pdf 1 - Exhibitions International

French
Art Nouveau
Ceramics
An illustrated Dictionary
Paul Arthur
Couverture_CeramiqueAN.indd 2
02/04/14 15:43
CONTENTS
6
xx
Art nouveau and ceramics
xx
French ceramic schools
Atelier d’Auteuil and Vaugirard
Beauvais
School of Carriès
Limoges
School of Nancy
Paris
Sèvres and the Manufacture nationale de porcelaine
School of Massier
xx
The end of an age
xx
Artists, ceramists and ateliers
xxx
Unidentified ceramics and ceramists
xxx
Accessories
xxx
Signatures, monograms and symbols
xxx
Glossary
Bibliography
Index
Photo credits
Acknowledgments
xxx
xxx
xxx
xxx
001_009_Ceramics_pagesdetete.indd 4-5
Introduction
03/01/15 15:25
ART NOUVEAU AND CERAMICS
Opposite: Edouard Dantan, Un atelier de tourneur (1883),
painting depicting Haviland’s workshop at Auteuil in Paris.
Bayerische Staatsgemaeldesammlungen.
See de Juvigny, 2002.
(Eidelberg 1994, 94). However, such innovative American ceramics, which included the use of a
new matte glaze, won the Grueby Faience Company of Boston a number of prizes at the 1900
Paris World Fair, as well as commissions from Tiffany himself.Various American ceramists also spent
time researching in Europe, most notably Artus Van Briggle who sojourned in Paris from 1893 to
1896, studying at the Académie Julian and the École des Beaux Arts, his stay being subsidised by
Rookwood Pottery (Eidelberg 1994, 89, 103–4).
Some French ceramic artists similarly worked abroad, or even emigrated, while others were clearly
inspired by their travels. During a trip to Italy, the famed Côte D’Azur potter Clément Massier
appears to have been particularly moved by Cantagalli’s lustreware, which imitated HispanoMoresque ceramics. Ulisse Cantagalli himself had inherited a Fiorentine ceramic tradition and
had learnt from his own trip to England, where he had befriended the doyen of the arts and crafts
movement, William Morris (1834–96) (Maldini, Tacchella 1999; Benzi 2001). Morris’s friend
William de Morgan, the noted English ceramist, spent some time during the 1880s researching
lustrewares at Cantagalli, as well as producing ceramics and tiles in the Iznik tradition. Later,
Jacques Sicard exported the Massier technique of lustreware to the American factory of Weller,
becoming one of its leading designers. The ceramic artists Marc-Louis “Miles” Solon and León
Arnoux worked at the Minton potteries in Staffordshire, England, before returning to France,
while Solon’s son moved from England to the United States, to work at the American Encaustic
Tiling Company. Paul Follot, Marcel Goupy and Émile Aubert Lessore all provided models for
Wedgwood, and the last even spent some time working at the firm. A number of French artists
escaped to England as refugees following the Franco–Prussian War and the defeat of the Paris
Commune in 1871. These included both Aimé Jules Dalou and Jean-Charles Cazin, both known
for their ceramic work.
Despite what must have been a heady artistic environment with a fair amount of technical and
stylistic cross-fertilisation, the somewhat eclectic French art nouveau ceramics nonetheless retain
distinctive characteristics that could only reasonably be confused with certain Belgian products and
a limited amount of Austrian, Bohemian or English wares. Some of Ernst Wahliss’s (1836–1900)
splendid pieces of porcelain from Turn-Teplitz, for instance, are decorated with female figures
that may be likened as much to French aethereal female figures as to Alphonse Mucha’s famous
ladies. One of his vide-poches of a maiden among water lilies, with examples produced in different
colours, is from the identical model as one in bronze signed by the French sculptor Raoul Larche.
The Austrian firm of Amphora produced a slightly modified copy of a terracotta jug with frogs
in a pond produced by Saunier-Graindorge which, in turn, perhaps followed a bronze original.
Sarreguemines imitated a Guimard humidor, whilst Rambervillers not only copied a Guimard
bell-push, but also the figurine of a bloodhound puppy originally designed by the German artist
Ludwig Habich (1872–1942), a founder of the Darmstadt artists colony, and produced by the atelier
of Jakob Julius Scharvogel (1854–1938) who exhibited at the Exposition Universelle in Paris in
1900. Curiously, the same figurine was also copied by Artus Van Briggle in the United States.Van
Briggle, who had spent time in France, appears to have selected various European ceramics as
models, including pieces by Baudin and, perhaps, Bruyas. The problem of copying led some firms
to mark their products with the words reproduction interdite or deposé.
Some Polish ceramic artists, such as Waclaw Bebnowski or Stanislaw Jagmin, were also struck by
the novelty of French art nouveau (Glowacki 1972; Kostuch 2001). Jagmin produced lead glazes
that appear to be a cross between those of Dalpayrat and some of the works of Lion, as well as
providing Mougin with a model, while a vase by Bebnowski is almost identical to one by Dalpayrat.
Johann von Schwartz of Nurnberg created a number of excellent ceramics in a very Frenchified
style, while Wilhelm Schiller and Sohn appear to have produced a vase inspired by Delaherche’s
gourds which even reproduced, in ceramic, the silver mounts by Lucien Bonvallet. Products of
the eclectic Hungarian manufacture of Zsolnay may also be likened to some French forms and
decorative styles, particularly some work of the Massiers, from which they appear to have taken
the lead. However, French ceramics usually have none of the characteristics of the more severe
Austrian Secession and have little to do with much of the German Jugendstil, Dutch Gouda
designs, or what the Italians called stile liberty. All countries, nonetheless, gave birth to skilled and
imaginative artists, all of whom produced magnificent works in their own right.
18
8
010_027_AN_and_Cermics-LP.indd 18-19
03/01/15 15:26
BIGOT
BING
Duncan 1998, 51–59; Makus et al. 1998, 81–82;
Lajoix 2000; Strobel & Pinta 2002, 6–7; for his
furniture see Duncan 1996, 78, 80; Dietrich 1977;
Dietrich 1982)
Bigot, Raymond Pierre
(Orbec, Calvados 1872 –
Équemauville, Calvados 1953)
The younger brother of Alexandre Bigot,
Raymond was an animalist sculptor who
worked largely in wood, as well as a painter of
watercolours. He exhibited two grès figures of
“Le Hibou” and “La Buse”, made in collaboration
with his brother, at the SNBA in 1904. He also
appears to have modelled other animal figures
produced in grès, as “deux grès flammés d’une
habile exécution” were exhibited at the Deuxième
Exposition des Artistes Animaliers in 1914 (L’Art
et les Artistes XVIII, 1914, 285).The two brothers
also collaborated in the manufacture of furniture.
(de la Grenille 1904, 63; Duncan 1996, 78, 80)
Bigot, small grès plate with a silver salamander and lilies by Fredy Stoll. Diam. 10.2cm.
The same model was also designed with a frog. Private coll.
Binet, Amedée Louis
(b. Paris around 1860)
Russian Orthodox church in Nice. He further
collaborated with such noted architects as Anatole
de Baudot, Bocage, Ruprich-Robert and Henri
Van de Velde. Sculptural products, including tiles
and vases, were designed by A. Boucher, Louis
Bigaux, Alexandre Charpentier, P.-U. Courcoux
(a stove exhibited at the 1906 SNBA), S. Garnier
(fireplace), Jean-Marie-Joseph Magrou (fireplace),
A. Mulot, Mlle Thiollier, and the animalist
sculptors Paul Jouve, Annie Avog, René Alfred
Bouclet and Jean André d’Houdain, among others. A famous animal frieze for the monumental
entrance to the 1900 Exposition Universelle,
for instance, was designed by Jouve and edited
by Bigot, also in smaller versions. A particularly
attractive series of platters, modelled by Pierre
Roche, depict frogs, tadpoles, fish or salamanders
emerging from ponds of accumulated glaze.
He also produced masks and figurines by FixMasseau. Some signed pieces of grès appear to
have been designed by a certain H. Gutton in
Paris. Bigot’s output of vases was also substantial,
usually consisting of monochrome grès flammés
with plain Japoniste forms, though sometimes
moulded with art nouveau floral decoration. He
further attempted crystalline glazes. Bigot also
designed a limited amount of furniture, collaborating with his brother Raymond. Bronze,
028_114_Ceramics_A-C-LP.indd 58-59
gilt and pewter mounts for his ceramics were
designed by Edouard Colonna and Maurice
Dufrêne, respectively for sale in Bing and MeierGraefe’s galleries, as well as by Armand Gross
and by Fredy Stoll (1869–1949). Others were
manufactured specifically for mounting and sale
by Saglier (see also “Blache”). Some of Bigot’s
products, particularly the architectural ones,
have the impressed stamp “GRES de BIGOT”
accompanied by a tower motif. Others are commonly stamped with the signature “ABigot”. By
1913 the name of the firm is recorded as Bigot,
Daligault & Cie. By the end of the year, with
Camille Alaphilippe as director, the firm had
become Bigot, Bouclet, Fritsch-Lang et Cie.
The partner René Bouclet, a sculptor from Mer
who had exhibited at the SNBA (1906, 1908),
had been the director of the firm and was a
nephew of Bigot, while Marcel Fritsch-Lang was
listed as a designer for Gentil et Bourdet during
the 1911 Turin exhibition. The following year,
perhaps because of difficulties due to the First
World War, Bigot and company sold the firm to
an old friend and collaborator, the architect Jules
Hardion from Tours, who established the Sociéte
Anonyme des Grès de la Beauce. (Bigot 1900;
Makus 1981, 42–48; Becquart et al. 1986, 36–37;
Heller 1986, 66–67; Chaudun & Chaudun 1998;
A pupil of Levasseur, he exhibited green glazed
grès with moulded figural decoration at the
Académie des Beaux-Arts in 1900, while two
of his vases were also displayed at the SAF in
1901. (Sanchez 2005, 147; Millon 2007, lot 70)
Binet, Victor Jean Baptiste Barthélémy
(Rouen 1849 – Saint-Quentin-surQuillebeuf 1924)
A decorative and landscape painter who studied
with Constant Troyon and apparently modelled
and painted some porcelain vases at Sèvres. He
was awarded a gold medal at the 1889 Exposition
Universelle. (Pelichet 1976, 111; Duncan 1998, 391)
Siegfried Bing (on the left), Louis Gonse, Mme Roujon, Emmanuel Gonse and Mme Gonse at Midori-no-sato, 1899.
Musée Le Vergeur, Société des Amis du Vieux Reims, Archives Hugues Krafft.
In 1904 he took over his father’s business, and
the following year organised Paul Jouve’s first
exhibition. Marcel donated a number of ceramics
and other items commissioned for the gallery
to the Musée des Arts Décoratifs in October
1908.The firm passed to his partner René Hasse
upon his early death. (Duncan 1999, 94;Weisberg,
Becker & Possémé 2004, 30–31)
Bing, Siegfried “Samuel”
(Hamburg 1838 – Vaucresson 1905)
Bing, Lucien Marcel
(Paris 1875–1920)
Son of Siegfried Bing, jeweller, collector and
patron of artists. He himself produced silver and
bronze mounts for various ceramic works sold
through his father’s gallery, including pieces by
Eugène Baudin, Dalpayrat, Simmen, and apparently also for some grès vases marked “Blache”.
Collector, gallery owner, connoisseur and art
patron of German origin. He was instrumental
both in spreading interest in Japonisme within
French art circles and in promoting the new
pan-European art style. Bing arrived in Paris
in 1854 to run his father’s porcelain firm at
12 Rue Martel, just off Rue de Paradis. In 1863 he
joined forces with Jean-Baptiste Ernest Leullier,
whose porcelain firm was based at Charenton,
to create the atelier of Leullier fils et Bing.
Following his voluntary exile to Brussels during
the Franco–Prussian war, he returned to France
and gained citizenship in 1876, changing his name
to Samuel. In 1875 Leullier began importing
items from China and Japan to sell in Paris. In
1880 Bing himself visited Japan, so as to organise
exportation of objects, leaving his brother-in-law
Auguste at the receiving end in Paris. In 1888
he founded the magazine Le Japon Artistique,
Documents d’Art et d’industrie, and in 1895 he
opened the doors of his gallery L’Art Nouveau at
22 Rue de Provence, Paris. Apart from his interest
in all forms of the decorative arts, he added to
the success of leading French ceramists such as
Bigot, Massier and Dalpayrat, both by stocking
prime examples of their work and by exhibiting
them abroad, selling to collectors and museums.
Georges de Feure and Edouard Colonna were
his main designers, realising, among other things,
58
59
8
8
Grès ‘brick’ of the freize of Darius by Émile Muller & Cie,
signed by both Muller and Samuel Bing. H. 30.5cm. Bing presumably sold the hollowed bricks as vases. Museum für Kunst und Gewerbe Hamburg.
03/01/15 15:26
CLAUDET
COCHET
Musée Max Claudet, dedicated to his father’s
work, at Salins-les-Bains. (Makus et al. 1998, 84;
Sanchez 2005, 337–38, where most of his work
is confused with that of his father.)
Claudet, Julie
(b. Salins)
Wife of the sculptor Max Claudet and mother of
Georges “Max” Claudet. She worked at Salins-lesBains, producing some painted relief-decorated
majolica, sometimes in néo-Palissyste style, with
the painted signature “J. Claudet”. Later she often
collaborated with her son in the production of
grès. (Sanchez 2005, 338)
Claudet, Max
(Fécamp 1840 – Salins 1893)
A sculptor, painter and néo-Palissyste ceramic
artist, student of Joseph Perraud in Paris, who
travelled in Italy and North Africa. From a
family of ceramists, he learnt his craft at
Nans-sous-Sainte-Anne. Claudet exhibited extensively at the SAF, and produced a
number of terracotta portrait sculptures and
polychrome-painted faience wall plates and
plaques with landscapes and figural scenes,
particularly of the Jura region, of children
and of subjects from Greek mythology. Some
of his plaques were modelled after the works
of François Boucher (1703–70). He worked
principally at Salins-les-Bains, where he fired
his pieces in the kilns of the Capucine monks
from 1882. He signed his work “Max Claudet”
à la pointe. (Sanchez 2005, 337–38)
Clésinger, Jean Baptiste Auguste
(Besançon 1814 – Paris 1883)
A sculptor and painter, son-in-law of George
Sand. He worked in Paris and provided a model
entitled RIEN!! of an owl standing upon a skull,
which Alexandre Bigot edited in grès.The piece
was exhibited at the Exposition Universelle of
1900. (Duncan 1998, 12; Tajan 2007, 32–33,
lot 114)
Claudin, Pierre Roger
(1877–1936)
Cochet, Gérard
(Avranches 1888 – Paris 1969)
The painter Claudin, native of Lorraine, collaborated with the Société Céramique de
Rambervillers, where he produced his famous
Chimère vase in grès flammé, among other items.
(Bertrand 1997, 111)
A figurative painter known for his oils, Cochet
decorated and signed some vases produced by
Jacques Lachenal’s “Blessés de guerre” atelier,
having lost an eye during the First World War.
These were mainly of painted nude bathing
women on a largely white ground in the
Impressionist tradition. Painted Sèvres porcelain from a later period shows that Cochet
worked well into the 1920s. He signed his
works with the signature either “COCHET”
or with the abbreviation “G.C.” alongside the
Lachenal mark.
Clément, Georges
Clément owned the Manufacture de Porcelaines
et Faïences d’Art at Thiais from 1900 or even
earlier, and is still recorded there in 1930.
028_114_Ceramics_A-C-LP.indd 108-109
Max Claudet, “Oedipus and the Sphinx” faience wall plate, recalling a painting by Ingres, marked
“1886” and “Salon 1887”. Diam. 72cm. Private coll.
Cochet, faience vase, edited by Jacques Lachenal. H 37.5cm.
Paris, Les Arts Décoratifs.
Clésinger, grès figure of an owl on a skull, edited by Alexandre Bigot. H. 15cm. Courtesy Millon.
108
109
8
8
03/01/15 15:27
DUJARDIN-BEAUMETZ
model realised in grès by Dalpayrat, with silver
mounts by Bonvallet for Cardeilhac. La Maison
Moderne closed down in 1904 and Dufrêne
became an independent designer. Along with
his acolytes, Dufrêne collaborated with the
Manufacture Nationale de Sèvres between 1913
and 1922. He later designed art deco ceramics,
particularly as director of the “La Maitrise” atelier
for Les Galeries Lafayette from 1921.They were
produced by Boch Frères in Belgium, where
Dufrêne had worked in 1923, as well as by his
old collaborator Louis Lourioux. His pieces often
bear painted or incised signatures. (Pelichet 1976,
83;Waddell 1977, 114; Makus 1981, 88; Lefébvre
& Thomas 1991, 111–12; Haslam 1995, 100;
Makus et al. 1998, 50; Sanchez 2005, 502–3)
Dujardin-Beaumetz, Henri Charles Étienne
(Passy, nr. Paris 1852 – La Bezole 1913)
A figural painter and left-wing politician, undersecretary of arts from 1905 to 1912, nominated
senator in 1911. He studied at the École des
Beaux-Arts under Constant Roux and Cabanel.
In 1889 he received a mention honorable at the
Exposition Universelle. He was active as a decorator at the Manufacture Nationale de Sèvres and
in 1907 decorated a dinner service for the Élysée
Palace. (Midant & Salmon 1996)
DUPAGNY
Dupagny, Julien Louis
(Deûlémont, Nord 1878 – Villeneuve-d’Ascq,
nr. Lille 1958)
Dupagny began his studies at the École des
Beaux-Arts at Douai and later studied at the École
de Céramique de Sèvres, where he befriended
Charles Catteau, Léopold Rémion and Fernand
Deshoulières, and received his diploma in 1901.
The same year, in view of production, Sèvres
commissioned a plaster model of a “broc à cidre”
which Dupagny had designed in watercolour.
His first position appears to have been as a foreman, and later director, at Janin et Guérineau.
In 1902 he was awarded a gold medal at the
Lille Exposition Universelle. In the following
years he became director of Pierrefonds, and his
name appears alongside that of the sculptor Jules
Jouant on grès vases from that firm, where they
worked together from late 1907 to September
1909. Several of the vases were exhibited at the
Salon d’Automne in 1908 and in Copenhagen
the following year. The usual heraldic cachet is
absent on some of their vases, though Pierrefonds
model no. 553 appears at times with the usual
heraldic cachet, and at times signed “H / J. Jouant
/ J. Dupagny / Pierrefonds” in black. He was
briefly director of Dargouge et Granboulan,
which produced refractory items at Langeais,
before being nominated from 1908 to at least
1913 as industrial and artistic director of the
Dupagny, photo portrait. Courtesy Françoise Huchon.
Faïencerie de Chauvigny (Vienne), having been
invited by Deshoulières. In 1916 Rémion created
a plaster portrait of Dupagny.The following year
Dupagny published a technical paper on kiln
construction in La Céramique XX, no. 357. Finally,
in 1935 he became commercial and artistic director of the faiencerie “L’Amandinoise” at SaintAmand-les-Eaux, known principally for its table
wares, which had been established in 1900. He
eventually abandoned ceramics because of silicosis,
devoting his later years to painting. (Sanchez 2005,
508, 803; Blanchegorge et al. 2006)
Dumain, Alphonse Victor
A moulder and restorer employed by the
Manufacture Nationale de Sèvres between 1884
and 1927. He signed at least one piece with floral
decoration in 1911. (Millon 2006a, lot 135.9)
Dumesnil, Guy
(d. 1940)
Dumesnil is attested as having worked for
Montières. (Haslam 1995)
Dumontet, Charles
Dumontet is attested as having worked at
Limoges, exhibiting porcelain, some in the style of
Louis XV, at the 1889 Exposition and at Lyons in
1894. He was a member of the “Collectivité des
Céramistes Chambrelans de Limoges”. (Pelichet
1976, 115; Sanchez 2005, 506)
115_220_Ceramics_D-K-LP.indd 150-151
Dupagny, design for a tureen, prepared whilst studying at Sèvres.
Courtesy Françoise Huchon.
Paco Durrio, “Misterio de la noche” vase. H. 21cm.
The same form, in light blue glaze, is in the Museo de Bellas Artes de Bilbao. Courtesy Robert Zehil.
150
151
8
8
03/01/15 15:29
LUCAS
Lourioux, photo portrait,
date and author unknown.
Lourioux, potcelain vase, designed by Abel Landry. H. 17.5cm.
Vasnier coll. Reims, musée des Beaux-Arts.
within the context of a dining suite designed
by Dufrêne. A moulded floral art nouveau vase
also bears the signature of M. Lesetre à la pointe.
Lourioux further produced a small amount of
figural work, including a bust of Cécile Lourioux
(his mother?) and a seated faun by Descomps. In
1922 he won a prize at the Salon d’Automne,
and in 1924 he assumed sole ownership of the
family firm. On his death in a car accident in
1930, his wife Céline took charge. Apart from
some early pieces, much of his later output was
mass produced and in art deco style, some of
which was realised for the Primavera studio of
“Au Printemps” and was marked “Primavera”
in black capital letters. His popular handled
melon or aubergine jugs were copied by the
firm Alpho. Lourioux used a variety of signatures.
The earliest was perhaps a pair of open wings,
usually printed in black, each enclosing a small
“L” or, alternatively, on either side of the word
“FOECY”, with his name or initials above and
the word “FRANCE” below. One cachet has
two overlapping “L”s or two cursive “L”s, placed
front-to-front, imitating a Sèvres cachet. Some
pieces are signed printed in black with two “L”s
over a large wolf or dog running to the left. A
further black printed signature has the letters
“LLourioux” superimposed on a figure of a
faun playing the pipes. Philippe Deshoulières
acquired the old Lourioux firm in 1968, and
now runs it as a museum. (Duncan 1998, 285;
Sanchez 2005, 955)
Lucas, Charles Célestin
(1851–?)
Worked for Sèvres between 1865 and 1910,
painting and modelling porcelain, signing his
pieces “C.L.” He decorated some vases designed
by Doat. (Chaffers 1932, 598, 603; Midant &
Salmon 1996; Duncan 1998, 399–400, 410;
Sanchez 2005, 957)
Luce, Maximilien
(Paris 1858–1941)
(“elettore”, sic) at the Accademia di Scienze,
Lettere e Arti of Modena in 1906. He worked in
Paris from around 1900, acting as director of the
Société des grès de Charenton L.M. Barthe and
Mettais-Cartier. He may have been responsible
for bringing together a number of Italian artists
whose signatures are found on Charenton ceramics. The Italian painter and sculptor Giuseppe
Graziosi (1879–1942) is certainly known to
have collaborated with him in Paris in 1902–3.
Lugli also produced a number of sculptures in
bronze and ivory, pewter, and porcelain. Known
for his historical models (French Revolution,
Napoleonic war; esp. the “Veille de Wagram”
bronze lamp) and for his art nouveau female
figures, he exhibited twice at the SAF. In London
he built a monument honouring the dead of
the Boer War. He returned to Italy following
the outbreak of the First World War. A few of
his terracottas produced in Italy are on display
at Carpi Museum. He often signed his work
“Salesio” à la pointe. (Exhibition 1971; BuffetChallié 1982, 146; Dahhan 2000, 368; ex inf.
Emilio Montessori)
MN
Lunéville
Near Nancy, this was a centre of ceramic
production dependant on the École de Nancy.
Pieces from the town are often marked with the
monogram “Lunéville”.The principal atelier was
Keller et Guérin (s.v.).
Lurenier?, N. Nicolay?
A noted neo-Impressionist painter and lithographer who apprenticed as engraver in the
workshop of Eugène Froment. From 1904 he
lived at Auteuil, Paris, during which time he
decorated a few ceramics by André Methey. He
was a friend of Roger Marx. He exhibited at the
Salon des Indépendants, exhibiting some faience
in 1908, and took over from Signac as President
in 1934. (Pelichet 1976, 99; Haslam 1985, 114;
Sanchez 2005, 958)
An uncertain signature found on glazed grès,
probably dating to the early 20th century.
Lutz, Édouard
Produced some elaborately painted porcelain
according to Duncan (1998, 312).
Lugli, Salesio
(Carpi, nr. Modena, Italy 1869–1936)
A figural sculptor, presumably son of the painter
Albano Lugli (b. Carpi 1835: Benezit, 1999, vol.
8, 1838), attested in a document as an elector
Methey, faience vase from the Exposition Universelle at Ghent, 1913. H. 32cm.
Courtesy Christie’s.
252
8
221_310_Ceramics_L-Q-LP.indd 252-253
03/01/15 15:30
TITRE COURANT
Accessories
203 %
377
8
376_424_Annexes-LP.indd 376-377
06/01/15 17:29
SIGNATURES, MONOGRAMS AND SYMBOLS
SIGNATURES, MONOGRAMS AND SYMBOLS
Ceramic trademarks
The following stamps and signatures is not a
collection of artists’ signatures, of which there are
many, but rather a guide to some of the principal
trademarks of pottery workshops and industries.
Signatures of artists are only given when they
may be regarded as trademarks identifying their
own individual production. In the cases of
ateliers that used numerous stamps or signatures
(e.g. Dalpayrat, Gallé), I have only illustrated one
or two representative examples, whilst others
may be found in specific publications on the
artist or atelier, or in published repertoires of
stamps and signatures (e.g. the Tardy volumes;
Haslam, 1995; Zühlsdorff 1989). Many registered
trademarks should become better known once
the examples deposited in the Archives de Paris
are studied systematically.
Photographed marks below appearing on vases
illustrated in this volume are cross referenced
by page number.
Alcide Chaumeil
Henri Chaumeil
Henri Chaumeil /
Leyritz
“Max” Claudet
Cytère / Rambervillers
Pierre-Adrien Dalpayrat
Pierre-Adrien Dalpayrat
(p. 119-121)
Albert Dammouse
Frédéric Danton
de Bruyn, Lille
de Bruyn, Lille
Émile Decœur
Émile Decœur
Émile Decœur
Aire-Belle / Rossollin
Aire-Belle / Rossollin
Georges Alaphilippe
Lucien Arnaud
L’Art Français
L’Artisan Pratique
L’Art Ceramique / Auteuil
(Decœur and Rumebé)
François Émile
Decorchemont
Auguste Delaherche
Auguste Delaherche
Auguste Delaherche,
on porcelain
Charles Delanglade
Pierre Delbet (p. 136-137)
Claude Demay
L’Art Ceramique /
Auteuil / Rumebé
(Decoeur and Rumebé)
Auguste Bacquet
Auguste Bacquet
BACS
Émile Balon, Blois
Nils de Barck
Ernest Baudin
René Denert, Vierzon
Jean Desbenoit
Louis-Étienne Desmant
Lucien Desmant
Desvres / Fourmaintraux
and Delassus
Deyeux (p. 143)
Maurice Dhomme (p. 144)
Eugéne Baudin
Eugéne Baudin
Paul Baudin
Gabriel Bernadou
Besse et Peraire (p. 56)
Alexandre Bigot
Alexandre Bigot
Émile Diffloth
Émile Diffloth (p. 144)
Taxile Doat
Taxile Doat
Georges Dreyfus
Duboucheron
Paco Durrio
Samuel Bing
Bing. Signatures of Samuel
Bing and Émile Muller (p. 60)
Auguste Blache?
Max Blondat (p. 63)
Max Blondat
Alexis Boissonet
Boué et Petit
École de Nancy
Fontaine et Durieux
Louis Franchet (p. 168)
Louis Galatry (p. 172)
Émile Gallé
Émile Gallé
Ganda (p. 174)
Boué et Petit
Hautin et Boulenger
Hautin et Boulenger
Breteuil /
Armand Rousseau
Brocard et Leclerc (p. 81)
Brocard et Leclerc (p. 81)
Brocard et Leclerc (p. 81)
Henri Gandais
Gentil et Bourdet (p. 183)
Gentil et Bourdet (p. 183)
Gentil et Bourdet
Genty / Adolphe
and Albert Dalpayrat
Édouard-Henri Getting
(p. 184)
Gien
Girault, Demay et
Vignolet / Bruère
Bruyas, Paris
Rupert Carabin
Rupert Carabin, cat stamp
Ernest Carrière (p. 91)
Jean Carriès
Jean Carriès,
Montrivaux stamp
Numa Gillet (p. 186)
Glatigny /
Alfred Le Chatelier
Glatigny /
Alfred Le Chatelier
Charles Greber
Johann Peter Greber
Émile Grittel
Émile Grittel
Thomas Cartier
Léon Castel
Ernest Chaplet
Ernest Chaplet /
Charles Haviland
Ernest Chaplet
Charenton. Label
Charenton
Georges Guiard (p. 196)
Georges Hamm
M.A. Hamm
Charles Haviland
Théodore Haviland
Georges Hoentschel
Silvius Oscar Hucleux /
Louis-Auguste Rivière?
376_424_Annexes-LP.indd 388-389
388
389
8
8
07/01/15 00:11
GLOSSARY
GLOSSARY
Ajouré – Openwork; decoration obtained by
cutting holes through the pottery through which
light would pass.The technique, known in Japan,
was used on ceramics by Majorelle, Mougin,
and others.
the principal European artists who imitated
the chawan, which also appeared from the
hands of other artists of the School of Carriés
(see Shimizu 2001).
Cloisonné – Originally referring to jewellery encrusted with enamel or semi-precious
stones inset into small metal cells, the technique
thrived in Japanese enamelwork on bronze and
copper. In ceramics, the term applies to vases
with decoration consisting of carefully defined
coloured spaces, often outlined by darker or
lighter borders in low relief, that give the
impression that the decoration was set into a
background. The cells or spaces are sometimes
created through the tube-lined technique,
where the raised outlines are defined by lines
of trailed slip squeezed from a bag through a
tight nozzle. Collinot is attributed as having
introduced the technique to French faience
manufacture.
À la pointe – Engraved with a stylus, usually
in the ceramic clay prior to firing. Many artist
signatures were thus engraved (cf. en creux),
although others were realised using stamps of
facsimile signatures, such as those by Bigot or
Gréber.
Alhambresque – A style deriving from the
Islamic vases in the Alhambra, Granada, Spain.
Early stoneware pieces in this style were produced
by Ziegler. Later it became popular with the
Massiers.
Carp/koi – a wall-pocket by Ernest Carrière. Courtesy Robert Zehil.
Barbotine – Refers to two similar techniques,
both based on the use of coloured slips. It may
be either simple slip trailed decoration, applied
like icing on a cake, which was favoured by artists
such as the German Max Laueger. Alternatively,
it refers to painted slip decoration, favoured by
Impressionist artists, particularly those working at Gien, at Haviland’s atelier d’Auteuil or
at Montigny-sur-Loing. In their case the thick
slip was applied rather like oil paint, and thinned
with a palette to obtain varying thicknesses and
tones. However, during the second half of the
nineteenth century the term was also used generically and inappropriately for French majolica
(Gay-Mazuel 2010).
Alhambresque: an early stoneware vase by Ziegler in the Hispano-Moresque style. London, Victoria and Albert Museum.
376_424_Annexes-LP.indd 392-393
Blancs – Literally “whites”. The English term
blank derives from this term, which also refers
to porcelain produced without painted decoration. The use of such blancs highlighted the
qualities of kaolinitic clays. Some were later
used like a canvas by a painter or decorator.
GDA of Limoges, for instance, purposely produced blancs for Bing’s gallery, to be decorated
by his in-house artists. Some American firms
bought European blancs, which were painted
by their own artists even many years after they
were made.
Bleu Deck or “bleu de Deck” – A renowned
turquoise blue colour inspired by Turkish Iznik
ware and created by Théodore Deck in 1861.
Carp (Jap. koi) – The carp is a symbol of
strength, good fortune, as well as affection and
friendship in Japan and, as such, appears widely
in both Japanese art and art nouveau.
Cha-ire – Japanese tea caddy, to hold powdered
tea. They were often produced in pottery with
ivory or ebony lids. A form highly popular with
Jean Carriés and artists of his School. (see Shimizu
2001).
Champlevé – A form of decoration that consists
of carving away parts of a slip coating prior
to glazing, so as to create contrasts in colour
or tone. A neo-Classical charger produced by
Froment-Delormel around 1884 at Optat Milet’s
atelier shows the technique at its best. It was
first developed by Islamic and Byzantine potters
between the eleventh and thirteenth centuries.
Chawan – Japanese tea bowl, with no handle.
They were often distorted or crazed during
firing, intended to represent the earth that
they came from. Emile Grittel was one of
Cloisonnisme – A style of decoration, usually applied to painting, based on the cloisonné
technique of providing bold outlines to what
is being represented. Some scholars suggest
that Chaplet and Gauguin were influenced by
the outlined designs of the English artist Kate
Greenaway (1846–1901), which she applied
to children’s books, though borrowing from
Japanese technique. It has also been suggested
that Gauguin’s cloisonnisme was influenced by
the medieval stained glass that he had studied.
Coloured glass panels were at one and the same
time united and divided by lead cames.
Colocynth – s.v. “gourd”.
Chromolithography – A mechanical
technique of printing on faience and porcelain, perfected by Jochum. By the end of the
nineteenth century it revolutionised ceramic
decoration, cutting down on the time involved
in painting and, thus, costs. However, it was not
used solely for mass production, but also on
some high-quality ceramics, including pieces
decorated by Bracquemond (e.g. Meslin-Perrier
& Segonds-Perrier 2002, 214, fig. 216, for his
soleil levant plate).
Craquelé (Eng. crazed) – Vases, with purposefully crazed glazes created through differential
shrinkage of the glaze and the ceramic body,
became a novelty in the early years of the twentieth century through the work of ceramists such
as Methey and Lenoble.
Crystallisation – Patterns of radiating crystals within the glazed surface of vases produced
during cooling, due to the presence of titanium
oxide. The process was discovered by Charles
Laught at Sèvres in 1885, though was not
regularly used until the late 1890s, when it was
employed by both French and foreign artists,
including Valdemar Engelhardt (1860–1915).
He produced a colour spectrum of crystalline glazes at Royal Copenhagen, exhibited
at the 1889 Paris Exposition. It became a
favoured decorative technique of Pierrefonds,
though was also used by other firms, such as
Sarreguemines, with its Etna series, or Sèvres
on porcelain.
Earthenware – s.v. “terracotta”.
Émail cloisonné – s.v. “cloisonné”.
Émail ombrant – This process entailed applying
transparent coloured glazes on moulded white
biscuit products. The varying thickness of the
glaze, enhanced through shallow relief decoration on the pottery, produced shadow effects,
from which the term takes its name. Charles de
Bourgoing and Alexis du Tremblay patented the
technique in 1842.
Émail velouté – Edmond Lachenal perfected a
very fine and smooth glaze, created through use
of bathing finished vases in hydrochloric acid. He
used the technique to decorate ceramics through
contrast between the normal shiny glaze and the
etched matt or velvety surfaces that had been
treated by the acid. Both Baudin and Michelet
also appear to have employed the technique of
émail velouté.
Dragon – In China the dragon symbolised the
divine. It was fairly frequently employed on art
nouveau ceramics as a decorative motif, often in
relief. Many examples can be seen on products of
the Austrian firm Amphora.The motif appears in
the work of various French ceramic artists, above
all by Théodore Deck (e.g. Franzke 1987, pl. III),
Loebnitz and Rambervillers. See also “lizard”.
(Wichmann 1981, 336–39).
Dragonfly – One of the most popular insects
appearing in all forms of art nouveau decoration.
Dragonflies were often associated with ponds
and lakes and, by extension, with representations
of the Lady of the Lake in La Mort d’Arthur. It
thus provides a link between Japanese art and
the neo-Gothic. Dragonflies frequently appear
on the works of Claudet, Denbac, Balon and
others.
Drip-glaze – Glaze that is purposely dripped
down a vase for decorative effect. Drip-glazes are
often white or light coloured so as to contrast
with a darker glazed body.The technique became
particularly prized in 17th-century Japan and
continues to be used today.
392
393
8
8
Émail velouté: the technique is used on this vase by Edmond Lachenal to highlight the sprigs of leaves. H. 25cm. Private coll.
06/01/15 17:29
BIBLIOGRAPHY
BIBLIOGRAPHY
Much of the information on the roles and dates
of people who worked at Sèvres comes from
the list maintained by Tamara Préaud, former
archivist at the Manufacture Nationale de Sèvres.
Amongst other works, I have used Jacques
Hillairet’s 1985 study to help understand the
layout and topography of Paris in the later
nineteenth century.
Primary sources
(NB the titles of a number of the periodicals
cited below have changed slightly over the years):
Annuaire = Annuaire-répertoire des céramistes et
verriers de France. Paris: Imprimerie Lang,
Blanchong & Cie, 1919.
Archives commerciales de la France.
L’Art décoratif. Revue de l’art ancien et de la vie
artistique moderne. Paris, 1898–1914.
Art décoratif pour tous = L’Art décoratif pour tous.
Société des Artistes Français, edited by Léon
RUFFE. Paris: Ed. Schwartz, 1901–1904.
Art et Décoration. Revue mensuelle de l’art moderne,
edited by F.Thiébault-Sisson. Paris: Librarie
Centrale des Beaux-Arts, 1897–1938.
Bayeux = Société des sciences, arts et belles-lettres
de Bayeux, including the Mémoires de la
Société.
BSA = Bulletin des sociétés artistiques de l’Est,
1895–1914.
Bulletin = Bulletin de l’Association amicale des anciens
élèves de l’École de céramique de Sèvres, fondée le
1er septembre 1907.
Bulletin mensuel de l’Union céramique et chaufournière
de France (La Céramique from 1898). Paris.
Catalogue illustré de la Société nationale des beaux-arts.
Paris: E. Bernard et Cie, 1890–1939.
Céramique et Verrerie = La Céramique et la Verrerie.
Journal de la chambre syndicale. Paris, 1882–1939.
La Céramique, organe officiel de l’Union céramique et
chaufournière de France, edited by Léon Lefèvre.
Paris, 1898–1940.
Champier = Victor Champier, ed. Documents
d’atelier.Art décoratif moderne, 1st and 2nd series.
Paris: Librairie de la Revue des arts décoratifs,
1898–1899.
La Chronique des arts et de la curiosité, supplement
to La Gazette des beaux-arts. Paris, 1863–1922.
376_424_Annexes-LP.indd 398-399
CNAM 1908 = Catalogue officiel des collections du
Conservatoire national des arts et métiers, fasc. IV.
Paris: Librairie des sciences et de l’industrie, 1908.
Curiosité = Annuaire de la curiosité et des beaux-arts.
Paris: De Laborde, 1929.
Dayot, Armand, ed. L’Art et les Artistes. Paris,
1905–1914.
Dictionnaire = C.-E. Curinier, ed. Dictionnaire
national des contemporains. Paris: Office général
d’édition de librairie et d’imprimerie, 6 vols.,
1899–1919.
Didot-Bottin = Annuaire-almanach du commerce, de
l’industrie, de la magistrature et de l’administration.
Paris: Didot-Bottin, 1857–1908.
Expo 1889 = Jules Loebnitz and Alfred Picard,
eds. Exposition universelle internationale de 1889
à Paris. Rapports du jury international. Groupe III.
Céramique. Classe 20. Paris: Imprimerie
nationale, 1891.
Expo 1900 = Georges Vogt, ed. Exposition universelle internationale de 1900 à Paris. Rapports
du jury international. Groupe XII. Décoration
et mobilier des édifices publics et des habitations. Deuxième partie. Classes 72 à 75. Paris:
Imprimerie nationale, 1901.
Femme 1895 = Les Arts de la femme. 2. Exposition
27 avril–10 juin. Paris: Imprimerie A.Warmont,
1895.
Galliera 1909 = Gaston Stiegler. Exposition de la
porcelaine, son décor, sa monture au musée Galliera.
Paris: Imprimerie Motteroz et Martinet, 1909.
Galliera 1911 = Exposition des grès, faïences, terres cuites
et leurs applications. Paris: Musée Galliera, 1911.
Milès, Roger. Correspondence of the art critic
held by the Institut National d’Histoire de
l’Art (INHA).
Moniteur de la céramique et de la verrerie et Journal
du céramiste et du chaufournier réunis.
La Revue de l’art ancien et moderne, edited by
J. Compte. Paris.
Revue = Revue des arts décoratifs. Paris: Union
Centrale des Arts Décoratifs, 1880–1902.
Revue moderne des arts et de la vie.
Salon = Catalogue illustré du Salon. Paris: Société
des artistes français, 1879–1914.
Sarriau, Henri. Musée centennal de la classe 72:
céramique, à l’Exposition universelle internationale
de 1900, à Paris. Rapport du comité d’installation.
Saint-Cloud: Belin Frères, 1903.
Other Publications
Abel, Véronique, and Henri Amouric. 1993.
“Les Bocca et l’Art nouveau”. In Un goût
d’Italie. Céramiques et céramistes italiens en
Provence du Moyen Âge au xxe siècle, 133–35.
Aubagne: Narration.
Aissenne, L. 1900.“Les gazogènes Riché et leurs
applications”. Portefeuille économique des machines,
4th series, vol. IX, no. 538 (July 1900): 97–101.
Albis, Jean d’. 1976. Ernest Chaplet, un céramiste art
nouveau. Paris: Les Presses de la Connaissance.
Albright, Ann Cooper. 2007. Traces of Light:
Absence and Presence in the Work of Loïe Fuller.
Middletown, CT: Wesleyan University Press.
Alexandre, Arsène. 1908. “Musique & Poésie
(Edmond Lachenal)”. Musica, no. 70 (July 1908):
110.
Allen, Horace Newton. 1901. A Chronological
Index: Some of the Chief Events in the Foreign
Intercourse of Korea from the Christian Era to
the Twentieth Century. Seoul: Press of the
Methodist Publishing House.
Amouric, Henri. 2001. Des ateliers et des hommes.
Être céramiste à Aubagne aux xixe et xxe siècles.
Aubagne: GhB.
Andréani, Carole. 2003. Les Céramiques de
Gauguin. Paris: Les Éditions de l’Amateur.
Arbace, Luciana, Nico Stringa, Giulia Anversa,
and Ferdinando Buranelli. 2000. Le Ceramiche
Cacciapuoti da Napoli a Milano 1870–1953.
Florence: Olimpia.
Arthur, Paul. 2010. “Louis Franchet, un maître
oublié de la technologie de la céramique”.
Sèvres. Revue de la Société des amis du Musée
national de céramique, no. 19: 143–47.
———. 2011. “Les céramistes du 24 rue de la
Quintinie: Baudin, Wolf, Mougin”. Sèvres.
Revue de la Société des amis du Musée national
de céramique, no. 20: 126–31.
Arwas, Victor. 1987. Glass: Art Nouveau to Art
Déco. New York: Harry N. Abrams.
———. 2002. Art Nouveau:The French Aesthetic.
London: Andreas Papadakis Publisher.
Auclair, Louis. 1910.“Céramique de grand feu.
Notes sur la fabrication des grès à émaux mats,
créés par J. Carriès, en 1889, dans son atelier
de Saint-Amand-en-Puisaye (Nièvre)”. Art
et Décoration, no. 27: 97–108.
Ayroles,Véronique. 1997.“Un artiste-décorateur et
sa galerie au xxe siècle: François Décorchemont
et la maison Rouard”. Revue de l’art, no. 118:
56–68.
———. 2006. François Décorchemont. Maître de la
pâte de verre. Paris: Éditions Norma.
Bach, Uta, Martin Faass, and Susanne Kähler,
eds. 2004. Die Jugendstil-Sammlung, Band 3:
Kunstler L-R. Hamburg: Museum für Kunst
und Gewerbe.
Badel, Émile. 1906. “Les frères Mougin, les
Bernard Palissy de Nancy”. L’Immeuble et la
Construction dans l’Est, no. 11: 73–74.
Baeck, Mario. 2004. “The industrial tile in
France”. In Industrial Tiles: 1840–1940, edited
by J. Kamermans and H. van Lemmen, 92–107.
Stedelijk Museum Stellingwerff-Waerdenhof.
Banas, Pawel. 1997. Secesja w Zbiorach Polskich.
Warsaw:Wydawnictwa Artystyczne i Filmowe.
Bascou, Marc, Marie-Madeleine Massé, and
Philippe Thiébaut. 1988. Musée d’Orsay.
Catalogue sommaire illustré des arts décoratifs.
Paris: Réunion des musées nationaux.
Battersby, Marc. 1969. Art Nouveau. Feltham,
Middlesex: Hamlyn.
Baumgart, Émile. 1900. La Manufacture nationale
de Sèvres à l’Exposition universelle de 1900. Paris:
Libraire centrale des beaux-arts.
Becquart, Geneviève, Dominique Szymusiak,
and Patrick Le Nouëne. 1986. Du Second
Empire à l’Art nouveau. La création céramique
dans les musées du Nord-Pas-de-Calais. Lille:
Association des conservateurs de la région
Nord-Pas-de-Calais.
Beeh,Wolfgang, Carl Benno Heller, and Giorgio
Silzer. 1986. Europäische Keramik 1880–1930,
Sammlung Silzer. Darmstadt: Hessisches
Landesmuseum.
Benadretti-Pellard, Sandra, Émile Decker,
Jason Jacques, Cédric Massier, and Céline
Massier. 2009. Les Massiers, côté cour, côté jardin.
Milan: Silvana Editoriale.
Bénédite, Léonce. 1908. “Madame Marie
Gautier”. Art et Décoration, no. 23: 137–44.
Bénézit, Emmanuel. 2006. Dictionary of Artists.
Paris: Gründ.
Benzi, Fabio, ed. 2001. Il Liberty in Italia. Milan:
Federico Motta Editore.
Bergé. 1994. Important Ensemble de céramiques
1880–1950. Drouot-Richelieu sale of 19
March 1994. Paris: Pierre Bergé & Associés.
———. 2002. Vente Art nouveau, Art déco, céramiques et objets d’art. Drouot-Richelieu sale of
10 December 2002. Paris: Pierre Bergé &
Associés.
Berger, Séverine. 1997. La Poterie de Ciboure
1919–1945. Biarritz: Atlantica.
Bertrand, Francine. 1997. Grès flammés de
Rambervillers: Art nouveau dans les Vosges.
Épinal: Musée départemental d’art ancien et
contemporain.
———. 2000. Joseph et Pierre Mougin. Poètes du
feu. Lunéville: Les Amis de la faïence ancienne
de Lunéville Saint-Clément.
Besnard, Henri. 1916. “Georges Pioger”. Société
historique et archéologique de l’Orne 35: 45–59.
Bieri Thomson, Helen. 2000. Maurice PillardVerneuil, artiste décorateur de l’Art nouveau,
1869–1942. Paris: Somogy Éditions d’Art.
Bieri Thomson, Helen, Josette Galiègue, Bernard
Giguet, and Jean Cartier. 2001. Auguste
Delaherche. Rêves d’argile, secrets d’émail. Paris:
Somogy Éditions d’Art.
Bigot, Alexandre. 1900. “Les recherches céramiques concernant les grès et les émaux de
grand feu”. La Céramique, no. 120: 117–20.
Bigotte, André. 2008.“Henri Rogerol, la résolution du paragone”. Les Amis de Douai 15, no.
2 (June 2008): 26–35.
Blanchegorge, Éric, Jean-Yves Bouillon,
Isabelle de Gourcuff, and Constance Lavagne
d’Ortigue. 2006. Faïences et grès de Pierrefonds.
Paris: Éditions du Patrimoine.
Blieck, Gilles. 1993. “La faïencerie artistique de
Bruyn à Fives-Lille (Nord) 1862?–1950”. In
La Céramique du ve au xe siècle dans l’Europe du
Nord-Ouest, edited by Daniel Piton, 21–90.
Actes du colloque d’Outreau (10–12 April
1992), Nord-Ouest Archéologie.
Bloch-Dermant, Janine. 1974. L’Art du verre en
France 1860–1914. Lausanne/Paris: Edita/
Denoël.
Bloit, Michel. 1994a. “Une manufacture de
porcelaine du Berry, Hache-Pepin Lehalleur,
Vierzon, 1795–1930”. Sèvres. Revue de la Société
des amis du Musée national de Céramique, no. 3.
———. 1994b. Deux siècles de porcelaine en
Berry, Poitou et Bourbonnais. Paris: Le Temps
Apprivoisé.
Bloit, Michel, Jean-Claude Fournier, and
Stéphane Richemond. 1998. Réalisme et Art
nouveau. Deux siècles de céramique de L’IsleAdam et Parmain (Val-d’Oise) 1815–1950.
L’Isle-Adam: Musée d’Art et d’Histoire
Louis-Senlecq.
Bodelsen, Merete. 1964. Gauguin’s Ceramics.
London: Faber and Faber.
Bonnot,Thierry. 2000. Le Pont des Vernes: une fabrique de produits céramiques à Pouilloux. Éditions
Écomusée Creusot-Montceau.
398
399
8
8
Bontillot, Jacques. 1998. Les Faïences de Creil et
Montereau: deux siècles d’évolution des techniques
et des décors. Montereau: Cerhame.
Bossaglia, Rossana, Ezio Godoli, and Marco
Rosci (eds). 1994. Torino 1902. Le Arti
Decorative Internazionali del Nuovo Secolo. Milan:
Fabbri Editori.
Böstge, Ingelore, and Emmanuelle Héran. 2003.
Agathon Léonard. Le geste Art nouveau. Paris:
Somogy Éditions d’Art.
Bottero, Maryse. 2002. Barbotines de la Côte
d’Azur. Paris: Massin.
———. 2009.“La faïencerie du Mont-Chevalier
à Cannes”. Annales de la Société scientifique
et littéraire de Cannes et de l’arrondissement de
Grasse 54: 47–61.
Boucaud, Jean-Christophe. 2003. Jules Brateau
1844–1923. Maraussan: Jean-Christophe
Boucaud.
Boucher, Bruce. 2003.“The Faun”. Art Institute
of Chicago Museum Studies 29, no. 2: 64–65.
Bouchon, Chantal. 2003.“Adalbert de Beaumont
(Paris 1809–Boulogne 1869). Du cap Nord
à l’aventure céramique”. Sèvres. Revue de la
Société des amis du Musée national de Céramique,
no. 12: 33–43.
Bougie, Hélène. 1984.“La faïencerie de Choisyle-Roi (société Hippolyte Boulanger et Cie)
à la fin du xixe siècle”. L’Archéologie industrielle
en France, no. 10 (December 1984): 1–15.
Bouilhet, Henri. 1981. Christofle, 150 ans
d’orfèvrerie / Silversmith since 1830. Paris:
Chêne/Hachette.
Bouillon, Jean-Paul. 2003. Félix Bracquemond:
graveur et céramiste. Paris: Fondation Neumann,
Gingins, Somogy Éditions d’Art.
———. 2010. “Félix et Marie Bracquemond à
l’atelier d’Auteuil”. In Émaux atmosphériques,
la céramique “impressionniste”, edited by Audrey
Gay-Mazuel, 51–60. Paris: Nicolas Chaudun.
Bouillon, Jean-Paul, Christine Shimizu, and
Philippe Thiébaut. 1988. Art, industrie et
japonisme: le service Rousseau. Les dossiers du
musée d’Orsay volume 20. Paris: Éditions de la
Réunion des musées nationaux.
Bouvier, Roselyne. 2005. Couleurs et formes.
L’héritage du xviiie siècle dans l’école de Nancy.
Paris: Somogy Éditions d’Art.
Bouvier, Roselyne, and Philippe Thiébaut. 1999a.
“Eugène Allin, un constructeur né”. In L’École
de Nancy, 1889–1909. Art nouveau et industries
d’art, 187–93. Paris: RMN.
———. 1999b. “Victor Prouvé et les arts appliqués”. In L’École de Nancy, 1889–1909. Art
nouveau et industries d’art, 195–205. Paris: RMN.
06/01/15 17:29