ERNEST-EMILE CHAPLET – VASE
VASE
High-fired porcelain. Purple glaze
Signed with the monogram of the artist and X
Height: 21 cm.
Showing 193–216 of 801 results
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
ERNEST-EMILE CHAPLET – VASE
VASE
High-fired porcelain. Baluster shape with cut corners and an elongated neck, featuring an abstract spider web design
Unsigned
Height: 22.5 cm.
BERNARD HOETGER – LA MAISON MODERNE – “DER STURM” (“LA TEMPETE”), 1901
“DER STURM” (“LA TEMPETE”), 1901
Patinated bronze
Signed
31 cm. high
A similar example is at the Musée d’Orsay, Paris, inv. RF 4189
Exhibition
Loïe Fuller: Danseuse de l’Art Nouveau, Nancy, Musée des Beaux-Arts, 17 May-19 August 2002, ill. p. 121, n. 37 in the exhibition catalogue
Bibliography
Documents sur l’Art Industriel au XXème siècle, édition de La Maison Moderne, Paris, ill. p. 5 under the n. 3422-1
Bernhardt Hoetger Skulptur Malerei Design Arcitektur, Bremen 1998, Verlag H. M. Hauschild GmnH, Bremen, ill. p. 38, p. 39 and p. 318, n. 209
GEORGES BARBOTEAUX – VASE, CIRCA 1910
VASE, CIRCA 1910
Bronze vase with a gilt patina decorated in the upper part with berries and branches
Signed
Height: 11 cm.
GEORGES BARBOTEAUX – VASE, CIRCA 1913
VASE, CIRCA 1913
Bronze with a medal patina decorated with stylized eucalyptus
Signed, with intertwined initials. Bearing the monogram of the artist
Height: 18.5 cm.
Exhibition
Salon des Artistes Français, Paris, 1913
Bibliography
– “Dans cette section (du Salon des Artistes Français) notre compatriote, Georges Barboteaux, de Saintes, vient d’obtenir cette année la troisième médaille.
Il avait exposé une vitrine contenant les objets suivants :
1° Un miroir en argent…… ;
2° Un vase bronze décoré verticalement, par tiers, de trois bandes d’eucalyptus
stylisés en bas relief;
…..
9° Un petit vase argent (bibelot, objet de vitrine), deux bourdons, recoquevillés de chaque côté du vase entre le col et la panse, semblent arrêtés à butiner ; leurs ailes viennent s’étaler et se fondre dans la partie supérieure du col (inventaire n°2184)”. L. Tider-Toutant, Les Beaux-Arts dans l’Ouest – Georges Barboteaux, ciseleur-décorateur, Le Pays d’Ouest, n. 13, October 1913
EMILE GALLE – VASE, CIRCA 1900
VASE, CIRCA 1900
Footed egg shaped glass marquetry vase with a pinched neck and a design of finely carved water lilies
Similar example at the Kitazawa Art Museum, Suwa, Japon
Height: 19.5 cm.
Exhibition
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, Utsunom
Bibliography
Alastair Duncan, The Paris Salons Volume IV: Ceramics & Glass, ill. on the cover page and p. 40.
BOIN-TABURET – TABLE CLOCK, CIRCA 1900
TABLE CLOCK, CIRCA 1900
Gilt chased bronze on a black and gold lacquer background featuring a seated Chinese. Three dials indicating the time, the humidity and the temperature
Above three porcelain swans, with flowering foliage resting on 4 feet shaped as acorns
Signed BOIN-TABURET
Height: 32 cm.
EMILE GALLE – FOOTED VASE, CIRCA 1900
FOOTED VASE, CIRCA 1900
Smoky glass, polychrome enameled with a carved and enameled praying mantis and blooming flowers
Unsigned
Height: 22 cm.
Provenance
The artist’s family by descent
PIERRE ROCHE – ALEXANDRE BIGOT – “TETARDS” COUPE, DESIGNED IN 1897
“TETARDS” COUPE, DESIGNED IN 1897
Grès
Signed with the stamp of Pierre Roche and Bigot.
Diameter: 23 cm.
Exhibition
SNBA 1897
Bibliography
“Pierre Roche, à dire vrai, semble être attiré par une foule de branches de l’art décoratif; mais, si personnellement je ne saurais m’extasier devant ses reliures églomisées (?) il est évident que ses grès, son espèce de surtout de table représentant quatre femmes nues, sa Vénus d’or, sa coupole en faïence à reflets métalliques représentent des recherches curieuses; je n’aime pas beaucoup ses plats à fond vert ou jaunâtre, qui ont plutôt l’air de pièces mal venues que d’œuvres voulues ; j’imagine qu’il faudrait même beaucoup de littérature pour les faire passer pour autre chose que des essais, mais je les prends comme tels et à ce point de vue, ils sont encore intéressants”. Emile Molinier, Art et Décoration, May 1897, page 110. “M. Pierre Roche, par exemple, a rêvé d’assiettes rondes et creuses, imitant la surface d’un marais couvert de lentilles d’eau, au bord desquelles monte une grenouille verte et, grâce au concours de M. Bigot, il a pu réaliser son caprice “. Revue des Arts décoratifs, 1897, p. 340
Hélène Bédague Alexandre Bigot, Chimiste et Céramiste, éditions Louvre Victoire, Paris, 2016,
ill. p.154