ERNEST-EMILE CHAPLET – PITCHER (ATELIER D’AUTEUIL, PERIOD 1882-1886)
PITCHER (ATELIER D’AUTEUIL, PERIOD 1882-1886)
Enamelled grès
Signed
Height: 33 cm.
Bibliography
The Paris Salons, p. 82
FRANCOIS-RUPERT CARABIN – “AUBERGINE” COVERED BOX, 1896
“AUBERGINE” COVERED BOX, 1896
Red burgundy enamelled grès shaped like an eggplant. The mount in wrought iron
Signed with the monogram of the artist
28 cm. long
Exhibition
Salon de la Société Nationale des Beaux-Arts, Paris, 1897
Cocarde, 22 October 1897
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974, n. 186, ill. p. 227
HENRI SIMMEN – VASE, 1910-1914
VASE, 1910-1914
Grès with a symmetrical design. Dark brown, light brown and black enameled glaze
Signed
Height: 28.5 cm.
Diameter: 13 cm.
HENRI SIMMEN – EXCEPTIONAL VASE, 1910-1914
EXCEPTIONAL VASE, 1910-1914
Grès, with brown-black painted decoration of three stylised women in the manner of the work of Mackintosh at the Glascow school and the drawings by Hoffman of the Vienna Secession
Application of gold pastilles in relief
Signed H Simmen
Height: 35.5 cm.
Provenance
Collection Marcel Tessier (1934-2024), s.c.p. Antoine Glück et Etienne Mercier, Drouot, Rive-gauche, 16 June 1978, lot n. 160, ill. p. 43 in the exhibition catalogue
CHARLOTTE BESNARD – ALBERT DAMMOUSE – “LA SALAMANDRE”, CIRCA 1903
“LA SALAMANDRE”, CIRCA 1903
Stoneware overlaid with sang-de-boeuf and beige glaze
Monogrammed AD and S (for Sèvres) and signed in full
20 x 21 x 15 cm.
Identical example inventoried in the collections of the Petit Palais, musée des Beaux-Arts
de la ville de Paris
A similar example was part of the Marcel Tessier collection, Les Arts du Feu, Drouot, Mes Glück et Mercier, 16 June 1978, lot 77
Exhibition
Société Nationale des Beaux-Arts, 1903
Albert Besnard, Modernités Belle Epoque, Evian, Paris, 2016
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, Armand Guérinet Editeur, Paris, 1903, ill. pl.1.
Art et Décoration, June 1903, p. 200
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill. p. 57
ANDRE METTHEY – “ESCARGOT” VASE, CIRCA 1900
“ESCARGOT” VASE, CIRCA 1900
Polychrome grès
Signed
Height: 26 cm.
Exhibition
Société des Artistes Français, Paris 1903
Bibliography
“M. Methey, lui, nous montre des pièces absolument réussies. Certaines sont fort belles de colorations, aux tons profonds et puissants. Certaines autres, l’une ornée de grenouilles, et surtout celle ornée d’escargots, ont un aspect un peu rustique tout à fait amusant. C’est là, en somme, un très bon envoi”. M. P.-Verneuil “Les Objets d’Art à la Société des Artistes Français”, Art et Décoration, July 1903, page 229
BING & GRONDAHL – VASE, CIRCA 1900
VASE, CIRCA 1900
Porcelain, with a polychrome country design
Bearing the manufacturer’s stamp, numbered 6760/95 and bearing the decorator’s mark
Height: 27 cm
BING & GRONDAHL – KAI NIELSEN – SET OF FIVE FIGURES, CIRCA 1900-1910
SET OF FIVE FIGURES, CIRCA 1900-1910
Grès, featuring fauns and women in harvest scenes
Signed, bearing the manufacturer stamp
Height: 9.5 to 23 cm.
Bibliography
Skonvirke, vol. 1, 1914-15, p. 40
HENRI SIMMEN – IMPORTANT VASE, CIRCA 1911
IMPORTANT VASE, CIRCA 1911
Large grès baluster footed vase decorated with brown and black enamel dotted spiral patterns
Signed. With original handwritten label H° 1 250
Height: 34 cm.
Exhibition
Salon d’Automne, Paris, 1911
MANUFACTURE NATIONALE DE SEVRES – LOUIS-MAURICE BOCQUET – GENEVIEVE RAULT – VASES D’ANGERS, 1902
VASES D'ANGERS, 1902
Hard-paste porcelain. Polychrome design of fuschias
Author of the decor: Geneviève RAULT
Decorated by: Louis-Marie BOCQUET
Height: 60 cm
Bibliography
L'Art Décoratif, June 1902, ill. p. 126
NILS DE BARCK – IMPORTANT VASE, 1900
IMPORTANT VASE, 1900
Grès with a design of nudes in high relief
Signed, located St. Amand and dated 1900
Height: 43.5 cm.
ERNEST-EMILE CHAPLET – VASE, CIRCA 1900
VASE, CIRCA 1900
Ceramic with a green and blue glaze on a rouge sang-de-boeuf background
Signed with the rosary mark
12.5 cm. high
ALBERT DAMMOUSE – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Grès with a floral design on a turquoise background with sang-de-boeuf glaze
Signed underneath with the initials and S (For Sèvres)
Height: 11 cm.
PIERRE-ADRIEN DALPAYRAT – “PANTHER”, CIRCA 1904-1906
“PANTHER”, CIRCA 1904-1906
Grès enameled in tones of brown, red and blue green
Impressed signature: Les Grands Feux de Dalpayrat
14 cm. high
30.5 long
15.5 cm. large
Bibliography
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, catalog n. 115
ALBERT DAMMOUSE – BALUSTER VASE, CIRCA 1900
BALUSTER VASE, CIRCA 1900
Enameled Grès with sang-de-boeuf glaze
Bearing the monogram of the artist and located at Sèvres
Height: 16.5 cm.
ALBERT DAMMOUSE – BALUSTER VASE, CIRCA 1900
BALUSTER VASE, CIRCA 1900
Enameled grès with a decor of a blackbird and flowers
Signed with the circular stamp. Some firing losses at the base
Height: 27 cm.
ANDRE METTHEY – FOUR FROGS GOURD – CIRCA 1900
FOUR FROGS GOURD – CIRCA 1900
Rare grès (neck reduced)
Engraved signature, numbered 27/1 and AC
Height: 23 cm.
Exhibition
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 274
PACO DURRIO (DURRIO DE MADRON FRANCISCO) – “MISTERIO DE LA NOCHE” (MYSTERY OF THE NIGHT), 1900-1905
“MISTERIO DE LA NOCHE” (MYSTERY OF THE NIGHT), 1900-1905
Sang-de-boeuf grès in the shape of a moon profile ending at the base as joined hands
Signed with the monogram of the artist and numbered 1
Height: 18 cm.
A similar work in blue and white enamel is part of the collection of the Fina Arts Museum of Bilbao, inventory number 07/415
Bibliography
La Gran Enciclopedia Vasca, Bilbao, vol. VIII, n°80, ill. on the cover and titled “Luna”
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 153
ALBERT DAMMOUSE – SHOULDERED BALUSTER VASE, CIRCA 1900
SHOULDERED BALUSTER VASE, CIRCA 1900
Grès with a design in pâte d’émail of anemones and white rowan, yellow-green and brown on a red ocher background
Signature with stamp
Height: 40 cm.
MAURICE DUFRENE – ATELIER DE GLATIGNY – IMPORTANT VASE, CIRCA 1900
IMPORTANT VASE, CIRCA 1900
Shouldered baluster vase in grès with green and burgundy drippings at the neck on a white
background, the design attributed to Maurice Dufrêne
Interior with sang-de-boeuf drippings
Signed Glatigny and numbered 277
Height: 40 cm.
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 188
AUGUSTE DELAHERCHE – COVERED POT, CIRCA 1900
COVERED POT, CIRCA 1900
Grès in slate color with brown and green glaze. The lid is openwork and decorated with fruits and stems
Bearing the monogram of the artist on both parts
Diameter of the base (incl. the handles): 39 cm.
Diameter of the lid (incl. the handles): 36 cm.
Height: 22 cm.
EMILE DECOEUR – BOTTLE, 1904
BOTTLE, 1904
Grès in a vegetal shape and a small handle at the neck
Polychrome enamel in shades of green, brown, blue and sang-de-boeuf
Signed in full and impressed with a trefoil mark
The underside with a label : Collection / Gaston Derys / 10 rue Poussin / Paris
Height: 32 cm.
Exhibition
Art Nouveau Belgium / France, Houston & Chicago, 1976, similar model ill. n°266, page 187
MICHEL CAZIN – VASE, CIRCA 1900
VASE, CIRCA 1900
Vase in the shape of a bottle in light beige grès, with a design of a wreath of flowers and leaves
Signed with the monogram of the artist
The base in gilt bronze, with a design of flowers, signed with the initials of the artist
Height: 33 cm
Bibliography
L. de Fourcaud, Les Arts décoratifs au Salon de 1899 / Les objets d’art (II) La Société Nationale, Revue des Arts décoratifs, 1899, page 330 : Michel Cazin offers us a beautiful suite of whitish, reddish and dark vases, decorated with a relief of mistletoe, oak, foliage and woven cords
Paul Arthur, French Art Nouveau Ceramics : An Illustrated Dictionary, Norma éditions, 2015, ill. p. 99
WILLIAM LEE – SAKE BOTTLE, CIRCA 1900
SAKE BOTTLE, CIRCA 1900
Grès overlaid with kaki green glaze, mottled yellow ocher and brown drippings
Signed with the monogram of the artist
Height: 16.5 cm.
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 238
EMILE DECOEUR – BALUSTER VASE, CIRCA 1905
BALUSTER VASE, CIRCA 1905
Gray-beige enamel on a blue background. Openwork design with stylized flowers
Signed E Decœur, engraved trefoil mark under the piece
Height: 22 cm.
Width: 16 cm.
FELIX BRACQUEMOND – HAVILAND & Cie – ROUND PLATE LANDSCAPE, CIRCA 1874-1876
ROUND PLATE LANDSCAPE, CIRCA 1874-1876
Hard-paste porcelain, manufactured at Charles Haviland & Co, in the Auteuil workshop after a design by Félix Bracquemond.
Signed with the B monogram.
Diameter : 50 cm.
Exhibition
La céramique “impressionniste” / Emaux atmosphériques, Musées de la Ville de Rouen, Musée de la Céramique, 2010, similar example ill. pp. 40 & 41 (detail) & page 98, n. 16
FELIX BRACQUEMOND – HAVILAND & Cie – SERVICE PARISIEN, 1876-1878
SERVICE PARISIEN, 1876-1878
Complete series of twelve plates titled as:
Le brouillard
Le combat
Le calme
L’effroi
La lune
La neige
La nuit
L’orage
Plein-soleil
La pluie
Le soleil couchant
Le soleil levant
The complete series is in the collection of the Adrien Dubouché’s museum, ADL 2813 à 2824
A plate is in the collection of the Metropolitan Museum of Art, New York, Acquisition number 23.31/18, gift of Monsieur George Haviland, 1923
Exhibition
La porcelaine de Limoges des origines à 1880, musée de l’Evêché, Limoges, 1949
Chefs d’œuvres de la porcelaine de Limoges, musée du Luxembourg, 30 January – 28 April 1996,
n. 130 of the exhibition catalogue
Félix Bracquemond et les arts décoratifs – Du japonisme à l’Art nouveau, Musée national
Adrien-Dubouché, Limoges, puis Deutsches Porzellanmuseum, Selb-Plösberg et Musée départemental de l’Oise, Beauvais, 2005/2006, ill. pp. 92 à 95
Félix Bracquemond et les arts décoratifs – du japonisme à l’Art nouveau,
Musée national Adrien-Dubouché, Limoges, 5 April- 4 July 2005, cat. n°34/1 à 34/12, pp. 86 à 96
Bibliography
Chefs d’œuvres de la porcelaine de Limoges, éditions de la Réunion des musées nationaux, Paris 1996, ill. page 217
Félix Bracquemond et les arts décoratifs, éditions de la Réunion des musées nationaux, 2005,
pp. 88 à 96
Paul Arthur French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p.77
JEAN POUYAT – CUP AND SAUCER, CIRCA 1903-1912
CUP AND SAUCER, CIRCA 1903-1912
White porcelain with translucent polychrome enamels heightened with gold and decorated
with a bee and stylized flowers, the saucer with a design of flowering twigs
Marked on the reverse JPL France in chromium green thick pad color, surrounded by two green laurel branches and inscribed in gold Breveté pour la France et l’étranger/Jean Pouyat/Limoges
Extremely rare example of the highest quality of execution
Cup height: 7 cm
Saucer diameter: 13.5 cm
Bibliography
Edith Mannoni, Porcelaine de Limoges, Massin éditeur, nd, p. 104, for a cup and a saucer by Pouyat
Chefs-d’oeuvre de la porcelaine de Limoges, Musée du Luxembourg, 1996, p. 90, for another cup and a saucer by Pouyat
PIERRE-ADRIEN DALPAYRAT – ALPHONSE VOISIN-DELACROIX – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès enameled in shade of bronze with sang-de-boeuf glaze
Numbered 258
27.8 cm. high
Our vase is similar to the gourd kept at the Museum of Fine Arts and Archeology in Besançon, illustrated in the exhibition catalogue Alphonse Voisin-Delacroix ou quand un sculpteur rencontre un céramiste, 24 April – 5 July 1993, n. 31, p. 63
PIERRE-ADRIEN DALPAYRAT – ALPHONSE VOISIN-DELACROIX – SPIDERWEB VASE, CIRCA 1900
SPIDERWEB VASE, CIRCA 1900
Grès enameled in shades of red, yellow and green glaze
Signed
13 cm. high
Exhibition
Horst Makus & al. Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, catalogue n. 78
Provenance
Private collection
PIERRE-ADRIEN DALPAYRAT – ALPHONSE VOISIN-DELACROIX – BUST OF A YOUNG WOMAN IN NUN’S COSTUME, 1893
BUST OF A YOUNG WOMAN IN A NUN’S COSTUME, 1893
Grès with red and green glaze
Signed
43 cm. high
This bust would be a posthumous portrait of Eugénie Delacroix, a young cousin of the artist who died prematurely in 1884. The sculptor reportedly used the young woman’s death mask to make the shape of her face.
There are three reduced model (of the plaster model) in enamelled grès, one is at the Musée d’Orsay, signed Voisin-Delacroix
Exhibition
Salon de la Société nationale des Beaux-Arts, Paris, 1893, n°410 (Now at the musée d’Orsay, inventory number DO 1986-83)
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzeland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium
Bibliography
Horst Makus & al.n, Adrien Dalpayrat – Céramiste de l’Art Nouveau, Arnoldsche, 1998, ill. n°123, p. 162
Provenance
Private collection
EDWARD COLONNA – L’ART NOUVEAU BING – GDA LIMOGES – SERVICE CANTON, CIRCA 1904
SERVICE CANTON, CIRCA 1904
Coffee cup and saucer designed by Edward Colonna for L’Art Nouveau Bing
Ivory colored porcelain manufactured by GDA in Limoges, with incised Art Nouveau decoration and a design enameled in celadon and rose
Bearing the Art Nouveau Paris green enameled stamp
Cup height: 5.5 cm.
Diameter of the saucer: 13.5 cm.
Bibliography
L’Art Décoratif, April 1901, pp. 12 & 13 : Illustration of other pieces from the service Canton
Art Nouveau Belgium / France, Houston & Chicago, 1976, similar model with a different design,
n. 246, page 178
Chefs-d’œuvre de la porcelaine de Limoges, Musée du Luxembourg, 1996, page 256 : Illustration of a cup and its saucer, Canton model
Edith Mannoni, Porcelaines de Limoges, Massin éditeur, sd., page 90 : Illustration of three pieces from the service Canton
Gabriel Weisberg, Art Nouveau Bing – Paris style 1900, Harry N. Abrams, inc., New York, 1986, pp. 197 & 200: Illustration of other pieces from the service Canton
ALEXANDRE BIGOT – ALFRED JEAN HALOU – “SERPENT ENSERRANT UN CRAPAUD”, MODEL OF 1898
“SERPENT ENSERRANT UN CRAPAUD”, MODEL OF 1898
Very rare plate in grès
Signed and dated 1900
Tiny old restoration
Diameter : 27 cm
Exhibition
At the Exposition Universelle of 1900, Bigot had his own pavilion entirely made in grès.
He also exhibited afresco of three squares depicting a circle of toads after Halou.
At the end of the exhibition, the entire pavilion
was acquired by the Museum of Applied Arts in Budapest
PAUL MILET – EMILE BELET – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with gray blue mottling, decorated with honesty leaves applied on both sides
Signed MILLET / Sèvres under the base and Belet sc lower right
28 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill p. 53
LUCIEN BONVALLET – AUGUSTE DELAHERCHE – ANTOINE-ERNEST CARDEILHAC – BOWL, 1897
BOWL, 1897
Green enamelled grès. The mount in silver with orchid design
Signed and numbered 1484
With silversmith and maker’s mark
A similar model dated 1898 is part of the Dieppe museum collection
According to the late Anne Gros, in charge of the Christofle museum and archives, our bowl was acquired by Cardeilhac in December 1897
MANUFACTURE NATIONALE DE SEVRES – GENEVIEVE RAULT, (active at Sèvres between 1896 and 1915) form designer – LOUIS-JULES MIMARD (Born 1868) decorator – “VASE DE CHATOU”, 1899
“VASE DE CHATOU”, 1899
After a design by Emile Belet
White porcelain glazed with a japonist decor of weeds on a pale yellow background
Bearing the manufacturer’s stamp for 1903 and decoration for 1909
24 cm. high
The vase de Chatou also comes with a stopper, handles applied decoration
EDMOND LACHENAL – EWER, CIRCA 1900
EWER, CIRCA 1900
Grès
Signed underneath in ink
35 cm. high
AUGUSTE DELAHERCHE – IMPORTANT PLATE, CIRCA 1900
IMPORTANT PLATE, CIRCA 1900
Grès, with a design in full relief of waterlilies
Signed with the circular seal and numbered 3105. Restauration on a stem
Probably executed in the workshop in rue Blomet (1887-1894) or in Armentières during the summer of 1891. (see the article by Lucien Falize dedicaced to E. Gallé on the Revue des Arts Décoratifs, 12th year, 1891-1892, pp. 234 & 235)
47.3 cm. diameter
Bibliography
“Delaherche, lui aussi, avait cru à l’exposition de la plante, et il s’était mis résolument au travail. Vous le connaissez et vous l’aimez, ce doux colosse qui tuerait un bœuf d’un coup de poing, et dont les doigts ont des caresses d’enfant. Il aime son grès comme vous aimez le verre. Il passe ses nuits, lors des fournées, à veiller son feu ; il couche auprès comme un gardien jaloux ; celui-là ne sait pas séparer l’Art du métier, les deux mots n’ont qu’un sens, et il a conquis presque aussi vite que vous l’attention des gens de haut goût. On dit : Gallé et Delaherche, comme si vous étiez deux artistes d’autrefois, et vos meilleures œuvres sont déjà des pièces de collection.
Donc, Delaherche a, cet été, quitté Paris et l’atelier de la rue Blomet, et il s’en est allé avec sa femme vivre près de Beauvais, son pays, comme vous près de Nancy. Il a acheté une maison de paysan, a bâti son four, a gâché sa terre et il a cherché. Dans une pomme de pin il a trouvé un vase simple et charmant, dont la forme simplifiée convient aux nuances du grès flambé ; il l’a fait sans s’inquiéter de savoir que le pin était consacré à Cybèle, et que ses fruits étaient offerts, dans les sacrifices, à Bacchus. Il a ramassé des marguerites dans les prés, et du calice entr’ouvert d’une de ces fleurs qu’il a grandi, il a fait un porte-bouquet délicieux que vernisse l’émail.
Le nénuphar est devenu un plat, une patène, une coupe à libation, je ne sais quoi de noble, de superbe, qui n’est plus le nénuphar, qui n’est pas une rosace, mais qui convient au grès, s’accorde logiquement avec les conditions de tournage et de cuisson, d’émail et de coloration, qu’il semble que cela ait toujours existé ainsi.
Le talent de Delaherche est simple, sa ligne puissante, il voit grand et n’a pas souci du détail ; il s’entend à tracer un profil, à tourner un bassin, à inscrire un motif large dans une forme appropriée ; son art n’est compris à cause de cela que des artistes et des gens doués d’un goût parfait. Rien n’est complet comme une belle plante dans un de ses grès, cela forme un tout harmonieux, et il en faut faire l’expérience sur les enfants pour voir combien leur esprit droit et prime-sautier est séduit par l’accord de la fleur et du vase.
Delaherche a donc rapporté de sa saison d’été toute une première démonstration tirée de la plante, et le sentiment public lui a donné raison : ses premières fournées ont été enlevées d’enthousiasme”. La Revue des Arts Décoratifs, 12ème année, 1891-1892, pp. 234 & 235
Paul Arthur French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p. 134
MICHEL CAZIN – VASE, 1907
VASE, 1907
White grès with a design in semi-relief of primroses
The base and the lid in patinated gilt bronze
Signed MICHEL CAZIN / 1907 / n° 4
Grès height: 13 cm.
Total height: 18.5 cm
EMILE GALLE – TWO COLOCYNTHS RARE VASE, CIRCA 1900
TWO COLOCYNTHS RARE VASE, CIRCA 1900
Japanese inspiration, in faience with a high-fired polychrome design on white glazed cover
The two colocynths have stylized cutouts on the belly, to receive the flowers
Some small scratches, firing cracks and a restored chip at the back
Black enamed signature under the base E. Gallé / Faïencerie de Nancy
Height: 33 cm
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 173
PACO DURRIO (DURRIO DE MADRON FRANCISCO) – SCULPTURE, CIRCA 1900
SCULPTURE, CIRCA 1900
Earthenware; multilayered in green, beige, white and shades of brown
Bearing the artist's monogram
11 cm. high; 20 cm. long
Exhibition
A retrospective exhibition was held at the Bilbao Museum of Fine Arts in 2013
Bibliography
French Art Nouveau Ceramics by Paul Arthur, Norma editions, 2015, p. 154.
ALPHONSE DEBAIN – GIRAULT, DEMAY & VIGNOLET (G.D.V.) – IMPORTANT VASE, CIRCA 1900
IMPORTANT VASE, CIRCA 1900
Grès with a glazed cover
The mount by Debain with a floral decor
Signed under the base BRUERE and G.D.V.
With French Minerva mark and silversmith mark
38 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 182
FELIX BRACQUEMOND – ERNEST-EMILE CHAPLET – IMPORTANT ZOOMORPHIC PITCHER, CIRCA 1900
IMPORTANT ZOOMORPHIC PITCHER, CIRCA 1900
Grès; beige and brown glaze
Signed
34.5 cm. high
Bibliography
Compare with the models executed in glass for the Manufacture Nationale de Sèvres and illustrated in Gustave Kahn, La Verrerie – verrerie usuelle – la verrerie de table, Art et Décoration, December 1901, pp. 129 à 139
“….En France, Bracquemond donna ses soins à trouver quelques modèles de verrerie. Le principe de cette recherche, où il ne semble pas avoir persisté, semble avoir été d’appliquer à la verrerie quelques-unes des formes utilisées dans la céramique, et stylisées en vue de l’usage nouveau”
SET OF FOUR SALT CELLARS AND SPOONS AND A MUSTARD JAR, CIRCA 1900
SET OF FOUR SALT CELLARS AND SPOONS AND A MUSTARD JAR, CIRCA 1900
Grès by Eugene Baudin, the spoons mounted by Debain
Two spoons are new
Fitted box
CLEMENT MASSIER – LUCIEN LÉVY-DHURMER – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Ceramic, polychrome design of a crab and seaweed on a iridescent background
Signed Clément Massier Golfe Juan (A.M.)
52.5 cm. diameter
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
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
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
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
HENRI LAURENT-DESROUSSEAUX – BALUSTER VASE, CIRCA 1900
BALUSTER VASE, CIRCA 1900
Ceramic with a white glaze mottled in gray and pink. Decor in light incised relief and reddish-brown enamel of three chestnut leaves
Signed ROBALBHEN, Henri LAURENT-DESROUSSEAUX and located Paris
26 cm. high
Exhibition
Europaische Keramik des Jugendstils, Hetjens Museum, Dusseldorf 1974, No.104, p. 86
Bibliography
Paul Arthur French, Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 234
PAUL JEANNENEY – SMALL POT, CIRCA 1900
SMALL POT, CIRCA 1900
Japanese inspiration
Grès overlaid with dark green glaze with a design of three incised cercles
Signed and numbered 61
12.5 cm. high
EMILE GRITTEL – SMALL CYLINDRICAL VASE, CIRCA 1900
SMALL CYLINDRICAL VASE, CIRCA 1900
Brown and ocher glazed grés
The decor is incised with applied drippings
Signed with the initials of the artist E.G
7 cm. high
PAUL JEANNENEY – CORNER FLOWER POT, CIRCA 1900
CORNER FLOWER POT, CIRCA 1900
Inspired by japanese flowerpots
Grès overlaid with reddish-brown and beige glaze and green drippings
Signed
14.2 cm. high
PAUL JEANNENEY – WALL FLOWER POT, CIRCA 1900
WALL FLOWER POT, CIRCA 1900
Grès overlaid with pale green glaze. Green enamels drippings mottled brown
Signed
16.3 cm. high
PAUL JEANNENEY – “CITROUILLE” VASE, CIRCA 1900
“CITROUILLE” VASE, CIRCA 1900
Grès
14 x 22.5 cm.
NILS DE BARCK – RARE VASE, CIRCA 1900
RARE VASE, CIRCA 1900
Incised and sculpted grés representing a datura flower capsule
Incised signature
30.5 cm. high
Bibliography
Le Style Moderne – L’Art appliqué, 1ère année, 1904-1905, H. Laurens, éditeur, ill. pl. 3.
Der Moderne Stil, 1905, ill. pl. 3.
Marc Ducret et Patricia Monjaret, L’Ecole de Carriès – L’Art céramique à Saint-Amand-en-Puisaye, Les éditions de l’amateur, Paris 1997, similar example ill. on a period photograph, p.72
ETIENNE MOREAU-NELATON – VASE, CIRCA 1900
VASE, CIRCA 1900
Grés with an enameled design of holly branches on an enameled white cream background
25.5 cm. high; 17.2 cm. diameter
Bibliography
Roger Marx, La Décoration et les Industries d’Art à l’Exposition de 1900, Ch. Delagrave éditeur, Paris, 1901
Exhibition
Exposition universelle, Paris, 1900
ALEXANDRE BIGOT – BOUCHERON, Maison – LINZELER ROBERT, Silversmith – BEER PITCHER, CIRCA 1901
BEER PITCHER, CIRCA 1901
Cream stoneware with dripping brown tones, blue-gray mottled steel and mounted in solid silver
Signed BOUCHERON / PARIS – LONDON, Mce POUSSIELGUE RUSAND and numbered 4627
With French Minerva marks and mark of Robert Linzeler
27 cm. high
Similar examples :
Rijksmuseum, Amsterdam.
Museum of Applied Arts, Budapest
Exhibition
Salon of 1901
Première Exposition des Arts du Foyer consacrée à l’orfèvrerie dedicated to goldsmithery, November 1901, Salon de la Plume, 31 rue Bonaparte
Bibliography
“Le pot à bière, grès et argent poli, de M. Linzeler, sera sans doute aussi commode à l’usage qu’il est satisfaisant à l’œil. Voici donc un morceau beau par lui-même, en dehors de toute espèce d’ornement sculpté. Il fournit la preuve palpable qu’il n’est nullement nécessaire d’écraser toutes surfaces sous un déluge de “motifs” pour que l’objet contente notre sens esthétique. L’artiste, ici, n’a cherché son effet que dans l’harmonie du galbe, dans le jeu des tons et des matériaux, dans le sentiment de confortable, de logique qui émane de son œuvre. Et il a pleinement réussi.
C’est bien ainsi que veut être le véritable art industriel : harmonique et commode. S’il n’est qu’art, nous souffrons dans notre bien-être ; s’il n’est qu’industriel, nos yeux s’attristent de sa sécheresse. Ainsi les deux vases qu’expose en même temps M. Linzeler nous donnent, malgré la recherche de leur décor, une certaine impression de lourdeur à côté de la masse tranquille de ce broc où le ton du grès se marie si bien à l’éclat de l’argent.” Charles Torquet, L’Orfèvrerie et le bronze, L’Art Décoratif, août 1901, page 214
L’Orfèvrerie aux Salons de 1901, Revue de la bijouterie, de l’orfèvrerie et de la joaillerie, August 1901, ill. p. 132
“Quelques artistes cependant obéissent à la logique. C’est ici Marcel Carlier, dessinateur de l’orfèvre Linzeler, dont le pichet et la théière sont très bien conçus, avec leurs panses de grès qu’entourent des armatures d’argent. Le métal accuse les lignes, affirme la volonté architecturale”. Albert Thomas, Première Exposition des Arts du Foyer consacrée à l’orfèvrerie, l’Art Décoratif, December 1901, p. 125
Der Moderne Stil, 4ème volume, Julius Hoffmann junior, ill. pl. 63
Annelies Krekel-Aalberse, Argenterie Art Nouveau et Art Déco, les éditions de l’amateur, 1990, ill. p. 74, n°39
Hélène Bédague, Alexandre Bigot, Chimiste et Céramiste, éditions Louvre Victoire, Paris, 2016, ill. p. 178
MANUFACTURE NATIONALE DE SEVRES – LEON KANN – “VASE GOURDE DE BRUYERES”
“VASE GOURDE DE BRUYERES”
Pâte Nouvelle (PN) of 1900
Designed by L. Kann, 1899
21 cm. high
Bibliography
Antoinette Faÿ-Hallé, Barbara Mundt, La porcelaine européenne au XIXe siècle, Office du Livre, Fribourg, Suisse, 1983, ill. p. 252, board 413
Jean Paul Midant, SEVRES La Manufacture au XXème siècle, Paris, Michel Aveline Editeur, 1992, p. 38
Provenance
An identical piece in a paler and monochromic shade can be found in the collections of the Musée National de Céramique in Sèvres, inventory n. MNC 25 522
Another item is part of Mobilier National’s collection
A third piece is in the collection of the Musée National Adrien-Dubouché in Limoges, inventory n. 7704
LUCIEN GAILLARD – CLEMENT MASSIER – “CHARDONS” VASE, CIRCA 1900
“CHARDONS” VASE, CIRCA 1900
Turquoise and brown ceramic, with two handles in the shape of horns, imitating Chinese vases
Silver mount adorned with thistles
Small warranty silver and Lucien Gaillard hallmarks
LG seal in a rectangle
8 cm. high
Bibliography
Victor Arwas, Art Nouveau – The French Aesthetic, Andreas Papadakis publisher, London, 2002, ill. p. 399
Provenance
Lillian Nassau, New York, acquired in 1994
ALBERT DAMMOUSE – COUPE, 1899
COUPE, 1899
Footed coupe in brown stoneware engraved with flowers and leaves in relief and embellished with cream-colored flowers and green leaves in porcelain, the inside of the neck covered in sang-de-boeuf and turquoise blue enamel
Impressed circular stamp signature
12.5 cm high
Exhibition
Société Nationale des Beaux-Arts, 1899
Bibliography
Art et Décoration, July 1899, pages 4 and 104
ANDRE METTHEY – LOUIS DEJEAN – “DEPART POUR LE BAL”
“DEPART POUR LE BAL”
Grès
Signed by both artists
22 cm. high
Bibliography
Die Kunst, 1900, vol. II, ill. p. 330
L’Art et les Artistes, april 1907, ill. p. 22
André Metthey, la quête du feu et de la couleur, MUDO, Musée de l’Oise, 2022, ill. p.35
TIFFANY & CO. – ALBERT DAMMOUSE – PLATE
PLATE
Deep plate in porcelain, with cutout edges on a basketwork background, decorated with a bird on a branch in Japanese taste on a lacustrine landscape background, polychrome enamels with blue edges
Signed on the back Dammouse et Sèvres 731 and Tiffany & Co in fine gold
24 cm in diameter
MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900
VASE DE CHAMPROSAY, 1ERE GRANDEUR, 1900
Gourd-shaped, covered in blue and green overlaid
Designed by Alphonse Sandoz in 1898
Signed with the triangular mark dated 1900
14,5 cm. high
Exhibition
“Sèvres 1900”, Musée des Beaux-Arts de Nancy, identical model in dark colored overlaid, ill. p. 30 of the exhibition catalogue, collection of the Musée National de Sèvres, inventory n° 924 1 6.
Bibliography
Jean Paul Midant “Sèvres – La Manufacture au XXème siècle”, Michel Aveline éditeur, 1992, p. 27 : Illustration du même vase en 2ème grandeur et à couverte à cristallisations, collection Mobilier National, Paris.
MANUFACTURE NATIONALE DE SEVRES – ALPHONSE SANDOZ – VASE D’APREMONT, 1902
VASE D’APREMONT, 1902
Colocynth vase in hard-pasted new porcelain with faceted body with decor in relief and application of leaves and vine branches wrapped around the vessel, forming two handles
Enamels in lovat green, ochre and brown on yellow background
Designed by Alphonse Sandoz
Bearing the manufacturer’s stamp for 1902
35,4 cm. high
An identical vase is in the collection of the Musée National de la Céramique, Sèvres, inventory n°15 913
Exhibition
1900, Galeries nationales du Grand Palais, Paris, 14 March-26 June 2000, ill. p. 282, n°300 in the exhibition catalogue
Bibliography
E. Molinier “Les plus récents Travaux de la Manufacture de Porcelaine de Sèvres”, Art et Décoration, November 1903, ill. p. 364, “Signalons encore une autre innovation : les vases à décor en relief exécuté par le moulage. On trouvera ici quelques échantillons de ces nouvelles pièces, notamment une bouteille de M. Sandoz qui est d’une belle venue. En ce genre et dans cette nouvelle voie on peut produire beaucoup de choses intéressantes”.
Antoinette Faÿ-Hallé, Barbara Mundt : “La porcelaine européenne au XIXème siècle”, Office du Livre S.A., Fribourg, Switzerland, 1983. ill. p. 232, pl. 415.
JEAN CARRIES – VASES, CIRCA 1900
VASE, CIRCA 1900
Colocynth stoneware vase with silver and grey dripping
14 cm. high Sold
Provenance
Collection of Jean-Pierre Hassler, Saint-Georges, Switzerland
VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, brown-marbled, covered in ocher and grey, pink and dark purple enamel dripping from the neck
Incised signature under the base
13 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail
VASE, CIRCA 1900
Two-lobed stoneware vase, with incised striae on its bulge, covered in yellow ocher, marbled with brown spots and pink with hints of grey enamel dripping from the neck
Unsigned and numbered 91
13 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail
Drouot-Montaigne, 22nd april 1997, lot n° E
Jean-Pierre Hassler collection, Switzerland
JEAN CARRIES – VASE WITH GOLDEN SPOTS, CIRCA 1900
VASE WITH GOLDEN SPOTS, CIRCA 1900
Stoneware vase with hemmed neck and incised striae on its bulge, covered in chamois and grey dripping from the neck, enhanced with golden spots
Engraved signature under its base
15 cm. high; 18 cm in diamater
Bibliography
L'Estampille, n°32, May 1972, ill. p. 62
Provenance
Formerly in the collection of:
– Alain Blondel, Galerie du Luxembourg, Paris
– Alain Lesieutre, Paris
– Maître Francis Lombrail
– De Quay-Lombrail, Drouot Montaigne, 22 April 1997, lot L
– Jean-Pierre Hassler, Switzerland
JEAN CARRIES – COLOQUINTE VASE, CIRCA 1900
COLOQUINTE VASE, CIRCA 1900
Glazed stoneware, multilayered in green, thick pink dripping
Signed underneath
15 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail, Paris
JEAN CARRIES – BOTTLE WITH GOLD DETAILS, CIRCA 1900
BOTTLE WITH GOLD DETAILS, CIRCA 1900
Glazed stoneware, highlighted with gold
Signed underneath
15 cm. high
Provenance
Formerly in the collection of Maître Francis Lombrail
ROYAL COPENHAGEN – H. MICHELSEN – VASE
VASE
Small decorated vase, circle silver base, neck mounting and lid in silver
Signed, with hallmarks
7.5 cm. high
RORSTRAND PORSLINFABRIKER AB – NILS LUNDSTRÖM – “CYCLAMENS” BALUSTER VASE, CIRCA 1900-1915
“CYCLAMENS” BALUSTER VASE, CIRCA 1900-1915
Baluster vase with shoulders and small straight neck, white porcelain decorated with cyclamen in relief in green and pink tones
Bearing the manufacturer’s seals and the monogram of the artist
22.5 cm. high
Provenance
Provenance: Ancienne collection Martin Eidelberg, New York
RORSTRAND PORSLINFABRIKER AB – NILS LUNDSTRÖM – “TULIPS” VASE
“TULIPS” VASE
Cylindrical vase with bulging neck, in white porcelain decorated in relief with tulips in pink and green tones
Bearing the manufacturer’s seals and the monogram of the artist
23 cm. high
Provenance
Provenance: Ancienne collection Martin Eidelberg, New York
RORSTRAND PORSLINFABRIKER – KARL LINDSTRÖM – AXEL WALDEMAR LINDSTRÖM – “CHARDONS” VASE
“CHARDONS” VASE
Openwork neck, decor in semi-relief
Signed Rörstrand and WL (for the designer of the form, Waldemar Lindström) and KL (for the executant, Karl Lindström)
36 cm. high
ASTRID EVERLÖF – RUBEN RISING – RORSTRAND PORSLINFABRIKER AB – VASE, CIRCA 1907-1909
VASE, CIRCA 1907-1909
Small porcelain vase, with a low relief decor, openwork neck
Three crowns seal, marked E in green, A, 3415 and RR incised
12 cm. high
ROYAL COPENHAGEN – “SWEET PEA AND BUTTERFLY” PLATE
“SWEET PEA AND BUTTERFLY” PLATE
White porcelain plate with sweet pea and butterfly decor in green and blue tones
Customary seals, numbered 1174/10520 in green and 90 in blue
22 cm in diameter
ROYAL COPENHAGEN – ANNA SMIDTH – “HERMIT CRABS AND SEAWEED” UNIKAT VASE, 1901
“HERMIT CRABS AND SEAWEED” UNIKAT VASE, 1901
UNIKAT vase decorated with hermit crabs and seaweed, January 1901
Numbered 7713
49 cm. high
ROYAL COPENHAGEN – ANNA SMIDTH – LARGE BALUSTER VASE
LARGE BALUSTER VASE
Porcelain, with lacustrine decor in blue tones on a white background
Signed at the bottom and under its base
Bearing the manufacturer’s customary seals
Marked 12 Z and numbered 10410
44 cm. high
ROYAL COPENHAGEN – ARNOLD KROG – “TÊTE-À-TÊTE” TEA AND COFFEE SERVICE
“TÊTE-À-TÊTE” TEA AND COFFEE SERVICE
Porcelain
Exhibition
Exposition Universelle, Paris, 1900
Bibliography
Art et Décoration, décembre 1900, repr. p. 196
ROYAL COPENHAGEN – JENNY SOPHIE MEYER – “EPIS ET FLEURS BLEUES” UNIKAT VASE, 1896
“EPIS ET FLEURS BLEUES” UNIKAT VASE, 1896
Decorated porcelain
Bearing the manufacturer’s seal and marks, numbered 6048, signed and written out in full and dated M and 10 (for October 1896)
23 cm. high
ROYAL COPENHAGEN – TOP-SHAPED BOUQUET HOLDER
TOP-SHAPED BOUQUET HOLDER
Enameled porcelain with spinning polychrome orchids decor, the neck ornamented with three small handles
The cover of the suspension ring in bronze and ropes
Signed with the manufacturer’s stamp in green, numbered 62 in blue for the artist and 5/5 in green
21 cm. in diameter ; 17.5 cm. high
ROYAL COPENHAGEN – “PHALENES” VASE
“PHALENES” VASE
Openwork vase in enameled white and blue porcelain decorated with pepper moths and foliage
Signed with the circular stamp under its base and numbered 1295/777 and 58
Painted by Fr A Richter
14 cm. high
ROYAL COPENHAGEN – “ROSE” VASE
“ROSE” VASE
Porcelain
Signed with the manufacturer’s stamp and numbered 815/294 in green and 98 in blue
19 cm. high
BING & GRONDAHL – EFFIE HEGERMANN-LINDENCRONE – BONBONNIERE, 1927
BONBONNIERE, 1927
UNIKAT bonbonnière with shells design
Bearing the manufacturer's seal, the monogram of the artist and numbered 1960 and 27
11 cm. high
BING & GRONDAHL – ELISABETH DREWES KOFOED – VASE
VASE
Small baluster vase in enameled porcelain heightened in gold
Signed
14 cm. high
BING & GRONDAHL – “MAPLE LEAVES” VIDE-POCHE
“MAPLE LEAVES” VIDE-POCHE
Vide-poche decorated with maple fruit and leaves
Signed B&G and SD 1113
18 cm. long; 16.3 cm. wide; 3.5 cm. high
LOUIS LOURIOUX – LA MAISON MODERNE – ABEL LANDRY – VASE, 1902-1904
VASE, 1902-1904
Molded porcelain vase with square shoulders and small neck, decorated with delicate enamel flowers in blue, green and beige heightened in gold
Signed with the monogram
17.5 cm. high
Bibliography
Alastair Duncan, The Paris Salons volume IV : ceramics and glass, Antique Collectors' Club, Woodbridge, 1998, modèle similaire reproduit p. 285
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
MANUFACTURE NATIONALE DE SEVRES – AGATHON LEONARD – “DANSEUSE AUX FLAMBEAUX A DROITE”, N. 15, 2eme GRANDEUR, CIRCA 1900
“DANSEUSE AUX FLAMBEAUX A DROITE”, N. 15, 2eme GRANDEUR, CIRCA 1900
Biscuit, the carved bases with a relief decoration of leaves and cabochons highlighted with gold
Height of the sculpture: 38 cm.
Height of the base: 11.2 cm.
The model exists in two different heights: 57 and 38 cm. Between 1901 and 1923, 59 examples of each version
were executed. The bases were bought directly from the Sèvres Factory.
This series is part of a set composed of fifteen different models that were presented at the Paris Exposition Universelle
of 1900. A complete set was given as a diplomatic gift to the Csar and Empress of Russia in October 1901.
Other complete sets are in the French Embassy in Prague, at the Victoria and Albert Museum in London
and at the Musée national de Céramique at Sèvres
Exhibition
Société Nationale des Beaux-Arts, 1897, section sculpture. A. Léonard exhibits 10 models representing 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, no. 23
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
PIERRE-ADRIEN DALPAYRAT – LA MAISON MODERNE – “SILHOUETTE LA BERTHON CHINEHOLD”, “LE COUP DE VENT”, CIRCA 1900
“SILHOUETTE LA BERTHON CHINEHOLD”, CIRCA 1900
Glazed grès
Bearing a label Silhouette La Berthon Chinehold Grès Dalpayrat
17.5 cm. high
“LE COUP DE VENT”, CIRCA 1900
Glazed grès
Bearing a label Silhouette La Berthon Chinehold. Grès Dalpayrat; bearing the manufacturer’s stamp
15 cm. high
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
PIERRE-ADRIEN DALPAYRAT – “ANDROMEDE ENCHAINEE NUE SUR UN ROCHER”, CIRCA 1900
“ANDROMEDE ENCHAINEE NUE SUR UN ROCHER”, CIRCA 1900
Green enameled grès. The base in red enameled grès
Signed
Provenance
Private collection, Switzerland
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
PIERRE-ADRIEN DALPAYRAT – MAURICE BIAIS – LA MAISON MODERNE – “ELEGANTE AU MANCHON”, CIRCA 1900
“ELEGANTE AU MANCHON”, CIRCA 1900
Polychrome glazed grès
Signed
14 cm. high
ALPHONSE LAMARRE – LOUCHET PAUL, Maison – PILLIVUYT & CIE – VASE, CIRCA 1900
VASE, CIRCA 1900
Green and red flambé glazed porcelain; the mount by Louchet with a design of flowering flowers. The heart is decorated with mother-of-pearl and glass cabochon
Signed on the base LOUCHET C(ISEL)EUR
Bearing an hologram incised in the paste the initials AL and a kanji symbol
18 cm. high
Exhibition
1903 SAF
“Je remarque les émaux cloisonnés de M. Paul Louchet, ainsi que le cadre contenant des dessins d’Albert Louchet, son frère. Je n’insiste pas, ce n’est pas tout à fait de ma compétence ; on me dit d’ailleurs que ces jolis cloisonnés ont été exécutés au Japon même ; leur perfection s’explique alors plus facilement et aussi leur aspect un peu “porcelaine”, ce qui est une des caractéristiques des artistes modernes du Nippon.” Revue de la Bijouterie, Joaillerie et Orfèvrerie, n. 40, August 1903, page 96
ROYAL COPENHAGEN – UNIKAT VASE, CIRCA 1900
UNIKAT VASE, CIRCA 1900
White porcelain decorated with ginkgo leaves
Attributed to Christian Thomsen
Author of the shape: Arnold Krog, 1895
With manufacturer's stamp, numbered 203/135
16 cm high
Another example of this vase was acquired in 1897 by the Berlin Museum of Decorative Arts
Bibliography
Dekorative Kunst, vol. 16, 1907, ill. p. 114
Berlin, Kunstgewerbe Museum, Werke um 1900, cat. n. 79
BING & GRONDAHL – BOWL, CIRCA 1900
BOWL, CIRCA 1900
White porcelain decorated on the base with snails in shade of white, brown and blue. Below a frieze of white shells in light blue
Signed with the manufacturer’s stamp, numbered 1146, B&G and bearing the monogram of the artist
9.4 cm. high
17.5 cm. diameter
ERNEST-EMILE CHAPLET – EDOUARD DAMMOUSE – IMPORTANT VASE, CIRCA 1900
IMPORTANT VASE, CIRCA 1900
Earthenware decorated with stylized flowers heightened in gold
Stamped with the Chaplet seal and in the decor Ed DAMMOUSE
37 x 24 cm.
MANUFACTURE NATIONALE DE SEVRES – HENRI BRECY, form designer – PAIR OF BOTTLES “EPIS DE MAIS”, 1900
PAIR OF BOTTLES “EPIS DE MAIS”, 1900
Glazed porcelain; each with original stopper
Bearing the manufacturer’s stamp for 1901
16.5 cm. high
Exhibition
Exposition Universelle, Paris, 1900
An identical bottle without its stopper was acquired in 1905 by the French State for the Musée des Ursulines in Mâcon and another one complete for the Musée de Saint-Nazaire. Both are today in the collection of the Cité de la Céramique in Sèvres. Another, with stopper, is in the Holburne Museum, Bath (Handley-Read collection), and a further example, without its stopper, is in the Musée des Beaux Arts de Quimper
Bibliography
L’Art Décoratif, October 1900, La manufacture nationale de Sèvres à l’exposition universelle, similar example ill. p. 12
HENRI SIMMEN – VASE, 1910-1914
VASE, 1910-1914
Stoneware vase in yellow ochre in the shape of a cone turned upside down and sunk neck leaving in reserve four handles, enhanced with lines and dots in gold
Signed
Small firing crack at the base
21,5 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p. 347
LOUIS MAJORELLE – KELLER & GUERIN – VASE, CIRCA 1900
VASE, CIRCA 1900
Polychrome earthenware with a design of flower buds and leaves
Signed KG/Lunéville/Majorelle
48 cm. high
ALPHONSE LAMARRE – LOUCHET PAUL, Ciseleur – PILLIVUYT & CIE – VASE, CIRCA 1900
VASE, CIRCA 1900
Porcelain vase, high-fired decor of ombelliferes on a blue-brown background
Openwork bronze mount
Signed P L and bearing the initials of Alphonse Lamarre
28.5 cm.
ROYAL COPENHAGEN – CHRISTIAN THOMSEN – VASE “SNAKES”, CIRCA 1900
VASE “SNAKES”, CIRCA 1900
Porcelain
Marked with the artist’s monogram, bearing the manufacturer’s stamp and numbered 633/326
14 cm. high
Bibliography
Bredo L. Grandjean, Kongelig dansk Porcelain 1884-1980, Gyldendal, ill. p. 41
NILS LUNDSTRÖM – RORSTRAND PORSLINFABRIKER AB – VASE, CIRCA 1900
VASE, CIRCA 1900
Symbolist design of landscape and mushrooms
Bears makers and artist marks
30.5 cm. high
RORSTRAND PORSLINFABRIKER AB – RUBEN RISING – PAIR OF VASES, CIRCA 1900
PAIR OF VASES, CIRCA 1900
Porcelain with a design of pansy. Openwork neck
One is signed and numbered 2069
The other is signed and bears the initials RR
21.5 cm. high
ROYAL COPENHAGEN – CHRISTIAN THOMSEN “CRABES ET ALGUES” VASE, 1901
“CRABES ET ALGUES” VASE, 1901
Shape designed by Christian Thomsen
Decorated by Léon Boll
Marked with the artist’s monogram, bearing the manufacturer's seal and numbered 445/241 and 50
20.3 cm. high
LOUIS MAJORELLE – ERNEST BUSSIERE – KELLER & GUERIN – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Glazed stoneware, stylized vegetal decoration in relief
Signed K.G. Lunéville Bussière
28.5 cm. high
Another example of this model is part of the Collections of the museum of Lunéville, inv. n. C337
Exhibition
Céramiques végétales – Ernest Bussière et l’Art Nouveau, musée de l’Ecole de Nancy,
21 June-25 September 2000, ill. p. 43, n. 40 in the catalogue
Bibliography
Buffet-Challié, Laurence, Le Modern Style, Baschet et Cie Editeurs, ill. p. 112, n. 1
Roselyne Bouvier, Majorelle, Editions Serpenoise, La Bibliothèque des Arts, 2009, ill. p. 32
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, éditions Norma, 2015, ill. p. 83
ALBERT DAMMOUSE – PIERRE ROCHE – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Stoneware
Stamped A DAMMOUSE, with the letter S (for Sèvres)
23 cm. diameter
Bibliography
Paul Arthur French, Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 327
No other similar piece executed by Dammouse is known to exist. Nevetheless we know Alexandre Bigot executed similar works designed by the sculptor Pierre Roche, who collaborated with Dammouse. This piece is probably a result of their collaboration
ERNEST-EMILE CHAPLET – CYLINDRICAL WASTED VASE, CIRCA 1900
CYLINDRICAL WASTED VASE, CIRCA 1900
Grès with a red glaze
8.2 cm. high
10.5 cm. diameter
SERAPHIN SOUDBININE – PAUL JEANNENEY – “LA DOULEUR”, 1907
“LA DOULEUR”, 1907
Grès overlaid with green glaze
Signed and dated
35 cm. high
32 cm. wide
19 cm. deep
Bibliography
Marc Ducret and Patricia Montjaret, L’école de Carriès, art céramique à Saint-Amand-en-Puisaye
1888-1940, Paris, éditions de l’Amateur, 1997, similar example ill. p. 125
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, similar example ill. p. 349
ERNEST BUSSIERE – KELLER & GUERIN – “CHARDON” VASE, CIRCA 1900
“CHARDON” VASE, CIRCA 1900
Glazed stoneware
28.5 cm. high
Similar example at the musée de l’Ecole de Nancy
Exhibition
Exposition de la Céramique, Esplanade des Invalides, Paris 1900
Pavillon de Marsan, Paris, 1903
Nancy 1900 – Jugendstil in Lothringen, Münchner Stadtmuseum, 28 August 1980-6 January 1981,
n. 410, n. 67
Céramiques végétales – Ernest Bussière et l’Art Nouveau, musée de l’Ecole de Nancy,
21 June-25 September 2000, ill. p. 46, n. 48
Bibliography
La Lorraine, July 1900, ill. p. 27
Der Moderne Stil, volume 4, Julius Hoffmann junior, ill. pl. 50
Klopp, Gérard, Nancy 1900 – Rayonnement de l’Art Nouveau, 1991, n. 217
Jean-Paul Midant, L’Art Nouveau en France, L’Aventurine, Paris, 1999, ill. p. 35
LOUIS MAJORELLE – WALL PLANTER, CIRCA 1878
WALL PLANTER, CIRCA 1878
Earthenware, japanese decor in semi-relief of a bird fisching a carp
Made in the Toul workshop
Signed
34 cm. diameter
BING & GRONDAHL – JENS DAHL-JENSEN – LA MAISON MODERNE – VIDE-POCHE, 1898
VIDE-POCHE, 1898
Bluish white poreclain
Signed and dated 98. Bearing the manufacturer's stamp
This model is illustrated in the Maison Moderne catalogue under the number 1349-11
20 cm. high
ERNEST BUSSIERE – KELLER & GUERIN – “BRACTEE D’OMBELLE”, CIRCA 1900
“BRACTEE D’OMBELLE”, CIRCA 1900
Earthenware vase decorated with low-fired metallic iridescent glaze, decorated with leaves and openwork stems
Signed underneath K.G. Lunéville BUSSIERE
28 cm. high
Exhibition
Exposition de l’Alliance Provinciale des Industries d’Art, Union Centrale des Arts Décoratifs, Paris, March 1903
Nancy 1900 Jugendstil in Lothringen, Münchner Stadtmuseum, 1980, n. 409, p. 365
Christian Debize, L’Ecole de Nancy, Presses Universitaires de Nancy, 1993, ill. p. 89
Céramiques végétales – Ernest Bussière et l’Art Nouveau – Musée de l’Ecole de Nancy, 21 June-25 September 2000, ill. p. 44
ALBERT DAMMOUSE – A RARE COVERED PITCHER, CIRCA 1890
A RARE COVERED PITCHER, CIRCA 1890
Glazed stoneware, thickly overlaid with sang-de-boeuf glaze, the lid in vermeil stylized as a flower
Impressed circular signature A DAMMOUSE S (for Sèvres)
with silversmith and French Minerva marks
18.5 cm. high
PIERRE-ADRIEN DALPAYRAT – ALPHONSE VOISIN-DELACROIX – VASE IN A SHAPE OF A FRUIT, ALSO KNOWN AS “COEUR DEVORE PAR UN ANIMAL”, 1892-1893
VASE IN A SHAPE OF A FRUIT, ALSO KNOWN AS “COEUR DEVORE PAR UN ANIMAL”, 1892-1893
Grès with a sang-de-boeuf and green glaze
Signed
23 cm. high
Exhibition
Adrien Dalpayrat / Céramique française de l’Art Nouveau, Arnoldsche Art Publishers, 1998,
similar model ill. p. 139 n. 79
Bibliography
Henri-Pierre Fourest & al., L’art de la Poterie en France de Rodin à Dufy, Sèvres, Musée national
de la céramique, 1971, ill. n. 83
Hakenjos, Berndt & Ekkart Klinge, Europäische des Jugendstils, Düsseldorf, Hetjens museum,
1974, p. 29, n. 29
Lynne Thornton & Antoine Alain Glück, L’Art en marge des Grands Mouvements, Salons et Visionnaires de 1880 à 1930,
Paris, Etude Pillias, 1974, p. 66, n. 116
Arielle Guillaume & al., Alphonse Voisin-Delacroix, Besançon, Musée des Beaux-Arts et d’
Archéologie de Besançon, 1993, p. 801, n. 58
JEAN CARRIES – JAPANESE BOTTLE, CIRCA 1900
JAPANESE BOTTLE, CIRCA 1900
Glazed stoneware, multilayered in brown, blue and pink dripping
Signed and numbered 30 underneath
15.5 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015,
ill. p. 93
Frédéric Descouturelle, Olivier Pons, La céramique et la lave émaillée d’Hector Guimard, Edition du Cercle Guimard, p. 15
Provenance
Formerly in the collection of Maître Francis Lombrail, Paris
ROYAL COPENHAGEN – ARNOLD KROG – VASE, CIRCA 1900-1901
VASE, 1900-1901
Model of 1898-1899, executed in 1900-1901
Openwork porcelain with a design of white poppies
Signed
13.7 cm. high
ROYAL COPENHAGEN – CHRISTIAN THOMSEN – “SNAKES” VASE, CIRCA 1900
“SNAKES” VASE, CIRCA 1900
Openwork enamelled porcelain; three snakes forming the handles
Signed, numbered 298/176 and 60
14.5 cm. high
ALEXANDRE BIGOT – ALOIS REINITZER – “LA DANSEUSE LOIE FULLER” VASE, 1900
“LA DANSEUSE LOIE FULLER” VASE, 1900
Grès
Signed by both artists
25 cm. high
This vase was probably exhibited at the Exposition Universelle and a la Société des Artistes Français, 1900
Biliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 319
EDGAR WILLIAM BRANDT – ATELIER DE GLATIGNY – VASE, CIRCA 1910
VASE, CIRCA 1910
Grès. Grey green dripping on a beige background. The red copper mount is hammered and hand tooled
Impressed signature and bearing the Brandt seal
32 cm. high
ROYAL COPENHAGEN – PLANTER, 1896
PLANTER, 1896
Signed
26.7 cm. high
26 cm. diameter
ANDRE METTHEY – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with grey and blue glaze with a design of a woman
Signed
22 cm. high
FRENCH – PAIR OF BALUSTER VASES, CIRCA 1870
PAIR OF BALUSTER VASES, CIRCA 1870
Porcelain green celadon with crackled background. The neck is decorated with two small handles
The mount in gilt bronze with a design of garland wreath; bronze base
Bearing the original label: Maison Alph. GIROUX, F. DUVINAGE et A. HARINKOUK Fournisseur de LL MM l'Empereur et l'Impératrice…
70 cm. high
28 cm. wide
24 cm. deep
AGATHON LEONARD – “LE SOMMEIL DE LA VIERGE”, 1901
“LE SOMMEIL DE LA VIERGE”, 1901
Patinated terracotta
Titled on the base and signed
Exhibition
Société Nationale des Beaux-Arts, 1901 (for the model in marble)
KELLER & GUERIN – WALL PLATE, CIRCA 1900
WALL PLATE, CIRCA 1900
Aquatic design with a decor of algae and crab. In the center, a woman’s head wearing a helmet in the shape of a shell
The glaze is slightly glossed in purple and green and partially gilded
Signed KG
37 cm. diameter
PIERRE-ADRIEN DALPAYRAT – “GUENON”, CIRCA 1900
“GUENON”, CIRCA 1900
Grès with a green and white glaze
17.5 cm. high
18.5 cm wide
ALEXIS BOISSONNET – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Grès
Signed
22.5 cm. high
ERNEST BUSSIERE – KELLER & GUERIN – “MARRON” JUG, 1903
“MARRON” JUG, 1903
Earthenware decorated with low-fired iridescent glaze heightened in gold
Signed KG / Lunéville / Bussière
14 cm. high
A similar example is to be found at the Musée de l’Ecole de Nancy, inv. Corbin
Exhibition
Exposition de l’Ecole de Nancy, Musée des Arts Décoratifs, Paris, 1903
Bibliography
Céramiques végétales / Ernest Bussière et l’art nouveau, Musée de l’Ecole de Nancy, 21 June-25 September 2000, n. 35 ill p. 41
BING & GRONDAHL – CATHINCA OLSEN – F. AUGUSTE HALLIN – PAIR OF VASES, 1892-1902
PAIR OF VASES, 1892-1902
Porcelain with a polychrome design
Shape of F. August Hallin
Both bear the three tower mark
The first numbered 848/58; bears the artist’s initials KK
22 cm. high
The second numbered 1524/58; bears the monogram of Cathinca Olsen
21 cm. high
NILS LUNDSTRÖM – RORSTRAND PORSLINFABRIKER AB – OPENWORK VASE, CIRCA 1900
OPENWORK VASE, CIRCA 1900
Porcelain
Bearing the monogram of the artist, incised 80031 EG
15.3 cm. high
BING & GRONDAHL – VASE, CIRCA 1900
VASE, CIRCA 1900
Porcelain
Bearing the manufacturer’s stamp, signed AM
24.5 cm. high
MANUFACTURE NATIONALE DE SEVRES – LEO LAPORTE BLAIRSY – BRETONNE A LA COIFFE – CIRCA 1900
BRETONNE A LA COIFFE, CIRCA 1900
Biscuit
Signed. Bearing the manufacturer seal for 1904 and the initials HR for Henri Robert (molder)
This model was also edited in bronze
11 x 12 cm.
JOSEPH ET PIERRE MOUGIN – “QUI S’Y FROTTE, S’Y PIQUE” PLANTER, 1909
“QUI S’Y FROTTE, S’Y PIQUE” PLANTER, 1909
Grès with green, yellow, pink, purple and beige glazes
Signed J. Mougin and J. P. Mougin céramistes underneath
Numbered 3144 and Esquisse de J. Mougin
34 cm. high
39 cm. diameter
Exhibition
Exposition Internationale de l’Est de la France, Nancy, 1909
Bibliography
Art et Industrie, January 1912
Catalogue de la maison Mougin, 1914, ill. pl. 1, n. 2
THEODORE DECK – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Polychrome cloisonné enamel decorated with dragonflies and a vegetal decor
Signed
50 cm.
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill. p. 128
ROYAL COPENHAGEN – ANDREA PETERSEN – “TROIS LEZARDS” VIDE-POCHE, CIRCA 1900
“TROIS LEZARDS” VIDE-POCHE, CIRCA 1900
Polychrome porcelain
Bearing the manufacturer’s seal and numbered
MELA ANDERBERG – RORSTRAND PORSLINFABRIKER AB – “CHARDONS EN FLEURS” VASE, CIRCA 1900
“CHARDONS EN FLEURS” VASE, CIRCA 1900
Openwork enamelled porcelain
Signed M.A. Rörstrand 60056 and numbered 32
26 cm. high
LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – ALBERT DAMMOUSE – A MUSTARD POT WITH COVER AND SPOON, CIRCA 1900
A MUSTARD POT WITH COVER AND SPOON, CIRCA 1900
Sang-de-boeuf glazed ceramic and chased silver mount decorated with mustard leaves and seeds
Signed A D and S, stamped Cardeilhac, with French Minerva and silversmith marks under the base
9 cm. high
Provenance
Baron Rodolphe Planta de Wildenberg, Parisud Enchères, Versailles, estate sale, 24 October 1999
EMILE DECOEUR – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Sang-de-boeuf glaze, decorated with a relief decoration of grape
Monogrammed, marked with an impressed trefoil, and numbered 3-12
36.8 cm. high
Exhibition
Kunstgewerbemuseums der Stadt Köln, 10 April-28 July 1974 for another example of this design
Kestner-Museum Hannover, 22 August-3 November 1974 for another example of this design
Hessischen Landesmuseum Darmstadt, 12 December-2 February 1975 for another example of this design
Bibliography
Sammlung Maria und Hans-Jörgen Heuser, Französische Keramik zwischen 1850 und 1910, Hamburg, Prestel-Verlag München,
1974, plate n. 21 and p. 218, n. 167 in the exhibition catalogue
ALBERT DAMMOUSE – A SET OF FOUR PLATES, CIRCA 1900
A SET OF FOUR PLATES, CIRCA 1900
Enamelled earthenware; butterflies and floral decoration in shades of green,
blue and pink on a pale blue background
Bearing the monogram AD S at the back (Albert Dammouse Sèvres)
24 cm. diameter
AUGUSTE DELAHERCHE – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Grés, decorated with honesty leaves
Numbered 4234, stamped signature
18.6 cm. diameter
HENRI DE VALLOMBREUSE – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Grès with a light blue overlay and streaks
The handle in serpentine shape; the mount in pewter decorated with an enamel turquoise pattern
Signed
23 cm. high
Bibliogaphy
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015,
ill. p. 358
CHARLES VITAL-CORNU – SUSSE FRERES – A COLOCYNTH VASE, CIRCA 1900
A COLOCYNTH VASE, CIRCA 1900
Porcelain, beige, brown and blue, featuring a woman holding the neck of a coloquinte
Signed Vital Cornu and Susse Fres Ed.
12.5 cm. high
Bibliography
Pierre Cadet, Susse Frères, 150 years of sculpture, p. 205, for the model in bronze, n. 427
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015,, ill p. 365
CHARLES VITAL-CORNU – SUSSE FRERES – BEAKER, “LA VIGNE”, CIRCA 1900
BEAKER, “LA VIGNE”, CIRCA 1900
Beige ceramic with brown and orange streaks, decorated with a bacchus head and a nude
bacchanale holding vine branches with blue leaves and grapes
Bearing the monogram VC, signed Susse Frs Ed.
12.3 cm. high
Bibliography
Pierre Cadet, Susse Frères, 150 years of sculpture, p. 205, n. 428, for the model in bronze
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill. p. 365
EMILE DECOEUR – PAUL MOREAU-VAUTHIER – “WOMAN WITH FAN”, “WOMAN WITH MUFF”, CIRCA 1905
“WOMAN WITH FAN”, CIRCA 1905
Polychrome patinated porcelain
Signed Decoeur céramiste and P.Moreau-Vauthier; stamped with the clover mark
and numbered 5
31 cm. high Sold
“WOMAN WITH MUFF”, CIRCA 1905
Polychrome patinated porcelain
Signed by both artists, stamped with the clover mark and numbered 24
31.5 cm. high
JO HAHN LOCHER – BING & GRONDAHL – UNIKAT VASE, CIRCA 1905
UNIKAT VASE, CIRCA 1905
Decorated with flowers and water lilies
Bearing the monogram of the artist and numbered 464
38 cm. high
THEO PERROT – PITCHER, CIRCA 1900
PITCHER, CIRCA 1900
Glazed grès
Signed and numbered 324
38.5 cm. high
EUGENE BAUDIN – LUCIEN GAILLARD – GOURD SHAPED VASE, CIRCA 1900
GOURD SHAPED VASE, CIRCA 1900
Stoneware, decorated with a silver floral mount
Stamped LG, with silversmith’s mark, silver mark
and numbered 8038
12 cm. high
Exhibition
A variant of this model was exhibited at the Exposition universelle, 1900
JEAN CARRIES – JUG, 1889
JUG, 1889
Grès with grey-green drippings on a beige background
Signed underneath Jean Carriès statuaire aout 89 Montriveau
21 cm. high
Bibliography
Marc Ducret, Patricia Monjaret, L’Ecole de Carriès, les éditions de l’amateur,
Paris, 1997, similar model ill. p. 86
LA MAISON MODERNE – PIERRE-ADRIEN DALPAYRAT – GYULA BETLEN – “LA PARISIENNE”, CIRCA 1900
“LA PARISIENNE”, CIRCA 1900
Grès
Signed Les Grands Feux de Dalpayrat and BETLEN
22.5 cm. high
THEODORE DECK – ERNEST CARRIERE – VASE “POISSONS”, CIRCA 1900
VASE “POISSONS”, CIRCA 1900
Celadon earthenware
Signed by both artists
29.5 cm.
Exhibition
Musée Galliéra – Exposition des Grès, Faïences, Terres Cuites et leurs Applications, 1911
Vase Poissons, composition de Carrière (Exhibited by la maison TOY, 10, rue de la Paix, Paris)
ERNEST-EMILE CHAPLET – VASE, CIRCA 1895
VASE, CIRCA 1895
Grès with a sang-de-boeuf and celadon glaze
Signed, bearing a label of la maison Rouard
6 cm. high
10 cm. wide
ERNEST BUSSIERE – KELLER & GUERIN – “ORCHIDEES”, CIRCA 1900
“ORCHIDEES”, CIRCA 1900
Earthenware vase decorated with low-fired iridescent glaze
Signed underneath KG/Lunéville/Bussière
Bibliography
L’Estampille L’Objet d’Art, n. 349, Ernest Bussière, la redécouverte d’un céramiste Art nouveau, p. 26 to p. 29
Exhibition
Exposition de l’alliance provinciale des industries et d’art de l’école de Nancy, Pavillon de Marsan, Paris, 1903
Céramiques végétales – Ernest Bussière et l’art nouveau, musée de l’école de Nancy, 2000, ill. p. 49, n. 27
Die Jugend Der Moderne, Villa Stuck, Munich, 28 October 2010 – 23 January 2011, ill. p. 105, n. 88
MANUFACTURE NATIONALE DE SEVRES – LEON KANN – A GOURD-SHAPED EWER, DESIGNED 1889
A GOURD-SHAPED EWER, DESIGNED 1889
Glazed Sèvres porcelain
Marked with Sèvres Manufacturer’s triangular stamp and dated 1904
15 cm. high
GEORGES DE FEURE – GDA LIMOGES – “ELEGANT SCULPTURE”, CIRCA 1900
“ELEGANT SCULPTURE”, CIRCA 1900
Enamelled porcelain
With maker’s marks
27 cm. high
FELIX MASSOUL – VASE, CIRCA 1905
VASE, CIRCA 1905
Grès
Signed
20 cm. high
ALEXANDRE BIGOT – ALOIS REINITZER – VASE “ LA DANSEUSE LOIE FULLER”, 1900
VASE “LA DANSEUSE LOIE FULLER”, 1900
Grès with a polychrome glaze
Signed by both artists
25 cm. high
This vase was most probably displayed at the Exposition Universelle and the Société des Artistes Français in 1900
Bibliography
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015, ill p. 319
EDWARD COLONNA – GDA LIMOGES – CHRYSANTHEMUMS VASE, CIRCA 1900
CHRYSANTHEMUMS VASE, CIRCA 1900
White porcelain
30 cm. high
Exhibition
Art Nouveau Belgium, France, Institute for the
Arts, Rice University and the Art Institute of Chicago, 1976, p. 176 n. 242 in the exhibition catalogue
Bibliography
Edith Mannoni, Porcelaines de Limoges, Massin éditeur, n.d., ill. p. 92
MANUFACTURE NATIONALE DE SEVRES – VASE “D’ IGNY A”, 1907
Vase: “D’Igny A”
Form designed by Georges Vogt in 1897
Bronze mount by Joseph Joindy
Impressed with the 1907 Sèvres seal
16 cm. high
Bibliography
E. Baumgart, La Manufacture nationale de Sèvres à l’Exposition de 1900, Paris, Librairie des Beaux-Arts, ill. n. 34 (With a different shape)
E. Baumgart Sèvres 1900, Musée des Beaux-Arts de Nancy, 1996. Illustration of the two vases of Igny with variant of crystallization and mount
KELLER & GUERIN – PLATE, CIRCA 1900
PLATE, CIRCA 1900
Grès; decorated with a sunset scene and snails
Signed KG Lunéville and E. M.
45 cm. diameter
THEODORE DECK- ERNEST CARRIERE – PITCHER, CIRCA 1900
Celadon green and decorated with a frog and a water lily
“Blue Deck”
Signed ERNEST CARRIÈRE and TH DECK
Seal: Two points in a circle separated by a vertical line
Exhibition:
Société Nationale des Beaux-Arts, 1902
Exposition de la porcelaine, son décor, sa monture, musée Galliera, Paris 1907
Bibliography:
L’Illustration, n°3088, 3 may 1902, special number of the exhibition, ill. p. 316
FRANCOIS-RUPERT CARABIN – “FEMME PIEUVRE” INKWELL, CIRCA 1900
“FEMME PIEUVRE” INKWELL, CIRCA 1900
Enameled stoneware
Bearing the monogram of the artist, numbered 42
16 cm. high
Exhibition
Salon de la libre esthétique, Bruxelles, 1897 (galerie Laffite)
Société Nationale des Beaux-Arts, 1897
Galerie Laffite, 1894-1895
Les Industries d’Art au Salon de la libre Esthétique, Bruxelles, 1897
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974
Bibliography
Catalogue de la Société Nationale des Beaux-Arts, 1897
PIERRE-ADRIEN DALPAYRAT – VASE, CIRCA 1900
VASE, CIRCA 1900
Grès with a sang-de-bœuf, green, anthracite and
beige glazes
12.5 cm. high
14.5 cm. diameter
PIERRE-ADRIEN DALPAYRAT – LUCIEN COUDRAY – “VASE AU LIERRE” CIRCA 1904 -1906
“VASE AU LIERRE” CIRCA 1904-1906
Grès overlaid with sang-de-boeuf,
green and blue glaze, decorated with ivy leaves
Stamped Les Grands Feux / Paul Dalpayrat /
L. Coudray
22 cm. high
17.5 cm. diameter
Bibliography
Horst Makus & al., Adrien Dalpayart – Céramique française de l’Art Nouveau, Arnoldsche, 1998,
p. 127, n. 56
PIERRE-ADRIEN DALPAYRAT – ALPHONSE VOISIN-DELACROIX – COLOCYNTH, CIRCA 1900
COLOCYNTH, CIRCA 1900
Grès with yellow glaze, with blue and brown dripping
Impressed with the Voisin-Delacroix seal
11.5 cm. high
Bibliography
Arielle Guillaume Voisin-Delacroix – ou quand un sculpteur rencontre un céramiste, 1993,
similar model ill. p. 69, n. 43
Horst Makus Adrien Dalpayrat – Céramiste de l’Art Nouveau, Arnoldsche, 1998,
similar model ill. p. 114, n. 31
PIERRE-ADRIEN DALPAYRAT – “LEDA AND THE SWAN”, CIRCA 1900
“LEDA AND THE SWAN”, CIRCA 1900
Polychrome enameled stoneware
Signed
23 cm. high
26 cm. long
Exhibition
Sammlung Maria und Hans-Jörgen Heuser, Hamburg
Kunstgewerbemuseums, Köln, 10/4 – 28/7 1974
Kestner-Museum, Hannover, 22/8 – 3/11 1974
Hessischen Landesmuseum, Darmstadt,12/12/74 –
2/2/75 n. 100
Bibliography
Prestel-Verlag München, 1974 Französische Keramik zwischen 1850 und 1910, ill. p. 161, n. 100
The Paris Salons, p. 101
GEORGES DE FEURE – VASE, CIRCA 1900
VASE, CIRCA 1900
White and pink porcelain with stylized vegetal decoration
Marked with the artist’s monogram
29 cm. high
Identical model in the GDA collection in Limoges
Bibliography
Edith Mannoni, Porcelaines de Limoges, Massin éditeur, ill. p. 93
Exhibition
Georges de Feure – Du symbolisme à l’art nouveau, Musée départemental Maurice Denis, Le Prieuré
11 March-5 June 1995
Fondation Neumann, Gingins, Suisse, 15 June-3 September 1995, n. 122
MANUFACTURE NATIONALE DE SEVRES – LOUIS-AUGUSTE THEODORE-RIVIERE – ”DANTE ET VIRGILE”, 1903
”DANTE ET VIRGILE”, 1903
Biscuit
Signed, marked with the manufacturer’s stamp,
stamped A.C (Alphonse Cieutat) and numbered 03.04 (April 1903)
36 cm. high
Bibliography
Colette Dumas, Théodore Rivière, sa vie, son œuvre, n. 78
MANUFACTURE NATIONALE DE SEVRES – A PAIR OF VASES, CIRCA 1900
A PAIR OF VASES, CIRCA 1900
Porcelain decorated with flowers and leaves; the chased mount in patinated wrought-iron
Marked with the manufacturer’s stamp and respectively numbered S97 and S98
24 cm. high
ROYAL COPENHAGEN – ANDREA PETERSEN – “LEZARD” VIDE-POCHE, CIRCA 1900
“LEZARD” VIDE-POCHE, CIRCA 1900
Porcelain
Bearing the manufacturer’s seal and numbered 1100 and 158
20 cm. diameter
ALFRED FINOT – JOSEPH ET PIERRE MOUGIN – “LA VAGUE” JARDINIERE, CIRCA 1900
“LA VAGUE” JARDINIERE, CIRCA 1900
Glazed stoneware
Signed by both artists
17 x 28 cm. high
Bibliography
Jacques G. Peiffer, Les Frères Mougin, Sorciers du grand feu, Grès et porcelaine 1898-1950, éditions Fatton, 2001, ill. p. 152
ALFRED FINOT – JOSEPH ET PIERRE MOUGIN – MILK JUG, CIRCA 1900
MILK JUG, CIRCA 1900
Grès
Signed Mougin Frs, bearing the monogram AF and numbered
12 cm. high
Bibliography
Francine Bertrand, Joseph et Pierre Mougin poètes du feu, 2000, ill. p. 13
EMILE DECOEUR – VASE, CIRCA 1903-1905
VASE, CIRCA 1903-1905
Shape as an eggplant, rouge-sang-de-boeuf
Bearing the artist monogram, with trefoil, and numbered 03.12
23 cm. high
Bibliography
Le Style Moderne. L’ART APPLIQUÉ Revue Internationale, 1904-1905, H. Laurens Editeur, Paris. ill. pl. 35
CAMILLE NAUDOT – SIEFFERT, HARANT & GUIGNARD – VASE, 1897
VASE, 1897
Superb polychrome enameled porcelain vase decorated with flowers, foliage, a butterfly
and an insect highlighted in gold
Signed underneath with the initials SHG, dated 1897 et bearing the letters CN (for Camille Naudot)
incised in the paste
17.5 cm. high
Sieffert, Harant and Guignard (originally Harant et Guignard) were mainly Parisian retailers
of crystal and glass, they did however sell some ceramics, and commissioned pieces. Indeed, they acquired the firm of Charles Lerosey (Le Rosey),
who decorated soft-paste porcelain vases by Naudot, often with Japoniste floral designs and
sometimes with émail cloissoné, following the technique introduced by Thesmar to Sèvres.
Some pieces were decorated by Louis Eugéne Sieffert, others by Adolphe Faugeron.
Their works were exhibited at the 1900 Exposition Universelle.
Their work seems to be quite rare. (Information graciously provided by Professor Paul Arthur).
HENRI SIMMEN – VASE, 1910-1914
VASE, 1910-1914
Stoneware
Signed and numbered N62
37 cm. high