Showing 193–216 of 698 results

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LOUIS MAJORELLE – “AUX ORCHIDEES” DESK AND IT’S ARMCHAIR, CIRCA 1903-1905

“AUX ORCHIDEES” DESK AND ITS ARMCHAIR, CIRCA 1903-1905
Mahogany, gilt and chased bronze.
The desk: 95 x 151 x 70 cm.
The armchair: 80 x 77 x 65 cm.

Similar example is to be found at the musée d’Orsay and another one in the Ferdinand Neess’ collection at the Wiesbaden Museum.

Exhibition
Société des Artistes Décorateurs, Paris, 1907

Bibliography
Carl Benno Heller, Art Nouveau Meubles, Imprimerie des Arts et Manufactures, Paris, 1990 Berghaus Verlag, the chair is illustrated p. 85.
Roselyne Bouvier, Majorelle, La Bibliothèque des Arts, Paris, 1991, p. 192, n°208, illustration of the base of the desk at the Musée d’Orsay.
Alastair Duncan, Majorelle, Flammarion, 1991, ill. pl. 48 (example at the musée d’Orsay).
Anne-Marie Quette, Le Mobilier Français Art Nouveau 1900, Massin, 1995, ill. p. 43 (example at the musée d’Orsay).
Gabriele Fahr-Becker, Il Modernismo, h.f. Ullmann, 2004, ill. pp. 118 & 119
Radikal Schön Jugendstil und Symbolismus, Die Sammlung Ferdinand Wolfgang Neess, Wiesbaden Museum, 2019, ill. p. 144

Bureau et son fauteuil, modèle dit : “Aux Orchidées”, vers 1903-1905.
Acajou sculpté, courbaril vernis, cuir estampé, bronzes dorés et ciselés.
95 x 151 x 70 cm
Fauteuil : 80 x 77 x 65 cm

Exposition
Société des Artistes Décorateurs, Paris, 1907.

Bibliographie
Carl Benno Heller “Art Nouveau Meubles”, Imprimerie des Arts et Manufactures, Paris, 1990 Berghaus Verlag, chaise repr. p. 85.
Roselyne Bouvier Majorelle, La Bibliothèque des Arts, Paris, 1991, p. 192, n°208, illustration du piétement du bureau du Musée d’Orsay.
Alastair Duncan Majorelle, Flammarion, 1991, repr. pl. 48 (exemplaire du musée d’Orsay).
Anne-Marie Quette, Le Mobilier Français Art Nouveau 1900, Massin, 1995, repr. p. 43 (exemplaire du musée d’Orsay).
Gabriele Fahr-Becker, Il Modernismo, h.f. Ullmann, 2004, repr. pp. 118 et 119.

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EMILE GALLE – ANCOLIES VASE, CIRCA 1897-1900

ANCOLIES VASE, CIRCA 1897-1900
Hand-blown, acid-etched, and engraved glass with marquetry and foil inclusions
18.4 cm
Engraved Gallé

Bibliography
Dekorative Kunst, 3, 1899, p. 128, another similar example illustrated
L'Art Décoratif, March 1905, p. 136, another similar example illustrated
Collection Roger Marx – Objets d’Art Moderne, Lair-Dubreuil and Baudoin,
Paris, 13 May 1914, lot 81, for an attenuated version of this model
J. Bloch-Dermant, The Art of French Glass 1860-1914, New York, 1974, p. 94,
another similar example illustrated
Exposition Émile Galle and Toulouse-Lautrec, exhib. cat., Osaka, 1995, p. 48,
another similar example illustrated
H. Ricke, Glas des Art Nouveau, Munich, 1998, p. 126, fig. 40, another
similar example illustrated
V. Thomas, École de Nancy – Fleurs et ornements, Paris, 1999, p. 38,
for a pencil and watercolor design for a taller version of the ‘Ancolie’ vase
Émile Gallé et le Verre, Le Collection du Musée de l'Ecole de Nancy, Nancy,
2004, p. 164, another similar example illustrated
Gallé Art Nouveau Glass, Kitazawa Museum of Art, exhib. cat., Vol. 2, Tokyo, pp. 35-36,
another similar example illustrated
E. Gallé, Émile Gallé, New York, 2014, p. 100, another similar example illustrated

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EMILE GALLE – ORCHIDEE VASE, CIRCA 1900

ORCHIDEE VASE, CIRCA 1900
Applied, carved, and marquetry cased glass
22.9 x 14 cm;
Engraved Gallé

Bibliography
R. Marx, Émile Gallé – Psychologie de l’artiste et synthèse de l’oeuvre, Art et Décoration,
Paris, August 1911, p. 245, for an illustration of the variant in the Marx collection
Collection Roger Marx – Objets d’Art Moderne, Paris, 13 May 1914, lot 98, the above variant
of this model
J. Bloch-Dermant, L’Art du Verre en France 1860-1914, Lausanne, 1974, p. 100, another similar
example illustrated
L. Buffet-Challié, Le Modern Style, Paris,1975, p. 127, another similar example illustrated
P. Garner, Émile Gallé, Paris, 1976, p. 112, for an illustration of a variant of the green and pink version
B. Warmus, Émile Gallé – Dreams into Glass, The Corning Museum of Glass, Corning,
New York, 1984, pp. 98-101, for illustrations of the Roger Marx collection variant, pp. 102-103,
cat. no. 20, for the variant, lot 45 in the present catalogue
A. Duncan, G. de Bartha, Gallé Le Verre, London, 1984, p. 76, pl. 98, another similar
example illustrated
P. Thiébaut, Gallé, Paris, 1985, p. 172, for an illustration of an 1889 precursor to this model,
and p. 210 for a green and pink version in the collection of the Musée des Beaux-Arts et d’Archéologie,
Boulogne-sur-Mer
A. Duncan, The Paris Salons 1895-1914, Vol. IV: Ceramics and Glass, Woodbridge,
1998, p. 217, design drawing illustrated, p. 224, another similar example illustrated
from the Exposition de l’École de Nancy, Paris, 1903, p. 230, another similar example
illustrated from the Paris Salon 1903-1904
L’École de Nancy, 1889-1909, Paris, 1999, p. 185, another example illustrated
E. Gallé, Émile Gallé, New York, 2014, p. 154, another similar example illustrated

His striking vase ‘Orchidée’ of around 1900, with its full-relief application of a
coelogina cristata in full bloom, is the fulfilment of a model that dates back to 1889.
In that year Gallé included a version of the vase in his submission to the Exposition Universelle
in Paris. The model, its form derived from that of an archaic Chinese Han bronze vessel, was executed
in a lightly veined glass whose decoration was rendered in surface enameling, patination, and engraving. The motifs were drawn from both Islamic and Japanese sources.
The piece illustrated the eclecticism that marked Gallé’s oeuvre, particularly in its earlier chapters before the emergence through the 1890s and the fulfilment around 1900 of his mature style. The present piece exploits the same Han form, but now with a more complex and richer decoration
in the mass of the glass, and with the chosen flower, the orchid, represented in luscious full relief.
A version of this model was presented at the Exposition Universelle of 1900 in Paris and an
example was in the illustrious contemporary collection of Roger Marx, art critic, connoisseur,
Inspector-general of French museums and subsequently editor of La Gazette des Beaux-Arts

The model also exists in variegated jade green and pink with a pink flower in the
former collection of Roger Marx and in the collection of the Musée des Beaux-Arts et d’Archéologie, Boulogne-sur-mer.

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PAUL MILET – EMILE BELET – VASE, CIRCA 1900

VASE, CIRCA 1900
Grès with gray blue mottling, decorated with honesty leaves applied on both sides
Signed MILLET / Sèvres under the base and Belet sc lower right
28 cm. high

Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill p. 53

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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

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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

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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.

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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

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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
Total height: 18.5 cm

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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

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EMILE GALLE – TWO COLOCYNTHS RARE VASE, CIRCA 1900

TWO COLOCYNTHS RARE VASE, CIRCA 1900
Japanese inspiration, in faience with a high-fired polychrome design on white glazed cover
The two colocynths have stylized cutouts on the belly, to receive the flowers
Some small scratches, firing cracks and a restored chip at the back
Black enamed signature under the base E. Gallé / Faïencerie de Nancy
Height: 33 cm

Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 173

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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