“DANSEUSE TAMBOURIN A DROITE, N. 4, 1ERE GRANDEUR”
Biscuit
Signed and bearing the manufacturer's stamps
Height: 49 cm.
Identical model in the following public collections:
Frankfort, Museum für Kunsthandwerk
Hambourg, Museum für Kunst und Gewerbe
Copenhagen, Kunst-Industri-Museet
London, Victoria & Albert Museum
Saint-Petersbourg, Ermitage
Sèvres, musée national de Céramique
Bibliography Agathon Léonard , Le geste Art nouveau, Somogy éditions d'art, 2003, ill. p. 51 n. 12 in the exhibition catalogue at the museums of Roubaix and Beauvais
IMPRESSIVE TERRACOTTA VASE, 1876-1881
Terracotta vase featuring blooming roses on a dark green background
Bearing the artist’s monogram within the decor and impressed with the manufacturer’s stamp: Haviland & Cie/Limoges/75/2
Height: 31 cm.
Diameter: 32 cm.
Bibliography Emaux atmosphériques : la céramique impressionniste, 26 Avril-4 November 2001, Musée Fournaise and Laurent d’Albis, Chatou, n. 32, Rouen 2010, p.112-113
IMPORTANT “PRIMEVERES” VASE, MODEL N. 4093, CIRCA 1910
Multilayered glass with orange and blue-purple powder inclusions, overlaid in green and etched with primroses and leaves
The flowers in white glass are applied and finely wheel carved
Wheel carved signature
Height: 47 cm
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
“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.
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
“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
“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.
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.
