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  Sèvres / Genevieve Rault Rare French Art Nouveau grand vase 1907

  MLLE GENEVIÈVE RAULT (décor  1907)  France
  MANUFACTURE NATIONALE DE SÈVRES  France

  Andromeda branches grand vase   1907

  Glazed porcelain with pâte-sur-pâte applications. The multicolored “Andromeda” foliage and branches in shades of pink, salmon, green and taupe on a cream background.

  Marks: underglaze green S and 1907 (in triangular cipher), MANUFACTURE RF NATIONALE surrounding DÉCORÉ A SÈVRES 1907, underglaze blue GR (conjoined monogram).

  H: 16″ x Dia: 7 1/2″

  This example from the Sèvres Manufacture is a tour-de-force of early 20th century porcelain. The graphic Art Nouveau design of the pastel foliage and white blossoms of the Andromeda vase is brought to life thanks to the fine detailing of every individual blossom made with hand-applied pâte-sur-pâte or paste porcelain.

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  Jules Wiese (1818-1895) / Louis Wiese (son of Jules, 1852-1923) Renaissance Revival jeweled and enameled 18k gold pendant necklace set with an ancient carved carnelian cameo, table cut diamonds, rubies and an emerald, two natural pearl drops and a cabochon emerald drop with the original chain, signed, original leather box with and silk velvet and satin interior, c.1875

  A goldsmith and jeweler, Louis Wiese (Berlin 1818 – Paris 1890) began his career in Berlin where he served his apprenticeship before moving to Paris to work for J.V. Morel and then more significantly with F.D. Froment-Meurice, with whom he established a close bond. Weise opened his first atelier rue Jean-Pain-Molet in 1844 and worked exclusively for Froment-Meurice, as ever a supporter of Wiese’s work, he pushed for Wiese to receive the collaborator’s medal at the Exposition of 1849. Jules Wiese eventually worked for many of the top manufacturing jewelers and went on to win a first-class medal at the 1855 Exposition and a medal of honor at the 1862 Exhibition in London. M. Magne was quoted as follows when discussing Jules Wiese in light of the 1855 Exposition, “fine goldsmith and jeweler with an already distinguished reputation which can only be enhanced by his display. The importance of his pieces and his brave experiments reveal, even in the most modest work, an awareness of art and beauty which deserves to be encouraged by the jury.” Louis, Jules’ son, took over the company in 1880, continuing the reputation for fine craftsmanship and artistry that his father had established.

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  Hector Guimard for Maison Coilliot / Art Nouveau glazed lava tile 1898

  HECTOR GUIMARD  (1867-1942) France
  MAISON COILLIOT Lille, France

  Tile c. 1898

  Fired and glazed lava with abstract whiplash motifs in various tones of aqua blue on the obverse and a partial graphic on the reverse with polychrome floral and linear details.

  Marks: 16 (on top of tile)

  French architect Hector Guimard (1867-1942) realized the decorative possibilities of glazed lava, a substance made from mixing pulverized lava with clay when he built a villa for Louis Coillot, (1898-1900) a ceramics manufacturer in Lille who monopolized the distribution of the material. Guimard sided the entire facade of Maison Coilliot in lava stone.

  ***A related glazed lava tile from the Castel Henriette is in the Collection of the Musee d’Orsay.

  The Maison Coilliot is an Art Nouveau house located on 14, rue de Fleurus in Lille, France. Louis Coilliot, a French ceramic entrepreneur, was fond of enameled lava and wanted to popularize the technique. To do so, Coilliot commissioned Hector Guimard, an architect he’d met at the 1897 fair La Céramique et tous les arts du feu, (“Ceramic Arts & Glass Making”), to apply the technique to his house’s façade. Coilliot’s factory and warehouse were located to the rear of his house, and therefore the façade held a double
  purpose, both decorating the front of his home and advertising his business.

  For more information see: Hector Guimard, 1867-1942: Architektur in Paris um 1900 (Munich: Museum Villa Stuck, 1975)

  H: 25 1/2″ x W: 14″ x D: 9/16″

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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.