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.
Showing 73–96 of 699 results
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 – “CIGALIERE” VASE, CIRCA 1900
“CIGALIERE” VASE, CIRCA 1900
Faience
Signed EG and Emile Gallé à Nancy Déposé
Height: 31 cm
Similar model (without the dotted lines) at the Württembergisches Landesmuseum, Stuttgart
Exhibition
Nancy 1900 – Jugendstil in Lothringen, 1980, Verlag Philipp von Zabern, Mainz am Rhein, ill. p. 214, n. 148
Gallé, Paris, Musée du Luxembourg, édition de la RMN, 1985, p. 122 for a discussion on a planter with the same decor in the Musée de l’Ecole de Nancy collection
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 171
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
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.
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
ALBERT DAMMOUSE – IMPORTANT PLATE, 1903
IMPORTANT PLATE, 1903
Enamelled design of three blooming red flowers on a green background highlighted with purple, red, green and brown foliage
Stamped A.Dammouse – S
Diameter: 42 cm.
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
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
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
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
ERNEST-EMILE CHAPLET – VASE
VASE
High-fired porcelain. Purple glaze
Signed with the monogram of the artist and X
Height: 21 cm.
ERNEST-EMILE CHAPLET – HAVILAND & CIE – DOUBLE SHOULDERED BOTTLE WITH THREE SMALL HANDLES, CIRCA 1885
DOUBLE SHOULDERED BOTTLE WITH THREE SMALL HANDLES, CIRCA 1885
Porcelain, with a brown-green glaze mottled with blue-purple and green-celadon
Signed with the rosary mark and bearing the monogram H & Cie
Height: 21 cm.
Provenance
Madame Lenoir, granddaughter of the painter Henri Lebasque who was maried to one of Ernest Chaplet’s daughters
COMPAGNIE DES BRONZES DE BRUXELLES – JEAN-BAPTISTE SLOODT, attr. to – MANTELPIECE SET, CIRCA 1900
MANTELPIECE SET, CIRCA 1900
Bronze with a green patina, enamelled sheet metal and gilt bronze for the dial mount, consisting of a pendulum with enamel dial signed in Brussels with metal suspension movement, with two candelabras with three lights with vegetal patterns
Stamped A D. Mougin deux médailles
Height: 45.5 cm. and 41 cm.
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
ERNEST-EMILE CHAPLET – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with a sang-de-boeuf glaze, in shades of purple blue
Signed with the rosary mark
Height: 13 cm.
CLEMENT MASSIER – ALEXANDRE VIBERT – VASE, CIRCA 1900
VASE, CIRCA 1900
Iridescent ceramic with a design in semi-relief of a naked woman
Signed Clément Massier Golfe Juan under the base
Height: 30 cm.
Exhibition
De Munch à Tiffany, Lumière sur la collection Newmann, Fondation Newmann, 4 March-15 August 2004
GEORGES FLAMAND – SYMBOLIST BUST, CIRCA 1900
SYMBOLIST BUST, CIRCA 1900
Bronze with a gilt and black patina. Marble base
Signed
Height: 20 cm.
Width: 21.7 cm.
GABRIEL ARGY-ROUSSEAU – LETTER OPENER, CIRCA 1920
LETTER OPENER, CIRCA 1920
Pâte de cristal
Signed
29.4 cm. long
GABRIEL ARGY-ROUSSEAU – “ANEMONE” COUPE, 1920
“ANEMONE” COUPE, 1920
Pâte de verre
Signed G. ARGY-ROUSSEAU
Height: 8 cm.
Diameter: 11 cm.
Bibliography
Janine Bloch-Dermant, Argy-Rousseau Catalogue raisonné, ill. p. 183 under the n. 20.15