Albert Cheuret

A very rare table mirror by Hermès Paris – an eagle sitting on a base with its wings spread wide and reflecting the beauty of the moon on its back. The round mirror is equipped with a ball joint and can be individually aligned and rotated on its axis. · Different mirror glasses are mounted on the front or back side · Material: Metal, gold plated (most probably brass) · Marked on the bottom with Hermès Paris and the master mark of Ravinet D'Enfert The Maison Ravinet D'Enfert was founded in 1882 in Paris and designed among other things for Hermès as well as its own productions of table couture...

Chromed metal and alabaster wall sconces after Albert Cheuret. electrified, UL listed.

A table lamp with a retro flavor. The lamp shade in alabaster with a flat shape is enlightened of transparencies, stressing the veining of this material. The pull chain switch recall...

1930's American Modernist nickel plated Table Lamp

Luc Lanel (1893-1965) for Christofle (Gallia collection) - A fine French Art Deco table mirror with a pyramidal base and two poles holding a tilting mirror. Stamped Gallia Bibliog...

This classic early 20th century bronze chandelier comes from France and is draped in a variety of beautifully cut crystal plaquettes. Note the crystal fleurettes at top and center, t...

An Art Noveau or Jugend patinated bronze pen and inkwell with an owl sitting in the center. The owl have inset glass eyes. Made ca.1900. Possibly Swedish. Symbolism of the owl: The...

Beautiful Art Deco chandelier with large green glass shades. The lamp is made of chromed metal. The glass shades are made of opaline glass, there is a subtile color gradient in the g...

A beautiful Art Deco chandelier with very elegant design, crown-shaped of gilt bronze with a satin handcut glass dome shade and a small shade hanging from the top, all supported by f...

This stunning table lamp comes in a limited edition collection of 10 pieces. With its refined Art Deco flair, this elegant collector's item features an exquisitely handcrafted bronze and alabaster circular base, a sleek cone-shaped bronze body extending into an oval lampshade...

A large and rare early French 20th century Art Deco bronze alabaster eight-light chandelier. Measures: Height fixture 87 cm. Total height 100 cm. Diameter 65 cm. Twelve bulbs w...

French Art Nouveau Inkwell by Pierre-Adrien Dalpayrat, France, circa 1890. A rare and exquisite Art Nouveau inkwell by renowned French ceramist Pierre-Adrien Dalpayrat (1844–1910). This finely crafted piece showcases Dalpayrat’s signature red copper-glazed stoneware, especially rich and luminous near the base. Elegantly mounted in pewter, the design exemplifies the organic flow and refined detail of the Art Nouveau period. Dimensions: Height: 3.54 in. (9 cm) Diameter: 5.12 in. (13 cm) Materials: Stoneware with pewter mount Condition: Excellent+++++, museum-quality preservation Markings: Incised signature "Dalpayrat 1500" under the base (see photo) This inkwell is a collectible example of French ceramic art at the turn of the century—perfect for collectors of Art Nouveau, 19th-century French ceramics, or the works of Dalpayrat. Adrien Dalpayrat (1844–1910): A Pioneer of French Ceramic Innovation Adrien Dalpayrat was a French ceramicist and researcher who played a key role in the revival of stoneware at the end of the 19th century. Born in 1844 in Limoges, Dalpayrat studied drawing and porcelain painting in his hometown before beginning his professional career at the Jules Vieillard faience factory in Bordeaux. There, he met his wife, Marie Tallerie, with whom he had two sons—Albert and Adolphe—who would later become his primary collaborators. Throughout his early career, Dalpayrat worked for several major ceramic manufacturers, including Ashwin (Valentine), Fouquet (Toulouse), François Blanc (Monaco), and Léon Sazerat (Limoges). In 1889, seeking greater independence, he moved to the Paris region and established his own studio in Bourg-la-Reine. Collaborations and Artistic Evolution Dalpayrat’s creative vision expanded through his collaboration with sculptor Alphonse Voisin-Delacroix. Together, they explored neo-Gothic and Palissy-inspired motifs, creating a remarkable ceramic bestiary. Following Voisin-Delacroix’s death in 1893, Dalpayrat partnered with Adèle Lesbros, which marked a shift in his work toward simpler, more refined vase forms influenced by Japonism. Japanese art had been introduced to France during the 1867 Universal Exhibition, but it wasn’t until the 1878 Exhibition, particularly through the ceremonial stoneware used in the Japanese tea ceremony, that Japonism truly captivated French artists. This influence led Dalpayrat to create vessels with organic, vegetal, and animal-inspired forms. Technical Mastery: The Secrets of Copper Red Among all the ceramists of his time who sought to replicate the elusive Chinese “sang de boeuf” (oxblood) glaze, Adrien Dalpayrat was arguably the most successful. He didn’t simply reproduce the legendary copper red—he transformed it. By manipulating glaze thickness, firing temperature, atmosphere, and copper oxide content, he developed a unique palette of flamed and mottled red glazes that became his signature: the renowned Dalpayrat red. He further enriched his pieces by introducing streaks and inclusions of turquoise, blue, green, and yellow—freeing the red glaze from monochromy and turning it into an expressive, living surface. His work pushed stoneware beyond function into expressive art, merging form and glaze in bold, sculptural harmony. Beyond Ceramics: Bronze Mounts and Architectural Works Dalpayrat also collaborated with renowned jewelers such as Ernest Cardeilhac and Keller to produce pieces mounted in gilt bronze, blending ceramics with decorative arts at the highest level. In an effort to make his work more accessible, he opened a second faience workshop focused on simpler, more affordable pieces inspired by Nevers and Rouen ware. However, this venture faced financial difficulties and closed by 1900. The main family studio followed in 1906 as the popularity of Art Nouveau declined. Dalpayrat then returned to Limoges, devoting his final years to painting and drawing until his death in 1910. Legacy and Recognition Despite financial struggles during his lifetime, Dalpayrat’s ceramics were widely acclaimed at major international exhibitions: Bronze medal, World's Columbian Exposition, Chicago (1893) Silver medal, Antwerp International Exhibition (1894) Gold medal, Exposition Universelle, Paris (1900) Today, his work is part of prestigious museum collections. In 2020, the Petit Palais in Paris acquired a large bird motif vase created in collaboration with Voisin-Delacroix, now on view in Room...