill. p. 148
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 319, n. 318
Emile Gallé et le verre, la collection du musée de l'Ecole de Nancy, Ed. Somogy, Paris, 2004, similar example ill. p. 164, n. 280

Provenance
Daimaru Museum, Japan

Other examples of this design are owned by important museums worldwide:
Kitazawa Museum of Art, Japan
Kunstmuseum, Dusseldorf (Collection Gerda Koepf), Germany
Suntory Museum, Japan
Musée de l'Ecole de Nancy, Nancy, France
Budapest Museum of Applied Arts, inv. n. 55.284, Hungary