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  Charles Catteau / Boch Freres Keramis Belgium Glazed pottery vase c. 1930

  CHARLES CATTEAU (1880-1966)
  BOCH FRERES KERAMIS  La Louviere Belgium

  Tulip vase c. 1930

  Glazed earthenware

  Marks: “Keramis” Made in Belgium , D. 2524 B, 945

  H: 10 1/4″ x D: 6 1/2″

  Charles Catteau could be regarded as one of the most versatile ceramic artists of his generation, especially for the style of Art Deco. Catteau advanced the forms, techniques and decoration of modern ceramics, creating an exceptionally original, new and decorative genre.

  Hired as a ceramic decorator in Ecole Nationale de Sèvres from 1903 to 1904, he began producing designs that were rather traditional, based on the observation of nature, and showing the influence of Japonisme, characterized by pure lines and meticulous details. From 1904 to 1906, he worked in Nymphenburg Porzellan Manufaktur near Munich, a factory specializing in new hand painting procedures under a slip, as well as Art Nouveau.

  In 1907  he finally moved to Louvière in Belgium where he was promoted to head of the decoration department at Boch Freres Keramis at the age of 27.  This is where most of his exceptional talent came to the fore especially during the period between the two World Wars. Influenced by the great creative art movements of the time (Africanism, Japonisme, Cubism, Abstraction) and his observation of nature gave him inspiration for his designs, with the  integration of  plants, stylized animals and geometric motifs. The international avant-garde movements were also an influence leading to his use of purely abstract, geometric designs and intense colors. Charles Catteau was incredibly resourceful and  explored various harmonies of form, techniques, designs, colors, shades, topics, variants and influences. In this way Catteau became a representative par excellence of Art Deco designs, giving it his personal touch. He was instrumental in introducing technical innovations during the 20’s and 30’s to aid mass production of ceramic products and expand availability of affordable products. During difficult times in Europe, he created vivid, colorful, original and uplifting ceramic wares.

  Charles Cotteau motto was “Art for All” and he also taught decorative painting at the School of Industrial in Louvière. In 1925 he obtained international recognition in the exhibition of Decorative Arts in Paris. which helped raise the profile of Boch Freres. He remained at the company until he retired to Nice in 1946 .

   

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  Amedee de Caranza Art Nouveau Rare Iridescent Art Glass vase 1903-1906

  AMÉDÉE DE CARANZA  (active 1875-1914)  (b. Turkey / active France)
  COPILLET ET CIE  Noyon

  Nasturtium vase   1903-1906

  Blown glass with floral & foliate luster decoration handpainted on a muted iridescent ground.

  Signed: A. de CARANZA (on the side near base)

  Marks: Copillet et Cie, Noyon, 842 (twice)

  For more information and related illustrations: European Art Glass  (New York: Ray & Lee Grover, Charles E. Tuttle Publishers, Inc., 1970) pp. 69, 94-96; L’Art Du Verre En France 1860-1914, Janine Bloch-Dermant (Edita Denoel, 1974) pp. 36-37; Glass: Art Nouveau to Art Deco, Victor Arwas (New York: Abrams, 1987) pp. 56-58;  L’Europe de L’Art Verrier, des Precurseurs de l’Art Nouveau a l’Art Actuel 1850-1990, Giuseppe Cappa (Liège: Mardaga, 1991) pp. 72-74.

  H: 10″

  Copillet, H.A. Thomas Henri Alfred Copillet was originally a printer, and produced a local newspaper in Paris. When he moved his works to 13 Fauburg de Paris he acquired a kiln in the process, and thus in 1903 was began a new glass works. His designers were Amedee de Caranza and Edouard de Neuville. They produced a whole range of Art Nouveau glassware, many with a dark iridescent finish. They also produced opaline glass, and glass panels for use in church windows. The company went bankrupt in 1906, although the new management (Lefevre and Lhomme) kept a little of the production going for a while, the factory was destroyed during the First World War.