LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – TEA SET, CIRCA 1900

TEA SET, CIRCA 1900
Tête-à-tête silver tea service with a mistletoe decoration, comprising a teapot with a sculpted wooden handle, a sugar bowl, a milk jug, an egg cup and a tray.
With French Minerva mark on the three pieces. Signed CARDEILHAC and bearing the silversmith’s mark, dating to before 1904
Teapot height: 12 cm
Milk jug: 3.5 cm

Rectangular stained and decorated wooden tray. It has a solid silver frame with floral decoration, silver side handles with trefoil motifs, and carved, patinated ivory grips
Pyrographed signature beneath the tray: Cardeilhac Orf. Paris
The silver mount is signed CARDEILHAC and bears the silversmith’s hallmark and the letter N.

Silver egg cup decorated with a mistletoe motif. Signed CARDEILHAC. With French Minerva mark
Height: 4.6 cm

Bibliography
L’Art décoratif, February 1901, page 197, illustration of the “Gui” coffee maker

PIERRE-FELIX FIX-MASSEAU – SIOT-DECAUVILLE – “LE SECRET”, CIRCA 1900

“LE SECRET”, CIRCA 1900
Bronze with a brown patina
Signed, with foundry mark and numbered S291
The base in wood bearing the inscription Les artistes du théātre Michel / à leur ami et régisseur / Charles Maudru / 1893-1907
62.2 cm. high

Bibliography
L'Art Décoratif, March 1900, ill. p. 230
“L'année suivante (1894), il s'essaye à une oeuvre de dimension importante : La Maquette du Monument de Joséphin Soulary et à trois statuettes : sculpture monumentale et sculpture intime. Jamais du reste Fix-Masseau ne se dépassera lui-même dans sa compréhension si délicate de la statuette telle qu'elle nous apparaīt en des oeuvres comme l'Eve des Rèves, Le Secret et la Folle du Sonnet, cette dernière vivante et vibrante, les cheveux au vent, emportée par l'ardeur de sa course. Le Secret au contraire montre une sorte de mysticisme que nous retrouverons souvent chez lui. Notons en même temps, en admirant l'allongement de ce corps de femme en partie dissimulé par la draperie, que M. Fix-Masseau interprète largement la nature, mais ne la déforme jamais”.
Maurice Rheims, The Flowering of Art Nouveau, Harry N. Abrams, Inc. Publishers, N.Y., n.d.
ill. p. 203, n. 251
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999,
ill. p. 76, n. 66

ERNEST LEVEILLE – VASE, CIRCA 1900

VASE, CIRCA 1900
Blown and crackled glass with red glass powder inclusions
Height: 17.5 cm
Unsigned. Probably a design by Eugène Rousseau

Provenance
Stern family
Then by descent

ERNEST LEVEILLE – “A TETE DE CHIMERE” VASE, CIRCA 1885

“A TETE DE CHIMERE” VASE, CIRCA 1885
Crackled glass with glass powder inclusions, with applied side motifs depicting chimeras
Height: 20.5 cm.

Unsigned. This model was originally created by Eugène Rousseau, who did not always sign his works. It also exists in a 26 cm version with engraved chimeras and rabbit. (L’Art du verre en France, p. 35)

Bibliography
B. Klesse et H. Mayr, Glas vom Jugendstil bis heute, Sammlung Gertrud und Dr. Karl Funke-Kaiser, Cologne, 1981, p. 333, n. 243
G. Cappa, L’Europe de l’art verrier, des précurseurs de l’art nouveau à l’art actuel, 1850-1990, Liège, 1991, p. 393, n. 702

Provenance
Stern family
Then by descent

ERNEST LEVEILLE – APPERT FRÈRES – VASE, CIRCA 1900

VASE, CIRCA 1900
Roller vase in thick, partially opalescent amber glass, decorated with fish and
seaweed deeply wheel-engraved
Signed E. Léveillé and located on the reverse
Height: 10.5 cm.

Bibliography
Vases with similar decoration and technique:
Janine Bloch-Dermant, L’Art du Verre en France, Lausanne, 1974, p. 30
Glas des Art Nouveau – Die Sammlung Gerda Koepf, Prestel 1998, page 81, ill. 4