FRENCH – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Important pitcher in green marble, decorated with algae, brown patinated bronze mount, embellished with aquatic plants
30 cm. high
Showing 265–288 of 633 results
ALBERT DAMMOUSE – COUPE, 1899
COUPE, 1899
Footed coupe in brown stoneware engraved with flowers and leaves in relief and embellished with cream-colored flowers and green leaves in porcelain, the inside of the neck covered in sang-de-boeuf and turquoise blue enamel
Impressed circular stamp signature
12.5 cm high
Exhibition
Société Nationale des Beaux-Arts, 1899
Bibliography
Art et Décoration, July 1899, pages 4 and 104
CARLO BUGATTI – ADRIEN-AURELIEN HEBRARD – FISH PLATE, 1907
FISH PLATE, 1907
Long silver plate, decorated with marine monsters
Signed Bugatti and A. A. Hébrard Rue Royale Paris
Hallmarks
62 cm. long; 30.5 cm. wide
To this day, only one other example of this model is known to exist, sold at the sale of Maître Thierry de Maigret, Paris, Art Nouveau – Art Déco, 7 April 2004, lot 111
The provenance indicated in the catalog stated “Formerly in the collection of Miss S., close relation to Hébrard. Inheritance of her niece, Miss X.”
This model was exhibited at the Galerie Hébrard, 8 rue Royale, Paris, 2 – 25 December 1907
Exhibition
Galerie A.-A. Hébrard, 8, rue Royale, Paris, 2 – 25 December 1907
ReConnaître Carlo Bugatti, Musée d’Orsay, Paris, 10 April – 15 July 2001, ill. p. 61, n. 79 in the exhibition catalog
Uzès Exposition, ancien Évêché, Monticelli, précurseur de l’impressionnisme & Bugatti, une dynastie de créateurs, 22 June – 13 October, 2024
Bibliography
ReConnaître Carlo Bugatti, Musée d’Orsay, Paris, 2001, ill. p. 58 and p. 61, n. 79 in the exhibition catalog
EMILE GALLE – “LA FORÊT LORRAINE” DESK, CIRCA 1900
“LA FORÊT LORRAINE” DESK, CIRCA 1900
Exotic marquetry inlaid wood
108 cm. high; 72 cm. wide; 50 cm. deep
Bibliography
An identical model is illustrated in the catalogue L’Ecole de Nancy, Art Nouveau et industrie d’Art, Musée de l’Ecole de Nancy, 2018, p. 96
Alastar Duncan, Georges de Bartha, Gallé Furniture, Antique Collectors' club, 2012, ill. p. 239
EMILE GALLE – “OMBELLES” CHAIRS, CIRCA 1900
“OMBELLES” CHAIRS, CIRCA 1900
Pair of carved walnut chairs
Signed
95 x 47 x 43.3 cm
Bibliography
A. Duncan, Art Nouveau furniture, p. 258, pl. 1.
Philippe Garner, Emile Gallé, 1976, p. 23-24, p. 89
Ministère de la Culture – Edition de la Réunion des musées nationaux, Gallé, 1985, pp. 279-280
Bernd Hakenjos, Emile Gallé, catalog, vol. II, p. 174, n. 329
Provenance
Private collection Belgium
EMILE GALLE – “AUX LIBELLULES ET PAPILLONS” CONSOLE, CIRCA 1900
“AUX LIBELLULES ET PAPILLONS” CONSOLE, CIRCA 1900
Sculpted walnut and exotic wood marquetry, mother-of-pearl inlay and bronze
Signed
138 cm. high; 74 cm. wide; 46 cm. deep
Only one variant of the design is recorded
Bibliography
A. Duncan and G. de Bartha, Gallé Furniture, Antique Collector's Club, 2012, a variant ill. p. 272, pl. 4
Provenance
Private collection, France
EMILE GALLE – LOUIS HESTAUX – RARE CHAIR IN SCULPTED WALNUT, CIRCA 1900
RARE CHAIR IN SCULPTED WALNUT, CIRCA 1900
After the design by Louis Hestaux
94 cm. high
Bibliography
Fin de siècle Masterpieces from the Silverman collection, New York, Abbeville Press, p. 75
Gallé furniture, Antique Collectors Club Ltd, 2012, ill. p. 259
Provenance
Formerly in the collection of Benedict Silverman, New York
EMILE GALLE – “EPIS DE BLE” VITRINE, CIRCA 1900
“EPIS DE BLE” VITRINE, CIRCA 1900
Sculpted walnut, the shelves decorated with wheat stalks in exotic wood marquetry
Signed
185 x 84 x 54 cm
Another example of this design is part of the collections of the Musée d’Orsay, Paris
MULLER FRERES – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Multilayered pitcher, overlaid, acid etched and wheel carved, enameled design in the “fluogravure” technique, applied handle, gold highlights
Signed
20 cm. high
Exhibition
Sunderland Museum & Art Gallery, The Art of Glass – Art Nouveau to Art Deco, 17 July – 27 October 1996
Verrerie Art Nouveau, l'Exemple des Frères Muller, Musée de l'Ecole de Nancy, 6 October 2007 – 7 January 2008, ill. p. 85, n. 16 in the exhibition catalogue
Bibliography
Victor Arwas, The Art of Glass, Andreas Papadakis publisher, 1996, p. 32, n. 42.
Provenance
Dr Henry Blount, Chattanooga, Tennessee, USA
HENRY CROS – PLATE “THE NYMPH GALATEA”, CIRCA 1900
PLATE “THE NYMPH GALATEA”, CIRCA 1900
Exceptional medallion in pâte de verre figuring Galatea asleep being watched by a beast, in shades of pink, yellow brown and orange on a blue background
Signed
Diameter: 27 cm
A similar piece is in the collections of the Musée des Arts Décoratifs, Paris, inventory n° 19647, acquired at the sale of the Roger Marx collection in 1914
Exhibition
Chefs d'oeuvre de la verrerie et de la cristallerie française au Musée des Arts Décoratifs, 1800-1990, Suntory Museum of Art, Tokyo, Japan, 1991, p. 32, n. 25, in the exhibition catalogue
FREDERIC BOUCHERON – LUCIEN HIRTZ – RARE TEA SERVICE, CIRCA 1900
RARE TEA SERVICE, CIRCA 1900
Design attributed to Lucien Hirtz (1864-1928)
Chased silver and vermeil, comprising a teapot, a sugar bowl, and a milk jug decorated with flowers and leaves
Signed F. Boucheron, with silversmith marks
The teapot: 13 cm. high; 18.5 cm. long
The sugar bowl: 8 cm. high; 13.75 cm. long
Bibliography
Compare the design of the teapot with another one in Tony Bouilhet, L’Orfèvrerie française au XXe siècle, éditions Emile-Paul frères, Paris, inset plate
The Report of the International Jury of the Universal Exhibition of 1900, imprimerie nationale, Paris, 1902, pp. 59 to 61, mentions:
“Tea service composed by Hirtz, chiselled by Richard (coffee pot at the Museum of Decorative Arts)”
We have not found this coffee pot in the collections of the Museum of Decorative Arts
A teapot produced by Frédéric Boucheron is illustrated in: Tony Bouilhet, L’Orfèvrerie française au XXème siècle, Émile-Paul frères editions, Paris, 1903 model
In 1907, at Hébrard, he exhibited a silver and vermeil tea and coffee service, the teapot of which is illustrated in the exhibition catalogue. This same service will be exhibited by Hébrard at the Buenos Aires International Exhibition of 1911
ANDRE METTHEY – LOUIS DEJEAN – “DEPART POUR LE BAL”
“DEPART POUR LE BAL”
Grès
Signed by both artists
22 cm. high
Bibliography
Die Kunst, 1900, vol. II, ill. p. 330
L’Art et les Artistes, april 1907, ill. p. 22
André Metthey, la quête du feu et de la couleur, MUDO, Musée de l’Oise, 2022, ill. p.35
LUCIEN GAILLARD – VERY IMPORTANT TEA AND COFFEE SET, 1904
VERY IMPORTANT TEA AND COFFEE SET, 1904
Very important coffee set and tray comprising a coffee pot, a sugar bowl, a milk jug, two cups and saucers
The tray in lacquered wood, the four corners with an applied silver gilt motif with turquoise cabochons, all other pieces in hand repoussé silver gilt, ivory and turquoise cabochons
Each element bears the makers mark and is dated 1904
Most probably unique
Exhibition
Société Nationale des Beaux-Arts, 1904
Bibliography
Art et Décoration, 1909, vol. II, page 55. Three pieces illustrated
Provenance
Acquired in 1983 from Jean-Claude Brugnot
Soon after being rewarded a first class medal at the 1900 Exposition Universelle, Lucien Gaillard retained the services of Master Japanese lacquerers and engravers as well as metal alloys experts to work exclusively for him. They produced very few silver and lacquer objects such as the panel we exhibited at Masterpiece London in 2014 as well as objects and vases with patinas imitating tree barks made of metals of a special alloy often wrongly described as bronze. The highly technical lacquered composition of our tray could have only been executed by such a master. The set was executed and exhibited in 1904, the year Gaillard was awarded another first class medal at the Société Nationale des Beaux-Arts.
LUCIEN GAILLARD – PANEL, CIRCA 1906
PANEL, CIRCA 1906
Metal lacquered panel, silver overlays and mother-of-pearl inlays
Signed
43.5 x 63 cm
Exhibition
Japonisme: From Falize to Fabergé / The Goldsmith and Japan, Wartski, Londres, 10-20th May 2011, n°67 of the catalogue, ill. p. 39
Bibliography
Art et Décoration, 1906, vol. I, page 187, “Les Arts décoratifs aux salons”. Mention of Gaillard's lacquered panels with mother-of-pearl inlays inspired by Japanese art.
Provenance
Formerly in the collection of Anna Blake, acquired directly from the artist
FREDERIC CHARLOT DE COURCY (attributed to) – AFTER GUSTAVE MOREAU – “L’ENLEVEMENT D’EUROPE”, CIRCA 1880
“L'ENLEVEMENT D'EUROPE”, CIRCA 1880
Enamel on copper
10 x 12.5 cm
After the right hand side of the painting titled “L'enlèvement d'Europe”, circa 1869 by Gustave Moreau and kept at the Musée d'Orsay
Bibliography
The painting illustrated in: Pierre-Louis Mathieu “Gustave Moreau / Monographie et nouveau catalogue de l'Oeuvre achevé“, ACR édition, 1998, page 58
JEAN-LEON GEROME – SIOT-DECAUVILLE – “LA FEMME AU VOILE”, CIRCA 1900
“LA FEMME AU VOILE”, CIRCA 1900
Bronze with green and dark patina, and marble
Signed and bearing the Siot-Decauville foundry mark
66 cm. high
Bibliography
Gerald M. Akerman, La vie et l’œuvre de J. L. Gérôme, catalogue raisonné, A.C.R. Edition, p. 331, n° S 65
Catalogue de l’exposition de la galerie Tanagra J.-L. Gérôme, sculpteur et peintre de l’art officiel, Paris, 25 avril au 15 mai 1974, n° 14
TIFFANY & CO. – ALBERT DAMMOUSE – PLATE
PLATE
Deep plate in porcelain, with cutout edges on a basketwork background, decorated with a bird on a branch in Japanese taste on a lacustrine landscape background, polychrome enamels with blue edges
Signed on the back Dammouse et Sèvres 731 and Tiffany & Co in fine gold
24 cm in diameter
GYULA BETLEN – SCULPTURE, CIRCA 1900
SCULPTURE, CIRCA 1900
Bronze sculpture with dark patina
Black marble base
Signed
28 x 18 x 13,5 cm
The sculptures were sold by La Maison Moderne
CECILE COMBETTE – LADY BAG, CIRCA 1900
LADY BAG, CIRCA 1900
Supple veal, embossed, patinated and gilded on both sides, decorated with branches, leaves and berries
Inside, doubled with chamois leather, compartments in leather and shot silk containing a small toilet bag in its leather case, mirror, powder compact and tiny purse covered in chamois leather
17 x 26 cm (when closed)
Bibliography
Comparer à des pochettes à peu près identiques reproduites dans l'Art Décoratif aux Expositions des Beaux-Arts, 1901, planches 99 et 100
MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900
VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900
Gourd-shaped, covered in blue and green overlaid
Designed by Alphonse Sandoz in 1898
Signed with the triangular mark dated 1900
14,5 cm. high
Exhibition
“Sèvres 1900”, Musée des Beaux-Arts de Nancy, identical model in dark colored overlaid, ill. p. 30 of the exhibition catalogue, collection of the Musée National de Sèvres, inventory n° 924 1 6.
Bibliography
Jean Paul Midant “Sèvres – La Manufacture au XXème siècle”, Michel Aveline éditeur, 1992, p. 27 : Illustration du même vase en 2ème grandeur et à couverte à cristallisations, collection Mobilier National, Paris.
MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE D’APREMONT, 1902
VASE D’APREMONT, 1902
Colocynth vase in hard-pasted new porcelain with faceted body with decor in relief and application of leaves and vine branches wrapped around the vessel, forming two handles
Enamels in lovat green, ochre and brown on yellow background
Designed by Alphonse Sandoz
Bearing the manufacturer’s stamp for 1902
35,4 cm. high
An identical vase is in the collection of the Musée National de la Céramique, Sèvres, inventory n°15 913
Exhibition
1900, Galeries nationales du Grand Palais, Paris, 14 March-26 June 2000, ill. p. 282, n°300 in the exhibition catalogue
Bibliography
E. Molinier “Les plus récents Travaux de la Manufacture de Porcelaine de Sèvres”, Art et Décoration, November 1903, ill. p. 364, “Signalons encore une autre innovation : les vases à décor en relief exécuté par le moulage. On trouvera ici quelques échantillons de ces nouvelles pièces, notamment une bouteille de M. Sandoz qui est d’une belle venue. En ce genre et dans cette nouvelle voie on peut produire beaucoup de choses intéressantes”.
Antoinette Faÿ-Hallé, Barbara Mundt : “La porcelaine européenne au XIXème siècle”, Office du Livre S.A., Fribourg, Switzerland, 1983. ill. p. 232, pl. 415.
JEAN CARRIES – VASES, CIRCA 1900
VASE, CIRCA 1900
Colocynth stoneware vase with silver and grey dripping
14 cm. high Sold
Provenance
Collection of Jean-Pierre Hassler, Saint-Georges, Switzerland
VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, brown-marbled, covered in ocher and grey, pink and dark purple enamel dripping from the neck
Incised signature under the base
13 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail
VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, covered in yellow ocher, marbled with brown spots and pink with hints of grey enamel dripping from the neck
Unsigned and numbered 91
13 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail
Drouot-Montaigne, 22nd april 1997, lot n° E
Jean-Pierre Hassler collection, Switzerland
JEAN CARRIES – VASE WITH GOLDEN SPOTS, CIRCA 1900
VASE WITH GOLDEN SPOTS, CIRCA 1900
Stoneware vase with hemmed neck and incised striae on its bulge, covered in chamois and grey dripping from the neck, enhanced with golden spots
Engraved signature under its base
15 cm. high; 18 cm in diamater
Bibliography
L'Estampille, n°32, May 1972, ill. p. 62
Provenance
Formerly in the collection of:
– Alain Blondel, Galerie du Luxembourg, Paris
– Alain Lesieutre, Paris
– Maître Francis Lombrail
– De Quay-Lombrail, Drouot Montaigne, 22 April 1997, lot L
– Jean-Pierre Hassler, Switzerland
JEAN CARRIES – COLOQUINTE VASE, CIRCA 1900
COLOQUINTE VASE, CIRCA 1900
Glazed stoneware, multilayered in green, thick pink dripping
Signed underneath
15 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail, Paris