Showing 97–120 of 567 results

RUPERT CARABIN – CANE, CIRCA 1900

CANE, CIRCA 1900
Bronze
Signed
A similar example in silver is in the collection of the Petit Palais in Paris, France

Exhibition
Exposition R. Carabin, Galerie du Luxembourg, 1974, n. 151 in the exhibition catalogue

Bibliography
C. Dike, La Canne Objet d’Art, p. 327

Provenance
Formerly in the collection of the sculptor Etienne Martin

FRENCH – LORGNETTE, CIRCA 1900

LORGNETTE, CIRCA 1900
Horn, with an applied decoration of silver and enamel butterflies, cut-glass set
with silver stones simulating stars, two opals set with silver holding the mount in vermeil
Bearing the silversmith and maker’s marks

24 cm. long

Provenance
John Jesse, London, acquired in 1996

CHRISTOFLE & CIE – STRAWBERRY SERVING SET, BEFORE 1898

STRAWBERRY SERVING SET, BEFORE 1898
Silver and vermeil Comprising: A shovel, interior in vermeil, reference in the Christofle catalogue of 1898 n. 6850
A sugar spoon, with an openwork design, interior in vermeil, reference in the Christofle catalogue n. 6851
12 strawberry spoons, interior in vermeil, reference in the Christofle catalogue n. 6852

Shovel : 16.5 cm. long
Sugar spoons : 15.5 cm. long
Spoons : 12.6 cm. long

Exhibition
Orfèvrerie Christofle, Tarif Album, 1898, ill. p. 129
David Allan, Le couvert et la coutellerie de table française du XIXᵉ siècle, ill. p. 220

PIERRE-AUGUSTE ARNOUX – CHRISTOFLE & CIE, HENRI GODIN – LEON MALLET, Chaser – VERY RARE COFFEE SERVICE “PINECONES AND NEEDLES, 1896

VERY RARE COFFEE SERVICE “PINECONES AND NEEDLES, 1896
Comprising a chased silver and silver gilt coffee pot, a covered sugar bowl, milk jug and matching tray
Each piece fully signed, bearing Minerva and makers marks and numbered

Coffee pot: 21 cm. high
Sugar bowl: 12 cm. high
Milk jug: 8 cm. high
Tray: 35 cm. diameter

Exhibition
Salon de la Société Nationale des Beaux-Arts, Paris, 1896
Exposition Universelle, Paris, 1900

Bibliography
“A M. Henri Bouilhet et aux ateliers de la maison Christofle nous devons quelques très beaux morceaux d’orfèvrerie où l’ornement végétal est finement adapté à des formes de poteries très simples, commodes et d’un bon profil.
Dans un service à thé la feuille de chêne joue un rôle décoratif plein d’élégance. Une chocolatière s’enrichit pittoresquement de têtes et de feuilles de céleri. Le décor de deux cafetières s’emprunte aux aiguilles et aux pommes du pin et à la feuille
du platane… Le catalogue de l’Exposition nous fait connaitre les collaborateurs de M. Henri Bouilhet et je me fais un plaisir de citer leurs noms : les modèles sculptés sont de M. Léon Mallet et la ciselure est de MM. Arvisenet, Lindermann, Portrait,
Marionnet, Roze et Simon”. L. de Fourcaud, Les Arts décoratifs aux Salons de 1896, Revue des Arts décoratifs, July 1896, p. 229
Art et Décoration, 1900, vol. II, coffee pot illustrated p. 173
Tony Bouilhet, L’Orfèvrerie française au XXème siècle, éditions Émile-Paul frères, Paris, 1941, coffee pot illustrated in one of the plates

LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – PAIR OF FRUIT BOWLS, CIRCA 1900

PAIR OF FRUIT BOWLS, CIRCA 1900
Wheel cut crystal on silver bases
With silver and makers marks

Bowl: 25 cm. diameter
Weight of silver base: 1060 gr.

Between 1894 and 1899, Lucien Bonvallet designed for Cardeilhac a large array of silverware destined for the Exposition Universelle. Tea and coffee services in two sizes with their matching trays in engraved silver or pyrographed with silver mounts, handles and finials in either ebony or tinted ivory, sculpted ivory and silver candy dishes, vases, soup tureens, vegetable dishes and plates, fruit bowls, scent bottles, eggcups, a large centerpiece that included a jardinière and candlesticks. He drew his inspiration from flowers and plants which were transposed on the various models: thistles, columbines, mistletoe, clovers and chestnut leaves

All of those models were exhibited in January and February 1913 at the pavillon de Marsan, Musée des Arts décoratifson the occasion of a retrospective exhibition of Lucien Bonvallet

EDWARD COLONNA – ART NOUVEAU BING – TABLE LAMP, CIRCA 1901

TABLE LAMP, CIRCA 1901
Metal, four waterleaf in relief on the base
Signed
48 cm. high

Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue

Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113

EDWARD COLONNA – ART NOUVEAU BING – TABLE LAMPS, CIRCA 1901

TABLE LAMPS, CIRCA 1901
Metal, four waterleaf in relief on the base.
Signed
48 cm. high

Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue

Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113

PAUL FREY – MATCH BOX HOLDER, CIRCA 1900

MATCH BOX HOLDER, CIRCA 1900
Gold, decorated with clovers
With maker’s mark, eagle’s head (2) and marked DEPOSE
4.5 x 3 cm.

Bibliography
Henri Vever, La Bijouterie française au XIXème siècle, vol. III, p. 582, illustration of a match box holder with an identical decor

GEORGE MINNE – LA MAISON MODERNE – “LE PETITE BLESSE”, 1898

“LE PETITE BLESSE”, 1898
Bronze with black patina
Signed, dated 98 and impressed with La Maison Moderne’s seal
25.3 cm. high

Exhibition
George Minne en de kunst rond 1900, Museum voor Schone Kunsten, Ghent, September 1982 –
December 1982, p. 157, n°80

Bibliography
Art et Décoration, November 1901, ill. p. 112
Documents sur l’Art Décoratif Industriel au XXème Siècle, Edition de La Maison Moderne, nd,
section sculpture, ill. p. 21 under reference 308-1

EMILE GALLE – VASE, CIRCA 1900

VASE, CIRCA 1900
Engraved marquetry with a design of ray and aquatic flora
Powder inclusions and inclusion of shattered gold foils, hammered with small facets
Silver gilt mount with French Minerva mark
Vertically engraved signature

17 cm. high

No similar example known to exist

Bibliography
For the same shape of the mounted vase: Tsuneo Yoshimizu, The Glass Arts of Emile Gallé, Gakken 1985, n.144; without the mount n. 143 and 184
Georges de Bartha, Glass by Gallé, Thames & Hudson Ltd, 1984, p. 59, n. 61 (EU 1900)

EMILE GALLE – IMPORTANT LAMP, CIRCA 1900

IMPORTANT LAMP, CIRCA 1900
Triple glass with metallic powder inclusions with a design of butterflies on the shade on a arborescent landscape. Fired polished and hammered
The mount in patinated bronze
Etched signature

70 cm. high
Diameter of the shade: 40.5 cm.

EMILE GALLE – “ANEMONES” VASE, CIRCA 1880-1884

“ANEMONES” VASE, CIRCA 1880-1884
Multilayered glass, internally decorated, acid-etched and finely wheel-carved

20.5 cm. high

Another example is in the collection of the Kitazawa Museum in Suwa, Japan

Exhibition
Emile Gallé – Nature and Symbol / Le Langage des Fleurs et des Choses Muettes, 16 January-10 April 2016, Tokyo Metropolitan Teien Art Museum; 24 April-5 June 2016, Utsunomiya Museum of Art, ill. p. 44, n. 027

Bibliography
L’Estampille, December 1978, ill. p. 16

Provenance
Jean-Claude Brugnot, Paris, 1974-1975
Private Collection, Italy
Acquired from the above

EMILE GALLE – “DRAGONFLIES” VASE, CIRCA 1895

“DRAGONFLIES” VASE, CIRCA 1895
Cylindrical vase in clear double layered glass, decorated with acid-etched radiant suns and
inclusions of metal oxides; embellished with two polychromatic enamelled dragonflies
Signed underneath by hand with a diamond point

21.5 cm. high; 11 cm. diameter