Galerie Fledermaus

Model #3367 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Model #3356 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Model #2059 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Model #3791 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Model #2047 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Established in 1853 by Miklós Zsolnay, Zsolnay began as a small business producing basic stoneware and earthenware. Ten years later Miklós’ son, Vilmos, joined the company and led it...

Daguet’s beautifully patinated box is a rich textural and colorful tour de force. The top of Daguet’s box is striking for its bird’s-eye-view of a crab clutching a viper eel. Using r...

GUSTAV GURSCHNER (Austrian, 1873-1970), a sculptor, attended the School of Applied Arts in Vienna in 1888. Working under several artists, his time in Paris in 1897 proved to be most ...

Boleslaw Biegas was one of a large number of Polish artists working in fin-de-siecle Paris. There he found a more kindred artistic environment in which...

Boleslaw Biegas was one of a large number of Polish artists working in fin-de-siecle Paris. There he found a more kindred artistic environment in which...

Poppies, golden-accented in analagous colors of blue and orange, creep up their leafy green stalks which sag from the heavy weight of the flowers. Like tired heavy-lidded eyes, the poppies symbolize hypnos’ sleep-inducing effects. Dammouse’s somnific symbolism evokes an other-worldly dream-like state and acts as a vehicle to tap into the imagination. Much more than a pretty face, or a pretty vase, this is a sublime piece of art, and Dammouse makes clear the influence of Braquemond and others by employing this Symbolist style. Beaudelaire’s credo that “Beauty must contain the absolute and the particular, the eternal and the transitory” aptly applies. Created while both Chaplet and Edouard Dammouse were employed by Haviland & Co. at its Paris location, this vase is a prime example of Chaplet’s early creative output of matte brown stoneware. Both artists demonstrate a strong link and affinity for Japonisme in the vase’s traditional form and in the painterly approach Dammouse brings to the enamel glaze. His treatment of enhancing the floral decoration with gold detailing calls to mind Kintsugi aesthetic principles. Affixed to the vase’s underside is its original label indicating it was sold at the chic A la Paix, a Parisian gallery located on the prestigious Avenue de l’Opera which opened in 1891, specializing in glass and ceramic objects of art. Ernest Chaplet (1835-1907) Not only was Chaplet France’s premier studio ceramist, the example he set of personally creating a ceramic object from the conceptual phase through modeling, firing and glazing - constantly reaching for new and innovative modes of expression and technique - elevated the notion of a ceramist from artisan to Artist. While Director of Production for Haviland & Co., Chaplet expanded their focus from porcelain into stoneware production and developed the barbotine method of painting earthenware with liquid clay as well as conducted extensive research in glaze techniques. He was awarded a Gold Medal in 1889 at Paris’ l’Exposition Universelle for his revolutionary sang de boeuf glaze. That same year, Chaplet opened his own atelier in Choisy-le-Roi where he continued to produce avant-garde stoneware and support younger talent. Edouard Dammouse (1850-1903) Trained as a painter, Paris born Edouard Dammouse studied under Felix Bracquemond, Ernest Chaplet’s predecessor at Haviland & Co.‘s Auteuil studio. Edouard followed his brother, Albert, and Chaplet to Haviland’s Paris...

The Venus of Willendorf if she were a pot; this diminutive size is perfectly suited for holding in your hands. This pot is meant to be caressed. Its rather buxom top narrows at the w...

EDMOND LACHENAL (1855-1948) One of France’s most influential ceramists, Edmond Lachenal contributed significantly to the development of Art Nouveau. His poor beginnings in Paris le...

A master of 20th century ceramics, Émile Decoeur may be best known for his impact upon the Art Deco style. Quiet, pure and serene, Decoeur strikes a perfect harmony of form and glaze...

The finest examples of vases produced in collaboration between Edmond Lachenal and Emile Decoeur date from 1901-1904. This vase, with the word “original” marked on its underside, ind...

Striking bowl with crystalline iridized glaze. Émile Diffloth (1856 – 1933) was a French ceramicist who was born in Couleuvre. He received his education at the École des Arts Déco...

Rare, full size example of this piece. Isidore De Rudder (1855 - 1943) was active/lived in Belgium.

GUSTAV GURSCHNER (Austrian, 1873-1970), a sculptor, attended the School of Applied Arts in Vienna in 1888. Working under several artists, his time in Paris in 1897 proved to be most ...

Art Nouveau BALLOON GLASS TABLE LAMP, by Gustav Gurschner and Johann Loetz Witwe, c. 1904, the glass dome in a frosted yellow iridescent ground is crow...

With artful and sensuous handling of material, Emile Jacob demonstrates his life-long love of learning with a technical mastery of porcelain and glazes as well as an awareness of current artistic trends such as Japonisme and l’Art Nouveau. From a bird’s-eye view perspective popularized by Japanese wood block prints circulating in Europe, Jacob immediately confronts the viewer with the sea. The variegated blues and greens take on every murky depth, every iridescence produced on a sun-filled water’s surface; while the suggestion of movement created by undulating patterns of water morphs into sand ridges caused by breaking waves as the viewer nears for a closer examination. The effect is remarkable. Upon closer scrutiny, the abstracted ridges create an affect of being even farther away from the sea, as if high in flight. The same captivating qualities are achieved by the opaque and crystalline glazes to suggest the interior of an oyster’s shell. The ultimate pearl, a female nude, is voluptuously modeled; fusing as one with her seascape, her hair spreads out in wavy tendrils and her graceful, long fingers wrap around the plaque’s edge. Literature: Arthur, French Art Nouveau Ceramics: An Illustrated...

Model #6674. Auguste Delaherche turned the science of experimentation in ceramic ware into an art form. Coming from a long tradition of potters in the Beauvais region of France datin...

Model #1990. Auguste Delaherche turned the science of experimentation in ceramic ware into an art form. Coming from a long tradition of potters in the Beauvais region of France datin...

This early vase provides a rare glimpse into the making of a master. Auguste Delaherche turned the science of experimentation in ceramic ware into an art form. Coming from a long tra...

While there may have been no love lost for his early paintings, Eckmann had an endless fascination for the decorative potential of undulating water. The open spaces created by the me...

While there may have been no love lost for his early paintings, Eckmann had an endless fascination for the decorative potential of undulating water. The open spaces created by the me...

Secessionist Porcelain Lidded Box by KARL KLAUS (1889-1925) for SERAPIS WAHLISS, Vienna, c. 1911, hand-painted in gold and black enamels in a stylized geometric diamond and holly mot...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

This piece features dozens semi-precious moonstones. Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalw...

Exploring new firing and glazing techniques and their myriad effects on traditional forms was an exciting approach for many experimental turn-of-the-century ceramists. Here the acid ...

PIERRE-ADRIEN DALPAYRAT (1844-1910) After working nearly half his life as an itinerant faience painter and directing production for commercial porcelain manufacturers, Dalpayrat’s ey...

Shown at Exposition Universelle de Bruxelles, 1910. PIERRE-ADRIEN DALPAYRAT (1844-1910) After working nearly half his life as an itinerant faience painter and directing production ...

Much fuss is made about Dalpayrat’s signature red, but what many have not realized is that “Dalpayrat Red” refers not simply to a vivid red color glaze but just as often to a nuanced appearance of color resulting from the artist’s technical expertise navigating a complex play of minerals and various firing temperatures. Mossy greens, amber and chestnut tones dance together over Dalpayrat’s blood red base. The result is just as surprisingly modern as the geometric planes forming this asymmetrical vase...

PIERRE-ADRIEN DALPAYRAT (1844-1910) After working nearly half his life as an itinerant faience painter and directing production for commercial porcelain manufacturers, Dalpayrat’s ey...

"It is easy to understand why the rabble dislike cats. A cat is beautiful; it suggests ideas of luxury, cleanliness, and voluptuous pleasures." - Charles Baudelaire Iridescence, which changes in every angle of reflected light, is the perfect complement to a cat’s capricious nature. Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zsolnay in 1853 had evolved into a world-class ceramics factory by this time. Zsolnay walked away with the Grand Prix at the 1878 World’s Fair in Paris for its art pottery. Under the stewardship of Vilmos Zsolnay...