Showing 505–528 of 813 results

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RUPERT CARABIN – “FEMME AU CHAT”, 1897-1898

“FEMME AU CHAT”, 1897-1898
Patinated gilt bronze
Signed
49 cm. high

Exhibition
Société nationale des Beaux-Arts, Paris 1898
Musée Galliéra, Paris 1934-1935
L’oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, n. 86 in the exhibition catalogue François-Rupert Carabin, Musée d’Art Moderne de Strasbourg and Musée d’Orsay, 1993, ill. p. 87, n. 66 in the exhibition catalogue

Bibliography
Catalogue de la Société nationale des Beaux-Arts, 1898
G. Geffroy: La vie artistique, 1898, p. 354
Catalogue de l’exposition Carabin au musée Galliéra, 1934-1935
L’oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, ill. p. 178

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EDWARD COLONNA – ART NOUVEAU BING – SALON SUITE, CIRCA 1900

SALON SUITE, CIRCA 1900
Carved mahogany; comprising:
One sofa, two armchairs, two chairs
The sofa: 93 cm. high; 161.5 cm. wide
Each armchair: 101 cm. high; 64 cm. wide
Each chair: 92.5 cm. high; 46 cm. wide

Exhibition
Another example of this salon suite was exhibited at the 1900 Exposition Universelle, Paris, in Siegfried Bing’s pavilion, L’Art Nouveau Bing, with a multitude of artworks including jewellery by Edward Colonna and other furniture and decorative objects by Georges de Feure, Eugène Gaillard and Marcel Bing

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GEORGES TONNELIER – “DANSEUSE NUE AUX CYMBALES”, CIRCA 1900

“DANSEUSE NUE AUX CYMBALES”, CIRCA 1900
Satin finish rock crystal; the base in fluorspar
Signed
23 cm. high; 31.5 cm. high including the base

A very fine stone carver, Georges Tonnelier worked mainly with the jeweller Falize
His works are only found in museums and major institutions. The Walter Arts Museum in Baltimore,
Maryland has four rock crystal statuettes and one other is at the Chrysler Museum of Art in Norfolk, Virginia

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JULES PAUL BRATEAU – SMALL CASKET, CIRCA 1900

SMALL CASKET, CIRCA 1900
Pâte d’émail
Signed
5 cm. high; 8 cm. long; 5 cm. wide

The mount attributed to Castel-Cléret (the Société Nationale des Beaux Arts catalogue
of 1910 mentions Brateau objects mounted by the firm of Castel-Cléret).

Bibliography
Janine Bloch-Dermant, Guidargus de la Verrerie, 1988, ill. p. 323

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CHARLES DUBRET – SERVING SET, CIRCA 1900

SERVING SET, CIRCA 1900
Vermeil, comprising 12 spoons and a shovel
With an incised and patinated design of flowers; each different
The handle is openwork and decorated with bellflowers
In its fitted box of la maison Ch. Dubret, 83 rue de la Liberté, Dijon
With French minerva mark and silversmith mark (PG & Cie) attributed to Pierre Galli
Spoon: 14 cm. long
Shovel: 26.7 cm. long

SOLD

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MANUFACTURE NATIONALE DE SEVRES – LÉON KANN, form designer – COFFEE SERVICE “FENOUIL”, 1898

COFFEE SERVICE “FENOUIL”, 1898
White porcelain (PN) glazed white with green highlights comprising coffee pot, milk pot, sugar bowl, two cups and saucers and matching tray
Bearing the manufacturer’s oval stamp for 1898 under each piece

Exhibition
Sèvres 1900, Musée des Beaux-Arts de Nancy, cup and saucer ill. p. 33 in the exhibition catalogue
1900, Galeries nationales du Grand Palais, Paris, 14 March-26 June 2000, ill. p. 282, no. 301 in the exhibition catalogue

Bibliography
La Décoration Moderne, XIIIème année, 1905-1906, pl. 7
Frédéric Descouturelle, Olivier Pons, La céramique et la lave émaillée d’Hector Guimard, Edition du Cercle Guimard, p. 12

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MANUFACTURE NATIONALE DE SEVRES – AGATHON LEONARD – “DANSEUSE AUX FLAMBEAUX” on the right, N. 15, 2eme GRANDEUR, CIRCA 1900 – “DANSEUSE AUX FLAMBEAUX” on the left, N. 1, 2eme GRANDEUR, CIRCA 1900

“DANSEUSE AUX FLAMBEAUX” on the right, N. 15, 2eme GRANDEUR, CIRCA 1900 – “DANSEUSE AUX FLAMBEAUX” on the left, N. 1, 2eme GRANDEUR, CIRCA 1900
Original oval base decorated with foliage and cabochons in relief and heighlighted with gold
The figure n°1 is inscribed n°1 underneath. It bears the Sèvres triangular seal inscribed S 1911 as well as the Sèvres rectangular seal
The figure n°15 is also inscribed n°15 underneath and bears a Sèvres square seal marked S 1913 DN as well as the Sèvres rectangular seal and the initials GL

Height : 39 and 40 cm
Base : 11.2 cm.

Comes in two sizes of 57 & 38 cm. 59 examples of each were produced in both sizes between 1901 and 1923.
Originally exhibited as early as 1897, 15 different models were displayed on the Sevres booth at the 1900 Exposition Universelle. A complete set was offered to the tsar of Russia in 1901 and other complete sets are at the French embassy in Prague, the Victoria and Albert museum in London and the Musée de la céramique in Sèvres

Exhibition
Société Nationale des Beaux-Arts, 1897, section sculpture. A. Léonard exhibits ten maquettes figuring “le jeu des écharpes”
Exposition Universelle, Paris, 1900.

Bibliography
Émile Bourgeois & Georges Lechevallier-Chevignard, Le Biscuit de Sèvres, tome II, Pierre Lafitte & Cie, Paris, 1909, ill. pl. 17, no. 1119
Agathon Léonard Le geste Art nouveau, Musée d’Art et d’Industrie, Roubaix and Musée département
de l’Oise à Beauvais, 2003, ill. p. 48, n. 23

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MANUFACTURE NATIONALE DE SEVRES – “VASE DE CLERMONT” C PN, 1903

“VASE DE CLERMONT” C PN, 1903
White porcelain glazed yellow and green on a pink and green background; carved and patinated bronze mount with a pinecone motif
Bearing the manufacturer’s stamp for 1908
64 cm. high
44 cm. diameter

Bibliography
Alexandre Sandier & Georges Lechevallier-Chevignard, Formes et décors modernes de la Manufacture Nationale de Sèvres, 1913, pl. 16, for two similar vases decorated by Genevieve Rault with bronze bases

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PHILIPPE WOLFERS – PITCHER, CIRCA 1900

PITCHER, CIRCA 1900
Gilt bronze decorated with a swan and water lilies
41.7 cm. high
Signed

Exhibition
Exposition Universelle, Brussels, 1897
Charleroi Exhibition, 1898

Bibliography
“Un service à toilette en vermeil et en cristal, d’une étonnante richesse, doit aussi être mentionné. Le thême du décor, c’est l’aurore, le réveil de la nature. Sur la pièce principale, c’est-à-dire le broc, est représenté en demi-relief un cygne qui s’ébat dans un étang, que le soleil éclaire de ses feux et à la surface duquel s’étalent des feuilles de nénuphars. Enveloppant le contour du broc de ses deux ailes à moitié ouvertes, comme pour faire sa toilette, le cygne tord son long col dans un geste nonchalant, et son bec s’allonge jusqu’à l’orifice du récipient pour en aspirer l’eau. L’idée est originale, charmante ; il s’en faut de peu que l’œuvre ne soit parfaite”. Victor Champier, L’Exposition Universelle de Bruxelles, La Revue des Arts Décoratifs, 1897, p. 390. Illustration of the pitcher p. 361
The Studio, November 1898, ill. p.136 (charleroi exhibition).

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PIERRE-ADRIEN DALPAYRAT – VIDE-POCHE, CIRCA 1900

VIDE-POCHE, CIRCA 1900
Red, blue, green enameled grès
Signed VD

Bibliography
“Je dois mentionner aussi, dans le domaine du grès, les pièces flambées du malheureux Voisin-Delacroix, mort depuis peu, en collaboration avec M. Adrien Dalpayrat. On ne peut reprocher à cette production que certaines bizarreries de modelage, des amalgames de formes animales ou de formes humaines, et de masses plus ou moins confuses pétries au hasard. On ne me fera point admirer tels petits vases embasés en ergots de coq, ou tels objets indéterminés tenus par une main de femme. Ne m’objectez pas que l’étude de la matière prime ici le sujet plastique. La recherche du potier en face de son four ne s’accomode d’aucun manque de goût. Je formule, d’ailleurs, cette réserve d’autant plus nettement que plusieurs morceaux de Voisin-Delacroix et de M. Dalpayrat sont d’une grande valeur”
L. de Fourcaud, Les Arts Décoratifs aux Salons, Revue des Arts Décoratifs, 1893-1894, p. 7

Provenance
Private collection, Switzerland

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PIERRE-ADRIEN DALPAYRAT – IMPORTANT PITCHER, CIRCA 1900

IMPORTANT PITCHER, CIRCA 1900
Glazed grès
Signed underneath
26 cm. high

Exhibition
Exposition Universelle, Paris, 1900
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
Der Modern Stil, Julius Hoffmann jr, A. Guérinet, Librairie d’Art Décoratif, Paris, vol. 3, 1901, pl. 25,
in the sideboard by Eugène Gaillard at the 1900 Exposition Universelle
Horst Makus & al., Adrien Dalpayrat – Céramiste de l’Art Nouveau, Arnoldsche, 1998, ill. p. 132, n. 67
Frédéric Descouturelle, Olivier Pons, La céramique et la lave émaillée d’Hector Guimard, Edition du Cercle Guimard, p. 16

Provenance
Private collection, Switzerland

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LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – TWO HANDLED FOOTED VASE, 1897

TWO HANDLED FOOTED VASE, 1897
Engraved, repoussé and applied silver
Signed CARDEILHAC and bearing Minerva and makers marks
30.5 cm. high

Exhibition
Salon de la Libre Esthétique, 1897

Bibliography
Victor Champier, L’Exposition Universelle de Bruxelles (2ème article) – L’Art et l’Industrie en Belgique – l’Exposition Française,
Revue des Arts Décoratifs, 1897, ill. p. 389: “M. Cardeilhac se distinguait par des vases exécutés au repoussé, d’une composition particulièrement élégante”.

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FRANCOIS-EUGENE ROUSSEAU – VASE, CIRCA 1900

VASE, CIRCA 1900
Thick tubular freely blown and shaped glass vase with side protrusions. Multilayered, opalescent glass overlaid in brick red and caramel, intaglio and wheel cut with a design of flowers and stylized foliage and a butterfly in flight
Unsigned. Numbered 532
16.5 cm. high

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LOUIS HESTAUX – CARVED WOODEN TRAY, CIRCA 1900

CARVED WOODEN TRAY, CIRCA 1900
Mother-of-pearl inlay decorated with five bathers
22.5 x 54.5 cm.

Exhibition
Exposition de l’Ecole de Nancy, Musée des Arts Décoratifs, Paris 1903

Provenance
Formerly in the Benedict Silverman collection, New York