ROBERT LINZELER – SERVING SET, CIRCA 1900
SERVING SET, CIRCA 1900
Silver gilt with a design of foliage
With French Minerva mark
With silversmith mark: L & Cie (crown)
Spoon length: 25.2 cm.
Fork length: 24.3 cm.
Showing 457–480 of 937 results
PIERRE-AUGUSTE ARNOUX – CHRISTOFLE & CIE, HENRI GODIN – LEON MALLET, Chaser – VERY RARE COFFEE SERVICE “PINECONES AND NEEDLES, 1896
VERY RARE COFFEE SERVICE “PINECONES AND NEEDLES, 1896
Comprising a chased silver and silver gilt coffee pot, a covered sugar bowl, milk jug and matching tray
Each piece fully signed, bearing Minerva and makers marks and numbered
Coffee pot: 21 cm. high
Sugar bowl: 12 cm. high
Milk jug: 8 cm. high
Tray: 35 cm. diameter
Exhibition
Salon de la Société Nationale des Beaux-Arts, Paris, 1896
Exposition Universelle, Paris, 1900
Bibliography
“A M. Henri Bouilhet et aux ateliers de la maison Christofle nous devons quelques très beaux morceaux d’orfèvrerie où l’ornement végétal est finement adapté à des formes de poteries très simples, commodes et d’un bon profil.
Dans un service à thé la feuille de chêne joue un rôle décoratif plein d’élégance. Une chocolatière s’enrichit pittoresquement de têtes et de feuilles de céleri. Le décor de deux cafetières s’emprunte aux aiguilles et aux pommes du pin et à la feuille
du platane… Le catalogue de l’Exposition nous fait connaitre les collaborateurs de M. Henri Bouilhet et je me fais un plaisir de citer leurs noms : les modèles sculptés sont de M. Léon Mallet et la ciselure est de MM. Arvisenet, Lindermann, Portrait,
Marionnet, Roze et Simon”. L. de Fourcaud, Les Arts décoratifs aux Salons de 1896, Revue des Arts décoratifs, July 1896, p. 229
Art et Décoration, 1900, vol. II, coffee pot illustrated p. 173
Tony Bouilhet, L’Orfèvrerie française au XXème siècle, éditions Émile-Paul frères, Paris, 1941, coffee pot illustrated in one of the plates
LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – PAIR OF FRUIT BOWLS, CIRCA 1900
PAIR OF FRUIT BOWLS, CIRCA 1900
Wheel cut crystal on silver bases
With silver and makers marks
Bowl: 25 cm. diameter
Weight of silver base: 1060 gr.
Between 1894 and 1899, Lucien Bonvallet designed for Cardeilhac a large array of silverware destined for the Exposition Universelle. Tea and coffee services in two sizes with their matching trays in engraved silver or pyrographed with silver mounts, handles and finials in either ebony or tinted ivory, sculpted ivory and silver candy dishes, vases, soup tureens, vegetable dishes and plates, fruit bowls, scent bottles, eggcups, a large centerpiece that included a jardinière and candlesticks. He drew his inspiration from flowers and plants which were transposed on the various models: thistles, columbines, mistletoe, clovers and chestnut leaves
All of those models were exhibited in January and February 1913 at the pavillon de Marsan, Musée des Arts décoratifson the occasion of a retrospective exhibition of Lucien Bonvallet
FRENCH – “CHARDONS” WALL SCONCES, CIRCA 1900
“CHARDONS” WALL SCONCES, CIRCA 1900
Wrought iron
80 cm. high
We can attribute this work to Emile Robert, Régius or an artisan from the School of Nancy
EDWARD COLONNA – ART NOUVEAU BING – TABLE LAMP, CIRCA 1901
TABLE LAMP, CIRCA 1901
Metal, four waterleaf in relief on the base
Signed
48 cm. high
Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue
Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113
MANUFACTURE NATIONALE DE SEVRES – HENRI RAPIN – JEAN-BAPTISTE GAUVENET – “RAPIN” WALL LIGHT, 1923
“RAPIN” WALL LIGHT, 1923
Enamelled porcelain and gilt bronze
Bearing the Sèvres Factory and decoration marks for 1923
36 cm. high
No other example known to exist
Exhibition
Exposition Universelle des Arts Décoratifs et Industriels Modernes, Paris, 1925
Sèvres – Elégance du 20ème siècle. L’Exposition des Porcelaines de Sèvres de style Art Déco, Tokyo Metropolitan Teien Art Museum, 2 October-19 December 1993, n. 27 in the exhibition catalogue
Bibliography
Les Œuvres de la Manufacture Nationale de Sèvres 1738-1939, Volume V, Le Luminaire, illustrated under number 35245
EDWARD COLONNA – ART NOUVEAU BING – TABLE LAMPS, CIRCA 1901
TABLE LAMPS, CIRCA 1901
Metal, four waterleaf in relief on the base.
Signed
48 cm. high
Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue
Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113
PAUL FREY – MATCH BOX HOLDER, CIRCA 1900
MATCH BOX HOLDER, CIRCA 1900
Gold, decorated with clovers
With maker’s mark, eagle’s head (2) and marked DEPOSE
4.5 x 3 cm.
Bibliography
Henri Vever, La Bijouterie française au XIXème siècle, vol. III, p. 582, illustration of a match box holder with an identical decor
RORSTRAND PORSLINFABRIKER AB – WALDEMAR LINDSTRÖM – “RAIES” VASE, 1901-1902
“RAIES” VASE, 1901-1902
Porcelain
Bearing the manufacturer’s stamp, bearing the monogram of the artist, numbered 12806
22.5 cm. high
GEORGE MINNE – LA MAISON MODERNE – “LE PETITE BLESSE”, 1898
“LE PETITE BLESSE”, 1898
Bronze with black patina
Signed, dated 98 and impressed with La Maison Moderne’s seal
25.3 cm. high
Exhibition
George Minne en de kunst rond 1900, Museum voor Schone Kunsten, Ghent, September 1982 –
December 1982, p. 157, n°80
Bibliography
Art et Décoration, November 1901, ill. p. 112
Documents sur l’Art Décoratif Industriel au XXème Siècle, Edition de La Maison Moderne, nd,
section sculpture, ill. p. 21 under reference 308-1
AGATHON LEONARD – SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
Enamelled stoneware
Signed with monogram A.L. under the base
8 cm. high
Exhibition
Agathon Léonard had exhibited stonewares at the Nationale des Beaux-Arts from 1901
EMILE GALLE – VASE “CYCLAMENS”, 1898-1900
VASE “CYCLAMENS”, 1898-1900
Flattened glass with intercalary inclusions, decor in marquetry finely wheel carved
Signed
22 cm. high
Bibliography
Richard Dennis, The Glass of Emile Gallé, Antiques International, London 1967, p. 189, pl. 17
EMILE GALLE – COLOQUINTE VASE, CIRCA 1900
COLOQUINTE VASE, CIRCA 1900
Multilayered glass with inclusions, decoration of waterlilies in marquetry and chased
Signed
25 cm. high
EDGAR WILLIAM BRANDT – PAUL BONNAUD – BOWL, CIRCA 1910
BOWL, CIRCA 1910
Polychrome enamel on copper
Bronze mount by Edgar Brandt decorated with starfishes
Signed
34.5 cm.
EMILE GALLE – “ANEMONES” VASE, CIRCA 1880-1884
“ANEMONES” VASE, CIRCA 1880-1884
Multilayered glass, internally decorated, acid-etched and finely wheel-carved
20.5 cm. high
Another example is in the collection of the Kitazawa Museum in Suwa, Japan
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, Utsunomiya Museum of Art, ill. p. 44, n. 027
Bibliography
L’Estampille, December 1978, ill. p. 16
Provenance
Jean-Claude Brugnot, Paris, 1974-1975
Private Collection, Italy
Acquired from the above
GEORGES JEAN – VASE, CIRCA 1900
VASE, CIRCA 1900
Polychrome enamel on copper with a design of peacock feathers
Signed Georges Jean and located Les-Issarts-Le-Roy
9.5 cm. high
BERNARD HOETGER – “LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
“LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
Bronze with a brown patina
Signed on the base
20 cm. high
LOUIS-AUGUSTE THÉODORE-RIVIÈRE – “SALAMMBO CHEZ MATHO”, 1895
“SALAMMBO CHEZ MATHO”, 1895
Carved ivory
Signed and dedicated à mon ami A(ngelo) Mariani
Height: 28 cm.
Exhibition
Musée Galliéra, Exposition de la Statuette et du Meuble qui la présente ou l’accompagne, 1914, n. 373,
described as “Salammbô”, ivory (Collection of Mr Jacques Mariani)
Salammbô: Fureur ! Passion ! Elephants !, 20 October 2021-7 February 2022, exposition itinérante au Musée des Beaux-Arts de Rouen, au Mucem à Marseille et à l’Institut national du patrimoine à Tunis
Bibliography
Colette Dumas, Théodore Rivière – sa vie … Son œuvre, p. 61 to p. 66
Salammbo, Mucem, Réunion des Musées Métropolitains de Rouen, Institut National du Patrimoine de Tunisie, éditions Gallimard, 2021, ill. p. 110 in the exhibition catalogue
Provenance
Formerly in the Collection of Mr Angelo Mariani
Angelo Mariani, chemist and inventor of the “Vin Mariani”, a fortifying beverage based on coca bark, a true institution for nearly half a century before its essential component was banned, was the friend and patron of Theodore Riviere, who composed a collection of portraits and statuettes. The period documentation quotes a number of artworks exhibited at different Salons and having belonged to A. Mariani (or by descent to his son Jacques), such as La Caravane, plaster ; le Portrait de M. Mariani, bronze ; Salomé, ivory (our example) ; Les Huns ; Le Mur ; Le Silence, ivory, marble and bronze ; L’Empereur d’Annam, ivory and sculpted wood ; La Femme d’Elchi, ivory, marble and wood ; La brodeuse arabe, ivory, marble and enamels. Angelo Mariani was the patron of several artists including Jean Baffier.
Special order or gift of the artist, this sculpture, which is not among the works on display at the ivory exhibition at the Galliéra Museum in 1903, could have been executed around this date
VICTOR PROUVE – JOSEPH and PIERRE MOUGIN – “AUX ROSES” VASE, CIRCA 1900
“AUX ROSES” VASE, CIRCA 1900
Beige earthenware, the three sided vessel decorated with a woman holding a rose, the rim adorned with roses in full relief
Signed Mougin frères céram., numbered 1355 and signed V Prouvé
(the letters V and P intertwined)
53.2 cm. high
A similar vase without Prouvé’s decoration is at the Musée de l’Ecole de Nancy, gift of J.-B. Corbin
to the town of Nancy in 1935. No other example of our vase is known to exist
Exhibition
Victor Prouvé 1858-1943, Musée de l’Ecole de Nancy, 17 May-21 September 2008,
ill. p. 204, n. 143 in the exhibition catalogue
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022
Bibliography
Jacques G. Peiffer, Les frères Mougin, sorciers du grand feu-grès et porcelaine 1898-1950, éditions Faton, ill. p. 159
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, our example ill. p. 309
EMILE GALLE – VICTOR PROUVE – “LES CISELEURS DE LA MER”, 1900
“LES CISELEURS DE LA MER”, 1900
Pitcher of flattened form with wheel-carved aquatic decoration
Engraved signature
25.5 cm. high; 10.5 cm. wide; 3 cm. thick
One of four known to exist
Exhibition
Exposition Universelle, Paris, 1900
Exposition de l’Ecole de Nancy, Paris, Pavillon de Marsan, 1903
Salon de la Nationale des Beaux-Arts, Paris, 1904
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, musée des Beaux-Arts, musée de l’Ecole de Nancy, Nancy, 6th May – 28th August 2006, n. 162 in the exhibition the catalogue, ill. p. 220
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022
Bibliography
A. Duncan & G. de Bartha, Glass by Gallé, 1984, Thames & Hudson Limited, London, ill. page 58
Wood One Museum of Art, 2005, catalogue n. 63, ill. p. 64 (neck cut down)
The Paris Salons, vol. IV, ill. page 224
Provenance
Identical pitcher at the Musée de l’Ecole de Nancy and at the Danish Museum of Art & Design in Copenhagen
Similar model at the Roger Marx Sales, Paris, 13th may 1914, Galerie Manzi-Joyant, “Les Algues” n. 97 in the catalogue, ill. p. 17
The drawing of this piece with annotations by hand by Gallé is illustrated page 187 of the catalogue of the “Emile Gallé” exhibition presented in six Japanese museums in 2000-2001
BERNARD HOETGER – “PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
“PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
Bronze with a brown patina
Signed
9 cm high
Bibliography
Bernard Hoetger – Skulptur, Malerei, Design, Architektur, Hauschild, 1998, ill. p. 344, n. 236
ALBERT DAMMOUSE – IMPORTANT BOWL, CIRCA 1900
IMPORTANT BOWL, CIRCA 1900
Pâte d’émail with a design of roses and foliage
13.5 cm. high
12 cm. diameter
Exhibition
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002, ill. p. 513
MANUFACTURE NATIONALE DE SEVRES – LÉON KANN – “POMMES DE PIN” COFFEE SERVICE, 1902
“POMMES DE PIN” COFFEE SERVICE, 1902
Comprising four cups and saucers and one sugar bowl porcelain with a relief decoration of pinecone scales
Bearing the manufacturer’s marks S/1905, pâte nouvelle
Sugar bowl: 14.2 cm. high
Each cup: 6.8 cm. high
Each saucer: 13 cm. diameter
Another example of the sugar bowl is part of the collections of the Château-Musée de Boulogne-sur-Mer (INV. 480L)
Exhibition
1904, St. Louis: Exposition internationale
SOLD
EUGENE GAILLARD – “TREFLE” LOWER TABLE, 1913
“TREFLE” LOWER TABLE, 1913
Padouk wood and walnut with four nesting tables.
70 x 70 cm.
Another example of this design is in the collections of the Musée des Arts Décoratifs, Paris.
Exhibition
SAD, Paris 1913
Bibliography
M. P.-Verneuil, Le Salon de la Société des Artistes Décorateurs, Art et Décoration, January 1913, p. 96
Laurence Buffet-Challié, Le Modern Style, Baschet et Cie éditeurs, Paris, n.d., ill. p. 53
Anne-Marie Quette, Le Mobilier Français – Art Nouveau 1900, éditions Massin, 1995, ill. p. 57
Table à thé formant gigogne en bois de padouk et placage de noyer à quatre éléments amovibles, plateau circulaire de forme mouvementée, quatre tables gigognes à plateau triangulaire, piétement ajouré et rainuré sur sa face extérieure.
70 x 70 cm
Modèle identique au Musée des Arts Décoratifs.
Exposition
SAD, Paris 1913
Bibliographie
M. P.-Verneuil, Le Salon de la Société des Artistes Décorateurs en 1913, dans Art et Décoration, janvier 1913, p. 96
Laurence Buffet-Challié, Le Modern Style, Baschet et Cie, éditeurs, Paris, n.d., ensemble rep. p. 53
Anne-Marie Quette, Le Mobilier Français – Art Nouveau 1900, 1995 éditions Massin, repr. p. 57