HECTOR GUIMARD (1867-1942) (CREATOR OF THE MODEL) & MANU - Lot 5

HECTOR GUIMARD (1867-1942) (CREATOR OF THE MODEL) & MANUFACTURE NATIONALE DE SÈVRES. "Vase de Cerny" the model (prototype) initially designed around [1899] in response to a commission by the Direction de Beaux-Arts in view of the manufacture's participation in the Exposition Universelle, Paris, 1900, finally referenced in the catalog from [1904], one example presented at the Saint Louis Exposition (USA) that same year. Sculpture vase. Porcelain stoneware proof; the glaze features high-fire crystallizations. Monogrammed H. G. underglaze towards the base, bears the triangular date stamp of the manufacture S. 1904 and the rectangular stamp SÈVRES under the base. H_27.2 cm Restoration to an openwork handle. Public collections: Sèvres - Musée national de la céramique - Two Vase[s] de Cerny are preserved in the collections of this institution; one under inventory number MNC. 16112, the other under MNC. 15813. Exhibitions: - Exposition Universelle de Saint Louis (USA), April 30 - December 1, 1904 - A Cerny Vase was presented at this event. - L'Art de la poterie en France de Rodin à Dufy - Exhibition organized at the Musée national de la céramique in Sèvres, from June 9 to September 25, 1971. A Vase de Cerny was presented at this event under catalog number 266 (reproduced on page 58 of this publication). Bibliography: -Guimard - Catalogue of the exhibition held at the Musée d'Orsay in Paris from April 13 to July 26, 1992, and at the Musée des Arts décoratifs et des tissus in Lyon, France. Arts décoratifs et des tissus in Lyon from September 25, 1992 to January 3, 1993, Éditions de la Réunion des musées nationaux, Paris, 1992. Two Vase[s] by Cerny reproduced on page 263 under references 3 and 4. - Frédéric Descouturelle and Olivier Pons - La Céramique et la Lave émaillée d'Hector Guimard - Éditions du Cercle Guimard, Paris, 2022. Vase(s) de Cerny reproduced on pages 92, 93, 95, 97, 99, 100, 101. - Felipe Ferré (photographs) and Maurice Rheims (text) - Hector Guimard; architecte d'art à Paris - La Bibliothèque des Arts, Paris, 1985. Two Vase[s] by Cerny reproduced on pages 190 and 191. -- Hector Guimard - La céramique - La Manufacture Nationale de Sèvres. Hector Guimard's (1867-1942) interest in ceramics was rooted in the decoration of his architectural creations. His collaboration with Maison Muller & Cie in the early 1890s gave rise to a number of construction and decoration projects, including the Hôtel Roszé, the hotel, the Villa Jassedé and the Hôtel Delfau, where he had the opportunity to explore the stoneware and terracotta decor, glazed and unglazed, typical of Muller's production. In designing his buildings, Guimard took existing models from the factory's catalog - notably floral and plant motifs accompanied by finials - but at the same time conceived new compositions. Following this collaboration, Guimard continued his experiments in ceramic decoration with the Castel Béranger project - the fruit of his association with the companies Gilardoni & Brault and Bigot. His research into ceramics intensified and diversified to such an extent that the architect came to devote a great deal of his time and energy to the material, no longer simply as a means of decoration, but as the protagonist of his designs. Deeply involved, Guimard took part in the Exposition de la céramique et des arts du feu in 1897, with a body of more precise and accomplished creations. The ceramic production that Guimard now mastered - thanks in part to his exchanges with other ceramists, as was the case with Edmond Lachenal (1855-1948) - reached its apogee towards the end of the 19th century through his collaboration with the Manufacture de Sèvres. Although the process of rapprochement and reciprocal influence between the artist and the manufactory had begun some years earlier, the formalization of the link between Sèvres and Guimard took place in 1899, when the architect was commissioned and paid to produce two models "for participation in the 1900 Universal Exhibition", which was to be inaugurated the following year. These were two completed creations, the Vase de Chalmont and the Vase de Cerny, which were to prove highly successful for Guimard and the factory. Later came the Jardinière des Binelles, a large, pedestal-mounted planter whose imposing dimensions and slender lines were unmistakably reminiscent of Guimard's architectural work. The choice of porcelain stoneware and high-fire crystallization, in the manufacture of these pieces proved extremely appropriate. These three models were undeniably witnesses to an attempt at renewal within the