FRENCH – LORGNETTE, CIRCA 1900

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

24 cm. long

Provenance
John Jesse, London, acquired in 1996

JANVIER QUERCIA – MATCHING POCKET, CIRCA 1905

MATCHING POCKET, CIRCA 1905
Finely chased and hammered silver with a relief decoration of vine branches
and leaves, decorated with plique à jour enamel, the grapes in amethyst-colored glass
Bearing the silversmith and Minerva marks

7.5 cm. diameter

Silversmith and jeweler, Quercia executes jewels, mainly in silver but also in gold, for many prestigious jewelers including Vever. Among the plaques and medals exhibited at the Société des Artistes Français in 1900, a Madonna and Child
by Ch. Pillet and a medal by Théodore-Rivière are reported as belonging to M. Quercia elder, most probably Janvier Quercia. Hence we assume that he edited works of these two artists.Quercia specialized in the creation of belt buckles, canes and umbrella handles, chains, pendants and brooches, finely
chased and incorporating enamels. He also distinguished himself by designing religious silverware

ANDRE-FERNAND THESMAR – MANUFACTURE NATIONALE DE SEVRES, COVERED BOX, CIRCA 1885

COVERED BOX, CIRCA 1885
Cloisonné enamel and gold on a soft paste porcelain
Signed in enamel with the artist’s monogram
9 cm. diameter

Exhibition
Sèvres – Élégance du 20ème siècle, Tokyo Metropolitan Tein Art Museum, 2 October-19 December 1993, p. 67, n. 5 in the exhibition catalogue

Bibliography
Revue des Arts décoratifs, 1886, p. 377 and p. 381, Les artistes décorateurs – Fernand Thesmar by Victor Champier, illustration of two other enamelled covered boxes

PAUL GRANDHOMME – ALFRED GARNIER – “LE PRINTEMPS”, CIRCA 1890

“LE PRINTEMPS”, CIRCA 1890
Large plaque in copper, translucent enamels, on a golden foil, showing one of the characters from “Primavera” by Botticelli
Signed by both artists
Wooden frame
30 cm. high; 14.5 cm. wide

An identical plaque is in the collection of the National Ceramics Museum in Sèvres. It was part of an order by the State and is registered in the State’s records. It was removed by the national museums on October 16th, 1891 (archives of the Musée d’Orsay).
Our plaque comes from Roger Marx’s inheritance. After his passing, it was bought back by his family at the estate sale on May 13th, 1914. It still bears on the back of it, the label corresponding to lot 114.

Exhibition
Société Nationale des Beaux-Arts, 1891, n°55 (5)

Bibliography
Pascal Massé “Gustave Moreau, Botticelli et la peinture des Maîtres dans les arts du feu sur métaux à la fin du XIXème siècle – Un émail peint de Grandhomme et Garnier au Musée National de Céramique : Flora”, Revue de la Société des Amis du Musée National de Céramique, n° 10, 2001

Provenance
Formerly in the collection of Roger Marx

FREDERIC CHARLOT DE COURCY (attributed to) – AFTER GUSTAVE MOREAU – “L’ENLEVEMENT D’EUROPE”, CIRCA 1880

“L'ENLEVEMENT D'EUROPE”, CIRCA 1880
Enamel on copper
10 x 12.5 cm
After the right hand side of the painting titled “L'enlèvement d'Europe”, circa 1869 by Gustave Moreau and kept at the Musée d'Orsay

Bibliography
The painting illustrated in: Pierre-Louis Mathieu “Gustave Moreau / Monographie et nouveau catalogue de l'Oeuvre achevé“, ACR édition, 1998, page 58

EUGENE FEUILLATRE – INKWELL “PAVOT”, CIRCA 1898

INKWELL “PAVOT”, CIRCA 1898
Silver, with an enamelled decor of peacock feathers highlighted with gold; the lid in silver stylized as a poppy seed
Signed underneath and with maker’s mark on the lid
7 cm. high; 9 cm. diameter

Exhibition
Salon des Artistes français, 1898
French Jewellery of the Nineteenth Century – A Loan Exhibition, Wartski, London, 13-23 June 2001,
p. 51, n. 263 in the catalogue for a similar design illustrated

Bibliography
L’Art décoratif moderne, juin 1898, Les objets d’art aux salons by Arthur Maillet, ill. p. 133
Art et Décoration, 1904, vol. I, p. 39
Maurice Rheims, L’Objet 1900, Paris, 1964, ill. p. 34, pl. 18
Die Jugenstil Sammlung, Museum für Kunst und Gewerbe Hamburg, vol. I, cat. n°655
Michael Koch et al, The Belle Epoque of French Jewelry, 1850-1910, 1989, pl. 179

Eugène Feuillâtre started his career in 1890 as head of René Lalique’s enamelling workshop which he led for seven years.
Considered as one of the best enameller of his time, he was also a talented sculptor and goldsmith.
His creations were displayed for the first time in 1898 at the Salon of the Société des Artistes Français.
This exhibition brought him great success. During that year, he also acted as a member of the jury alongside Lalique
and Fouquet for an exhibition at the New Gallery in London. By 1899, he began working on his own.
He also joined the Belgian association «Libre Esthétique» and the Société des Artistes Français with whom he exhibited
until 1910.
The year 1900 brought him a gold medal at the Paris World Exhibition. This inkwell is one of his earliest and most
accomplished work. Other examples of this inkwell can be found in European museums such as the
Musée de l’horlogerie et de l’émaillerie, Musées d’Art et d’Histoire de la Ville in Geneva, Musée des Arts décoratifs in Paris,
Hessisches Landesmuseum in Darmstadt, the Museum für Kunst und Gewerbe in Hamburg, and the Kunstgewerbemuseum in Budapest.

COMTE ENGUERRAND DU SUAU DE LA CROIX – GABRIELLE DEBILLEMONT-CHARDON – MEDALLION, UNIQUE PIECE, CIRCA 1900

MEDALLION, UNIQUE PIECE, CIRCA 1900
Medallion with the portrait of a woman (by G. Debillemont-Chardon) encircled in a silver mount decorated with plique-à-jour enamels and opal cabochons; the chain in gold
The medallion signed lower right and the mount signed Cte DU SUAU / DE LA CROIX
10.5 cm. diameter

Exhibition
Société Nationale des Beaux-Arts, 1903
Exposition de la Parure précieuse de la Femme, Musée Galliéra, 1908

Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, 1ère exposition, 1903, pl. 253
Exposition de la Parure précieuse de la Femme, Musée Galliéra, Librairie d’Art décoratif, 1908, Armand Guérinet éditeur, pl. 65

Provenance
Marquise de Polignac

EUGENE FEUILLATRE – VASE, CIRCA 1900

VASE, CIRCA 1900
Silver with an enamelled decor of wisteria flowers; gilt bronze mount attributed to Keller Frères
Signed
32 cm. high

After heading René Lalique’s enamelling atelier for seven years and working a short while for Lucien Falize, he establishes himself
in 1898 and starts exhibiting at major events. International recognition, prizes and praise soon followed.
As early as 1898, his exhibit at the New Gallery in London was completely sold out, all the pieces were acquired by museums
and English amateurs. The same year the French state acquires a vase and continued to do so the following years.
Museums all over Europe and as far as Japan bought his designs. He was awarded a gold medal at the Exposition Universelle in 1900.
His production includes jewellery and objets d’art in either translucent enamels or enamels applied to gold, silver or copper.
His early palette of colours centers on subdued and pale greens, blues and lilac yet turned more vivid and colourful after 1904.
His shapes are classic and elegant not overwhelmingly and freely organic. Just like his mentor Lalique, he drew his inspiration from
animals (peacocks, swans, swallows, hippocampus and other fishes, butterflies, dragonflies, grasshoppers, snakes, bats and scarabs)
and nature with a predilection for the plants and flowers in vogue (thistles, lillies, wisterias, poppies, mimosa, eucalyptus,
chrysanthemums, umbels, honesty leaves) and mythology (Ophelia, Juno). He died in 1916 fighting for his country in World War One.

MANUFACTURE NATIONALE DE SEVRES – ANDRE-FERNAND THESMAR – POWDER COMPACT, 1895

POWDER COMPACT, 1895
Polychrome enamel; gold mounted on a Sèvres porcelain. Inside the cotton is decorated with an enamelled ladybug on a gold bud
Signed with the monogram and bearing the inscription: Faite pour Antonia Howard Trip 1895.
Three initials are entangled in the design

6.7 cm. diameter

The same decor is found on a small box exhibited at the Exposition Universelle of 1900

CAMILLE NAUDOT – CUP, CIRCA 1900

CUP, CIRCA 1900
Openwork white porcelain; polychrome enamelled
The rim, base and the decor are highlighted with gold
Signed with the monogram of the artist
8.5 cm. high

Exhibition
Jugendstil aus Münchener Privatbesitz, Museum Villa Stuck, Münich 1972, n. 47

Provenance
Private collection Prof. Kurt Liebermeister, Munich

CAMILLE NAUDOT – BOWL, 1900

BOWL, 1900
Soft-paste porcelain, decorated with plique-à-jour mimosas heightened
with yellow and green enamels
Gilt monogram under the base and 1900 incised
12.5 cm. diameter

Exhibition
Exposition Universelle, Paris, 1900

Bibliography
Werke um 1900, Kunstkewerbemuseum, Berlin, 1966, p. 55, n. 71

CAMILLE NAUDOT – BOWL, CIRCA 1900

BOWL, CIRCA 1900
Soft-paste porcelain, with a vine motif heightened by enamel,
the rim, the foot and the decor with gold highlights
Gilt monogram under the base
8.5 cm. diameter

ALFRED GARNIER – “LEDA”, CIRCA 1900

“LEDA”, CIRCA 1900
Enamel on copper representing Leda and the Swan, probably after the model by Leonardo da Vinci
Original black wooden frame highlighted with gold
Signed lower right and left and bearing a label Email de A. Garnier – Léda at the back
32 x 26 cm.

EUGENE FEUILLATRE – VASE, CIRCA 1900

VASE, CIRCA 1900
Enamelled copper with gold cloisonné decor
Signed
10 cm. high

Exhibition
Salon de la Société des Artistes Français, Paris1899

Bibliography
Gustave Soulier, Art et Décoration, 1899, vol. II, ill. p.74
Der Modern Stil, Julius Hoffman jr., A. Guérinet éditeur, Paris, librairie d’art décoratif, vol. 4, pl. 78

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).