FRENCH – “CHARDONS” WALL SCONCES, CIRCA 1900
“CHARDONS” WALL SCONCES, CIRCA 1900
Wrought iron
80 cm. high
We can attribute this work to Emile Robert, Régius or an artisan from the School of Nancy
Showing 193–216 of 633 results
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
RORSTRAND PORSLINFABRIKER AB – WALDEMAR LINDSTRÖM – “RAIES” VASE, 1901-1902
“RAIES” VASE, 1901-1902
Porcelain
Bearing the manufacturer’s stamp, bearing the monogram of the artist, numbered 12806
22.5 cm. high
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
AGATHON LEONARD – SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
Enamelled stoneware
Signed with monogram A.L. under the base
8 cm. high
Exhibition
Agathon Léonard had exhibited stonewares at the Nationale des Beaux-Arts from 1901
AMEDEE DE CARANZA – VASE, 1903-1906
SQUARE GLASS VASE, 1903-1906
Garnet, green and gray metallic iridescent with a design of irises
Signed
29 cm. high
The base: 12 x 12.5 cm.
EDGAR WILLIAM BRANDT – PAUL BONNAUD – BOWL, CIRCA 1910
BOWL, CIRCA 1910
Polychrome enamel on copper
Bronze mount by Edgar Brandt decorated with starfishes
Signed
34.5 cm.
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
GEORGES JEAN – VASE, CIRCA 1900
VASE, CIRCA 1900
Polychrome enamel on copper with a design of peacock feathers
Signed Georges Jean and located Les-Issarts-Le-Roy
9.5 cm. high
JULES DALOU – SUSSE FRERES – “MOISSONNEUR AFFUTANT SA FAUX”
“MOISSONNEUR AFFUTANT SA FAUX”
Bronze
Signed, with foundry mark Susse Frs éd. Paris.
13 x 15 cm.
BERNARD HOETGER – “LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
“LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
Bronze with a brown patina
Signed on the base
20 cm. high
EUGENE VALLIN – RARE MANTLEPIECE MIRROR FRAME, CIRCA 1900
RARE MANTLEPIECE MIRROR FRAME, CIRCA 1900
Carved wood and gilt stucco designed as “laser ribolum” leaves
174 x 110 cm.
Restored
Bibliography
Frédéric Descouturelles, Eugène Vallin Menuisier d’art de l’école de Nancy, imprimerie moderne, December 1998, ill. p. 84
EUGENE VALLIN – CONSOLE, CIRCA 1900
CONSOLE, CIRCA 1900
Wood
95 x 210 x 90 cm.
Commissioned by Gaston Bachelard for their apartment in Paris after the couple has left Nancy.
EUGENE VALLIN – JACQUES GRUBER – FIRESCREEN, CIRCA 1900
FIRESCREEN, CIRCA 1900
Carved walnut with inlaid panels of etched glass with clematis flowers and leaves
123.5 cm. high; 104.5 cm. wide
Bibliography
Frédéric Descouturelle, Eugène Vallin, Menuisier d’Art de l’Ecole de Nancy, Imprimerie Moderne, Pont-à-Mousson, 1998, a variation of the design ill. p. 209
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 320
LOUIS-AUGUSTE THÉODORE-RIVIÈRE – “SALAMMBO CHEZ MATHO”, 1895
“SALAMMBO CHEZ MATHO”, 1895
Carved ivory
Signed and dedicated à mon ami A(ngelo) Mariani
Exhibition
Musée Galliéra, Exposition de la Statuette et du Meuble qui la présente ou l’accompagne, 1914, n. 373,
described as “Salammbô”, ivory (Collection of Mr Jacques Mariani)
Salammbô: Fureur ! Passion ! Elephants !, 20 October 2021-7 February 2022, exposition itinérante au Musée des Beaux-Arts de Rouen, au Mucem à Marseille et à l’Institut national du patrimoine à Tunis
Bibliography
Colette Dumas, Théodore Rivière – sa vie … Son œuvre, p. 61 to p. 66
Salammbo, Mucem, Réunion des Musées Métropolitains de Rouen, Institut National du Patrimoine de Tunisie, éditions Gallimard, 2021, ill. p. 110 in the exhibition catalogue
Provenance
Formerly in the Collection of Mr Angelo Mariani
Angelo Mariani, chemist and inventor of the “Vin Mariani”, a fortifying beverage based on coca bark, a true institution for nearly half a century before its essential component was banned, was the friend and patron of Theodore Riviere, who composed a collection of portraits and statuettes. The period documentation quotes a number of artworks exhibited at different Salons and having belonged to A. Mariani (or by descent to his son Jacques), such as La Caravane, plaster ; le Portrait de M. Mariani, bronze ; Salomé, ivory (our example) ; Les Huns ; Le Mur ; Le Silence, ivory, marble and bronze ; L’Empereur d’Annam, ivory and sculpted wood ; La Femme d’Elchi, ivory, marble and wood ; La brodeuse arabe, ivory, marble and enamels. Angelo Mariani was the patron of several artists including Jean Baffier.
Special order or gift of the artist, this sculpture, which is not among the works on display at the ivory exhibition at the Galliéra Museum in 1903, could have been executed around this date
VICTOR PROUVE – JOSEPH and PIERRE MOUGIN – “AUX ROSES” VASE, CIRCA 1900
“AUX ROSES” VASE, CIRCA 1900
Beige earthenware, the three sided vessel decorated with a woman holding a rose, the rim adorned with roses in full relief
Signed Mougin frères céram., numbered 1355 and signed V Prouvé
(the letters V and P intertwined)
53.2 cm. high
A similar vase without Prouvé’s decoration is at the Musée de l’Ecole de Nancy, gift of J.-B. Corbin
to the town of Nancy in 1935. No other example of our vase is known to exist
Exhibition
Victor Prouvé 1858-1943, Musée de l’Ecole de Nancy, 17 May-21 September 2008,
ill. p. 204, n. 143 in the exhibition catalogue
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022
Bibliography
Jacques G. Peiffer, Les frères Mougin, sorciers du grand feu-grès et porcelaine 1898-1950, éditions Faton, ill. p. 159
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, our example ill. p. 309
EMILE GALLE – VICTOR PROUVE – “LES CISELEURS DE LA MER”, 1900
“LES CISELEURS DE LA MER”, 1900
Pitcher of flattened form with wheel-carved aquatic decoration
Engraved signature
25.5 cm. high; 10.5 cm. wide; 3 cm. thick
One of four known to exist
Exhibition
Exposition Universelle, Paris, 1900
Exposition de l’Ecole de Nancy, Paris, Pavillon de Marsan, 1903
Salon de la Nationale des Beaux-Arts, Paris, 1904
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, musée des Beaux-Arts, musée de l’Ecole de Nancy, Nancy, 6th May – 28th August 2006, n. 162 in the exhibition the catalogue, ill. p. 220
Victor Prouvé, le Maître de l’art Nouveau à Issy, Musée Français de la carte à jouer, Issy-les-Moulineaux, 11 May-14 August 2022
Bibliography
A. Duncan & G. de Bartha, Glass by Gallé, 1984, Thames & Hudson Limited, London, ill. page 58
Wood One Museum of Art, 2005, catalogue n. 63, ill. p. 64 (neck cut down)
The Paris Salons, vol. IV, ill. page 224
Provenance
Identical pitcher at the Musée de l’Ecole de Nancy and at the Danish Museum of Art & Design in Copenhagen
Similar model at the Roger Marx Sales, Paris, 13th may 1914, Galerie Manzi-Joyant, “Les Algues” n. 97 in the catalogue, ill. p. 17
The drawing of this piece with annotations by hand by Gallé is illustrated page 187 of the catalogue of the “Emile Gallé” exhibition presented in six Japanese museums in 2000-2001
BERNARD HOETGER – “PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
“PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
Bronze with a brown patina
Signed
9 cm high
Bibliography
Bernard Hoetger – Skulptur, Malerei, Design, Architektur, Hauschild, 1998, ill. p. 344, n. 236
MANUFACTURE NATIONALE DE SEVRES – LÉON KANN – “POMMES DE PIN” COFFEE SERVICE, 1902
“POMMES DE PIN” COFFEE SERVICE, 1902
Comprising four cups and saucers and one sugar bowl porcelain with a relief decoration of pinecone scales
Bearing the manufacturer’s marks S/1905, pâte nouvelle
Sugar bowl: 14.2 cm. high
Each cup: 6.8 cm. high
Each saucer: 13 cm. diameter
Another example of the sugar bowl is part of the collections of the Château-Musée de Boulogne-sur-Mer (INV. 480L)
Exhibition
1904, St. Louis: Exposition internationale