René Crevel

"Les Arts de La Table au Salon des Artistes Décorateurs," Art et Décoration, July 1929 supplement, p. III (for two plates decorated by Crevel) 
Pierre Migennes, "Le IVe Exposition de la Décoration Contemporaine," Art et Décoration, March 1930, p. 90 (for a related tapestry designed by Crevel)
Raymond Cogniat, "Technique et Esthetique des Tapis Nouveaux," Art et Décoration, October 1931, supplement p. 124 (for a related tapestry designed by Crevel)
P. Lahalle, "La Manufacture Nationale de Sèvres et Ses Dernières Créations," Mobilier et Décoration, February 1928, p. 91 (for the same vase form decorated by Henri Patou)
Marie-Rose Carre, "René Crevel:  Surrealism and the Individual," Yale French Studies, 1964, pp. 74-86 (for a discussion of Crevel)
Renee Winegarten, The New Criterion, February 1987, p. 66 (for a discussion of Crevel)
Karen McCready, Art Deco and Modernist Ceramics, London, 1997, p. 72 (for a related vase decorated by Jean Beaumont)
Années Folles et Art Deco:  Le Renouveau, Paris, 2007, p. 55 (for a discussion of the firm)
Liana Paredes, Sèvres Then and Now:  Tradition and Innovation in Porcelain, 1750-2000, London, 2009, pp. 108-111 (for a discussion of the firm)

Overall in excellent original condition. The vases have both been examined under blacklight and show no evidence of restoration and have been confirmed with a specialist in the European ceramics department. Each of the vases present when viewed in person with a magnificent painterly rendering of the two subjects – a male figural group and a female figural group. In the catalogue illustration, the vases are illustrated with one of each of the decorative schemes visible. Each are rendered with deeply saturated colors throughout and with intricate detailing, which gives the figures, as well as the stylized surrounding, great depth. The grey portions of the foot design are painted elements made to reference metal mount devices, but the entirety of both vases are articulated in ceramic. Each of the vases present with a few scattered minute surface imperfections, which are inherent in the production. The surface irregularities are small and minor and do not impact the overall visual presentation of the vases. The surfaces are hand-painted and therefore there are small stylistic differences, and color variation in the two vases. The vase presented on the left in catalogue with more white ground visible in the upper register. Each of the vases with a few small and minor surface scratches consistent with gentle handling, which are only visible on very close inspection. The vase on the right page in the catalogue illustration with two minute areas of glaze interruption (less than a 1/8 inch in length) which are possibly inherent, and in areas outside the main decorative schemes. The vase on the left in the catalogue illustration with two adjacent areas to the lower edge of the foot (he largest one inch in length), which are lighter in color. This coloration is under the glaze and therefore is inherent in the design and not an issue of condition. Crevel’s designs for Sèvres epitomize the modern direction of the firm and are rare to appear on the auction market. This offering, as well-matched pair of vases, is thus extremely rare. A vase with the same decorative motif is in the permanent collection of The Metropolitan Museum of Art in New York. It is possible that these vases were designed with lids, which are presently lacking. These vases are each distinguished by the outstanding and superbly articulated decoration and display intensely saturated colors throughout. The vases present beautifully in person with great scale.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Inspired by current trends in French Surrealism and Russian Avant-Garde painting, Georges Lechavallier-Chevignard transformed the artistic direction of Sèvres in 1920 and hired noted artists and designers to construct the modern vision of the firm. Designs by Félix Aublet, Anne-Marie Fontaine,  Émile-Jacques Ruhlmann, and Henri Rapin introduced bold shapes and decorative schemes informed by the latest styles of the era.  René Crevel, a rising star in the Surrealist movement, joined these innovators and began decorating for the Sèvres firm in 1925.

Crevel, a youth amongst his artistic peers, was a handsome tragic figure full of passion, creativity and nostalgia. He became a devout follower of André Breton and the Surrealist ideals, while also finding guidance in the principles of Communism. His works exhibited his affinity for the earlier Fauve painters from whom he drew both significant artistic and theoretical inspiration.  Crevel exercised his diverse skills when he collaborated with Paul Follot to design modernist tapestries for the 1925 Exposition des Arts Décoratifs et Industriels Moderne in Paris.  His political views and open bisexuality made Crevel a polarizing figure amongst the artists of the time. Tragically, Crevel took his own life just before his 35^th birthday, and left behind only a small number of magnificent works in the disciplines of ceramics, tapestry design and the literary arts.

A vase with the matching decorative scheme is in the permanent collection of The Metropolitan Museum of Art, New York.