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 – 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

PAUL MILET – EMILE BELET – LARGE PITCHER, CIRCA 1900

LARGE PITCHER, CIRCA 1900
Beige, gray blue and green-brown grés. Decor in light relief of a crab and shellfish
The handle in the shape of algae
Signed under the base MILET / Sèvres and EB, n. 40

Probably an exhibition piece for the Salon of 1901

Bibliography
“La neutralité étant de règle pour un établissement officiel, la Manufacture Nationale de Sèvres ne pouvait songer à exposer à l’un des deux Salons, sans être accusée de partialité. Mais, si en tant que collectivité, elle a dû s’abstenir, la plus grande liberté a été laissée à ses collaborateurs. Inutile d’ajouter que leurs envois sont du plus haut intérêt. M. Belet est l’auteur d’un certain nombre de grès : vases, gourdes, ornées de coquillages, d’hippocampes, de crabes, d’algues. Rien qui rappelle Palissy, cependant. Car, autant celui-ci était abondant, autant M. Belet est sobre : subordonnant toujours les accessoires au caractère général de la pièce”. Ch. Saunier Céramique, verrerie, émail, L’Art Décoratif, July 1901, p. 155

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

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.

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”

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

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

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.

HENRI SIMMEN – VASE, CIRCA 1910

VASE, CIRCA 1910
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

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

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

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 – 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 – 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 – ALPHONSE VOISIN-DELACROIX – RARE INKWELL, CIRCA 1900

RARE INKWELL, CIRCA 1900
Glazed grès, with a relief decoration of a frog
Signed underneath
7.3 cm. high; 12 cm. diameter

Exhibition
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzerland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium

Bibliography
Two similar inkwells are kept in the collections of the Musée des Beaux-Arts in Besançon, illustrated in the exhibition catalogue Alphonse Voisin-Delacroix ou quand un sculpteur rencontre un céramiste, 24 April-5 July 1993, p. 74-75, n. 51 and 52
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, n. 77, p. 139

Provenance
Private collection, Switzerland

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

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

 

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 (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

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

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

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

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

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

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

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

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

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

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

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

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 – 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

GEORGES DE FEURE – GDA LIMOGES – VASE, CIRCA 1900

VASE, CIRCA 1900
White porcelain, decorated with two white and grey flying swans on a
blue and grey background
32 cm. high

A similar example of this design is part of the collections of the Metropolitan Museum of Art,
New York, inv. n. 26.228.9

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).