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THEO PERROT – PITCHER, CIRCA 1900

PITCHER, CIRCA 1900
Red-brown enamelled grès with ocher streaks. The handle featuring a flower stem
Signed Théo PERROT, and numbered 87 incised under the base
Height: 15.5 cm.

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ALBERT DAMMOUSE – ERNEST-EMILE CHAPLET – ROLL-SHAPED VASE, CIRCA 1900

ROLL-SHAPED VASE, CIRCA 1900
Terracotta decorated with barbotine
Floral design of Japanese composition executed by Albert-Louis Dammouse; impressionist technique by Ernest Chaplet excecuted in the Haviland workshop, Auteuil
Bearing the artist’s seal, label from the Roger Marx’s collection and an other old label A la paix …avenue de l’opéra on the reverse
Height: 33.5 cm.

Bibliography
Europäiche Keramik der Jugendstilzeit, Art Nouveau Modern Style, exhibition catalogue,
Hetjens-Museum, Düsseldorf (Allemagne), 1974, p. 50, n. 40 for a similar vase
Félix Marcilhac, Art nouveau 1900, éd. Ouest-France, 1981, ill. p. 25
Anne Lajoix, La céramique en France 1925-1947, éd. Sous le Vent, Paris, 1983, ill. p. 11

Provenance
Collection Roger Marx, Paris

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SERAPHIN SOUDBININE – PAUL JEANNENEY – “LA DOULEUR”, 1908

“LA DOULEUR”, 1908
Grès. Signed by both artists, dated 1908 and located Château de St Amand.
Height: 35 cm.

Exhibition
Marc Ducret and Patricia Montjaret, L’école de Carriès, art céramique à Saint-Amand-en-Puisaye
1888-1940, Paris, éditions de l’Amateur, 1997, similar example ill. p. 125
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, similar example ill. p. 349

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PIERRE-ADRIEN DALPAYRAT – JEAN COULON – “ANDROMEDE” EXCEPTIONAL PITCHER, CIRCA 1893-1906

“ANDROMEDE” EXCEPTIONAL PITCHER, CIRCA 1893-1906
Grès, brown-green glaze with sang de boeuf dripping
Stamped twice
Height: 28.5 cm.

Exhibition
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzerland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium

Bibliography
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, n. 92, p. 147

Provenance
Collection of Jean-Pierre Hassler, Switzerland

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ERNEST BUSSIERE – JOSEPH ET PIERRE MOUGIN – “PETALES” VASE, CIRCA 1900

“PETALES” VASE, CIRCA 1900
Grès
Height: 27 cm
Very rare model, especially since it is known as made by Keller & Guérin, an example of which is in the collections of the Ecole de Nancy museum (inv. AD 326)

Exhibition
Exposition de l'Ecole de Nancy, Paris, 1903 (Model realized by par Keller & Guérin)
Céramiques végétales / Ernest Bussière et l'art nouveau, musée de l'école de Nancy,
21 June – 25 September 2000, n. 60 ill. p. 51

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HANS STOLTENBERG LERCHE – COUPE, CIRCA 1900

COUPE, CIRCA 1900
Enamelled grès with metallic reflections
Central design of a medallion with an ocher female profile
The side of the plate is decorated with blue, green and purple flowers
Signed with the seal and Saint-Lerche
Diameter: 20 cm.

Bibliography
“En Norvège, la note originale est donnée par M. Lerche, qui expose des plats, des vases, des coupes d’une facture très large et très osée, où le décor arrive même parfois à confusion. Mais l’artiste est un chercheur ; des sculptures très nerveusement modelées, des plateaux ou des corbeilles d’étain montrent son activité et son intelligence de l’ornement. Il a même inauguré quelques essais curieux de motifs de décoration céramique, où la fonte de métal s’unit aux incrustations d’émaux”, Alexandre Sandier La Céramique à l’Exposition (de 1900), Art et Décoration, vol. I, 1901, p.54 and p. 55
At the Société Nationale des Beaux-Arts of 1910, Hans Stoltenberg Lerche exhibits a plate in ceramic decorated with a head
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 350

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GUSTAV ADOLF MOSSA – LA CIRCE, 1906

LA CIRCE, 1906
Watercolor, gouache, black ink and pencil
Signed, dated HOC OPUS NICIENSIS FECIT / GUSTAV ADOLF MOSSA MCMVI lower right
Titled LA CIRCE / Ah combien j’ai bu de boissons faites de larmes de Syrènes, / distillées dans des alambics aussi effroyables que l’enfer
65 x 43 cm.

Exhibition
5ème Exposition des Beaux-Arts de Cannes, Cannes, Hôtel de Ville, 1907
Gustav Adolf Mossa et les symboles, 1883-1971, Nice, galerie des Ponchettes et musée des Beaux-Arts Jules Chéret, 7 July – 31 December 1978, n. 114
Gustav Adolf Mossa, l’oeuvre symboliste, 1903-1918, Paris, pavillon des arts, 19 June – 27 September 1992, Montauban, musée Ingres, 22 October 1992 – 3 January 1993, p. 147, n. 72
Gustav Adolf Mossa, l’oeuvre symboliste, 1903-1918, Thessalonique, Centre culturel Vellidio,
5 January- 4 February 1995, Athènes, Institut français, 13 February – 3 March 1995, n. 28
Gustav Adolf Mossa Symbolistiske Arbejder, 1903-1918, Holte, G. Holtegaard, 4 March – 20 June 1999, p. 37, n. 46
L’œuvre secrète de Gustav Adolf Mossa, Namur, Musée Félicien Rops, 30 January – 16 May 2010,
p. 88

Bibliography
G. de Jarrie, L’Exposition des Beaux-Arts de Cannes, in L’Eclaireue de Nice, 17 January 1907, p.5
Le Bourgeois, L’Exposition des Beaux-Arts de Cannes, in Le Journal des Arts, 19 January 1907, p.3
Jean-Roger Soubiran, Les Aquarelles symbolistes et la création plastique symboliste de Gustav Adolf Mossa, PhD dissertation, Aix-en-Provence University – Marseille, 1978, p. 129-130 and p. 500-501,
n. 106
Jean-Roger Soubiran, Les influences gothiques dans l’art symboliste de Gustav Adolf Mossa, in Nice historique, 1978, n. 2, p. 75
Jean-Roger Soubiran, Gustav Adolf Mossa, 1883-1971, Nice, 1985, pp. 60, 80, 212 et fig. 91 p. 81
Sylvie Lombart, Jean-Roger Soubiran, Gustav Adolf Mossa, Catalogue Raisonné des oeuvres symbolistes, Paris, 2010, p. 184-185, n. A116

Exhibition
Formerly in the collection of France Mossa-Lombart, then by descent

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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

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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