PIERRE-ADRIEN DALPAYRAT – COVERED POT, CIRCA 1890-1895
COVERED POT, CIRCA 1890-1895
Grès covered pot, the base and cover in gilt bronze
Impressed signature “à la grenade éclatée”
Bears a label of L’Escalier de Cristal
Height: 25 cm
Showing 97–120 of 788 results
MANUFACTURE NATIONALE DE SEVRES – ALEXANDRE SANDIER – VASE DE CHEVILLY, 1913
VASE DE CHEVILLY, 1913
Porcelain with a sang de boeuf glaze. The mount in gilt bronze
Bearing the manufacturer’s stamp and dated 1913
Height: 24 cm
THEO PERROT – “AUTOMNE” RARE VASE, CIRCA 1906
“AUTOMNE” RARE VASE, CIRCA 1906
Grès. Baluster shaped with an elongated neck, decorated with a leafy branch in high relief. The glaze, in
the usual manner of the school of Carriès, is applied as a”guilloché” surface in a rotating movement
Handwritten signature under the vase, 623 L and 68467/EB in ink
Height: 45 cm.
EMILE GALLE – BOTTLE, CIRCA 1900
BOTTLE, CIRCA 1900
Blown, moulded internally decorated and wheel-carved marquetry glass; original stopper
Signed
12 cm. high
MANUFACTURE NATIONALE DE SEVRES – GROUP OF VASES
GROUP OF VASES
ALEXANDRE SANDIER (1843-1916), form designer
HENRI-LOUIS-LAURENT ULRICH, decorator
LÉONARD GEBLEUX (1861-1930), decor designer
“Vase de Montchanin”, 1896
White porcelain glazed blue with a stylized floral pattern
Bearing the manufacturer’s oval stamp for 1899
23 cm. high
Exhibition
Exposition Universelle, 1900
ALEXANDRE SANDIER (1843-1916), form designer
DENIS LIGUÉ (active at Sèvres between 1881 and 1911), decorator
“Vase de Monchanin”, 1896
White porcelain glazed polychrome with a floral pattern
Bearing the triangular manufacturer’s stamp for 1900 and decoration mark for 1904
23 cm. high
ALEXANDRE SANDIER (1843-1916), form designer
“Vase de Montchanin”, 1896
White porcelain glazed pink, red and gold with a decor of waterlilies
Bearing the triangular manufacturer’s stamp
23 cm. high
GEORGES DE BARDYERE – TRAY, CIRCA 1900
TRAY, CIRCA 1900
Carved wood with a decor of a butterfly and capucines
Signed
29.7 x 24 cm.
DORVAL, enameller – VASE, CIRCA 1900
VASE, CIRCA 1900
Copper, polychrome enamel decor of an elegant and flowers on a landscape background
Signed Dorval in the decor
Height: 20 cm.
ALEXANDRE-LOUIS-MARIE CHARPENTIER – “LA SOURCE TARIE” INKWELL, 1906
“LA SOURCE TARIE” INKWELL, 1906
Bronze with a dark brown patina
Signed
18 x 25.5 cm.
Exhibition
Salon d’Automne, Paris, 1906, n. 349 (plaster)
Musée d’Orsay, Alexandre Charpentier Naturalisme et Art Nouveau, 22 January-13 April 2008
Bruxelles, musée communal d’Ixelles, 29 May-31 August 2008, ill. p. 167, n. 171
Bibliography
Madeleine Charpentier-Darcy, Introduction à l’art d’Alexandre Charpentier. Catalogue sommaire de l’oeuvre (sculpture – art décoratif)”, Bulletin de la Société de l’Histoire de l’art français, année 1996, published in 1997, Sc 29, p. 219
MANUFACTURE NATIONALE DE SEVRES – “ALENCON” PAIR OF VASES, 1902
“ALENCON” PAIR OF VASES, 1902
Flamed porcelain, on a dark purple background enhanced with color with green crystallization in the manner of Chinese effect.
Marked PN (for pâte nouvelle) and bearing the manufacturer’s stamp for 1902
Height: 43 cm.
Diameter: 18 cm.
PINKNEY MARCIUS-SIMONS – ALLEGORY OF HEAVEN AND INFERNO
ALLEGORY OF HEAVEN AND INFERNO
Oil on canvas
Signed
112 x 80 cm.
GEORG HARALD SLOTT-MOLLER – ANTON MICHELSEN – BEAKER, 1898
BEAKER, 1898
Chased and repoussé silver, silver gilt, pearls
Stamped Michelsen / Danish mark / 98 / O M / V W / SG ( for assay master Simon Groth) / H. Slott-Möller / del. / 1898
Height: 16 cm.
Anton Michelsen (1809-77) opened his first shop in Denmark in 1841. For several generations, he was the leading firm of gold and silversmiths, with significant influence on Danish jewelry design during the 19th and early 20th century. A Michelsen was among the first and the last to work in the Old Nordic style.
More widely known as a painter, Harald Sløtt-Moller worked for the Anton Michelsen Silversmithy during the Skønvirke period of design, circa 1880-1920. Skønvirke was the Danish equivalent of the English Arts and Crafts, German Jugendstil and French Art Nouveau movements. Sløtt-Mollers pieces, as evident in the offered lot, were influenced by the Japonisme style which grew in popularity following Japan’s exhibition at the Paris World’s Fair in 1867.
A relatable example of this model is in the permanent collection of the Musée d’Orsay, accession no. OAO 1297, and a teapot by the designer, also in the Japonisme style, is in the collection of the Design Museum, Denmark, accession no. 11a-b/1991.
GEORGES BARBOTEAUX – VASE, CIRCA 1910
VASE, CIRCA 1910
Bronze, with a chased decor of insects and barley ears
Signed
Bearing the monogram of the artist under the base
Height: 11.8 cm.
An identical example in silver is in the collections of the Boijmans van Beuningenmuseum in Rotterdam, Netherlands; inventory number MBZ 166 (KN&V)
Exhibition
Salon de la Société des Artistes Français, Paris, 1909
Bibliography
Art et Décoration, July 1909, ill. p. 55
CHARLES-EUGENE THIENOT – “TWO BUMBLEBEES” VASE, CIRCA 1910
“TWO BUMBLEBEES” VASE, CIRCA 1910
Bronze
Height: 11 cm.
Signed
PIERRE-ADRIEN DALPAYRAT – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with a sang-de-boeuf glaze and shades of green
Signed with the artist’s seal and numbered 2048
Height: 21.8 cm.
Diameter: 21 cm.
FRANCOIS-EMILE DECORCHEMONT – BOWL, 1930
BOWL, 1930
White pâte de verre with purple streaks
Signed with the artist’s seal and numbered B913
Diameter: 13.8 cm.
Height: 7 cm.
MAURICE DAURAT – TRAY, CIRCA 1900
TRAY, CIRCA 1900
Bronze and repoussé copper
Signed
59 x 33.5 cm.
Exhibition
Salon des Artistes Français, 1911
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, Armand Guérinet éditeur, 1911, ill. pl. 19
JULES DESBOIS – “EVE AU SERPENT”, CIRCA 1910
“EVE AU SERPENT”, CIRCA 1910
Bas-relief in bronze with a black patina
Signed lower right
Moulded and carved frame
83 x 54 cm.
EMILE GALLE – LOUIS HESTAUX – VASE, 1889-1900
VASE, 1889-1900
Faience
After a design by Louis Hestaux
Signed in the mould
Height: 14.3 cm.
MATHILDE AUGE – ELY VIAL – HENRI COGNET – HAND MIRROR, CIRCA 1900
HAND MIRROR, CIRCA 1900
Polychrome enamel on copper, bronze mount. The handle is enamelled on both side
Signed by both artists
The mount in chiseled bronze by the maison parisienne Henri Cognet & Cie.
24 cm. long
EMILE GALLE – “LA GIROFLEE DE MURAILLE”, CIRCA 1900
“LA GIROFLEE DE MURAILLE”, CIRCA 1900
Multilayered glass with four applied and wheel-carved flowers, gold leaf inclusions, partly hammered
Engraved signature
21 cm. high
Only one other example is known to exist
Provenance
According to previous owners, this vase was acquired at auction in Versailles around 1970 as therefore could be part of a group of vases sold by Emile Gallé’s descendants
FRANCOIS-EUGENE ROUSSEAU – APPERT FRÈRES – CYLINDRICAL VASE, CIRCA 1900
CYLINDRICAL VASE, CIRCA 1900
Moulded, blown transparent glass with powder inclusions
Unsigned
Height: 24 cm.
VAL SAINT-LAMBERT – “OIGNON DE JEMEPPE” VASE
“OIGNON DE JEMEPPE” VASE
Glass
Height: 44 cm.
ERNEST LEVEILLE – VASE, CIRCA 1900
VASE, CIRCA 1900
Green tinted transparent blown glass with red powder and silver inclusions
Signed E. Léveillé
Height: 16.5 cm
DAUM FRERES – PAUL RACADOT – “HOMMAGE A CAMILLE CAVALLIER” LAMP, 1924
“HOMMAGE A CAMILLE CAVALLIER” LAMP, 1924
Blown and engraved glass
Inscribed: Charlon/Pont à Mousson/Camille Cavallier/Hommage/des Conseillers/du Commerce Extérieur/de la Région de l’Est/1924″ et “Métallurgie/Pont à Mousson/1856/Foug/1905 Au Boue/1905/S’Estienne du Rouvray/1915
Height: 74 cm.
“Ce magnifique vase est la réplique de celui qui a été offert officiellement à Camille Cavallier, président-fondateur des Fonderies de Pont-à-Mousson, en 1924. Sur un fond symbolique de blés mûrs au temps de la moisson, quatre médaillons reproduisent dans une dominante rougeoyante qui leur convient, des scènes d’atelier, depuis la mine jusqu’à la forge. Tous ces motifs sculptés finement dans le verre, sont les témoins de la qualité exceptionnelle des graveurs sur verre de cette époque. Leur travail n’était pas exempt d’aléas, et si ce vase n’est qu’une réplique de l’original, quoique terminé, c’est qu’il est légèrement fêlé. Au cours des derniers coups de roue, une crique s’est déclarée inopinèment, rendant nécessaire la reprise à zéro du travail sur une autre pièce en attente, qui ne dut qu’à un tour de force d’être prête à temps. Le principal auteur du travail était le célèbre H. Racadot”. (Notice of Noël Daum in the catalogue of the exhibition at the Musée des Beaux-Arts de Nancy)
Exhibition
DAUM Cent ans de verrerie d’art “trois styles”, 3ème exposition, March 1979 – March 1980, musée des Beaux-Arts de Nancy, n. 16 in the exhibition catalogue
Bibliography
Noël Daum, Daum Maîtres Verriers, Edita Denoël, 1980, ill. p. 108
Clothilde Bacri, Daum, Paris, 1992, ill. p. 152