Rating and value of boxes, inkwells and vases by Eugène Feuillâtre

If you own a work by the artist Eugène Feuillâtre or based on his work and would like to know its value, our state-approved experts and auctioneers will guide you.

Our specialists will carry out a free appraisal of your work, and provide you with an accurate estimate of its value on the current market.

Then, should you wish to sell your work, we will direct you to the best possible arrangement to obtain the optimum price.

Artist's rating and value

An innovative 20th-century painter and glass artisan, Eugène Feuillâtre enjoyed great success during his lifetime. Today, his works enjoy a stable, high market value.

Globally quite rare in auction rooms but highly prized by collectors, Feuillâtre's objects soar at auction and can fetch several hundred thousand euros.

As evidenced by his perfume bottle dating from 1900 - 1902, which sold for over €134,200 in 2017, while it was estimated at between €56,000 and €78,000.   

Order of value from the most basic to the most prestigious

Style and technique of Eugène Feuillâtre

Eugène Feuillâtre (1870 - 1916) was a French silversmith associated with the Art Nouveau movement. He specialized in decorative art objects such as inkwells, boxes, flasks, cubbyholes and small office objects. His work follows in the footsteps of the naturalist and symbolist goldsmiths of the Belle Époque.

The typology of his work includes inkwells (often in pendants or pairs), circular or ovoid boxes, decorative flasks, and utilitarian objects transformed into artistic pieces. His production is essentially concentrated on small and medium formats, intended for refined bourgeois use.

His decorative vocabulary is naturalistic and organic in inspiration, with foliage, flowers, fruit, feathers, insects and aquatic references. Decorations are stylized, rhythmic and integrated into the shape of the object. There is no rigid symmetry, but a predominance of curved lines.

The shape of the object is thought of as an organic support for the decoration, and not as a simple container. The decor is often in slight relief, embracing curved volumes. There is a constant dialogue between surface and motif, typical of Art Nouveau.

The materials used include metal for decorative alloys, inkwells and desk objects, and silver for boxes and precious objects, with frequent use of mixed materials (metal, silver and sometimes inserts). There is no monumentality; preciousness and finesse take precedence.

He works goldsmiths in the traditional way, with hammering, fine chasing and decorative engraving. Decorations are sometimes obtained by repoussé or resist engraving. The finish is meticulous but not excessive, seeking a lively effect rather than an academic polish.

Surfaces are enlivened by light textures (ribs, striations, repeated motifs), with a contrast between smoothed and decorated areas. Patinas are natural or the silver is left clear, without decorative overload.

His aesthetic is close to the École de Nancy, Parisian Art Nouveau and late 19th-century naturalistic goldsmithing. There are stylistic similarities in his work with Gallé (decorative spirit), without the glasswork.

Feuillâtre transforms everyday objects into poetic, symbolic objects. He values the natural world through a refined decorative interpretation.

He combines function and ornament, a major characteristic of Art Nouveau. He is a representative craftsman-creator of this movement, and his work is today mainly identified by the decorative arts market. His output is relatively rare, which sustains collector interest.

He is today one of the most prized Art Nouveau artists alongside Archibald Knox, Edgar Brandt or the productions Vever.

The life of Eugène Feuillâtre

Eugène Feuillâtre (1870 - 1916) was an artist mainly active between 1895 and 1910, a period corresponding to the apogee of Art Nouveau. His work is set against the backdrop of the Belle Époque, marked by the revival of the decorative arts and the promotion of arts and crafts.

He evolved in an environment where goldsmithing was in strong demand from the bourgeoisie for refined, utilitarian and decorative objects. He was probably trained in the traditional goldsmith's trade, following the model of the Parisian or regional workshops of the late 19th century.

He belongs to the category of goldsmith-creator, combining artistic conception and technical know-how. His name appears as a commercial and artistic signature, attesting to a production identified and distributed under his patronym.

His activity is centered on the creation of decorative art objects : inkwells, boxes, flasks, desk objects. His production was aimed at a cultivated, affluent clientele, sensitive to the stylistic innovations of Art Nouveau. His works circulated both privately and on the luxury goods market at the end of the 19th century.

He participated fully in the Art Nouveau aesthetic through his naturalistic inspiration, use of curved, organic lines and integration of decoration with form. He is part of a generation of silversmiths who broke with historicism to propose a modern decorative language. His works are probably presented in specialized circuits.

There is no documented institutional career (major Salons or official positions), which is quite common for independent silversmiths of this period. His recognition is essentially posthumous. Today, he is identified as a typical and sought-after representative of French Art Nouveau silversmithing.

Market segmentation and artist rating

The works in circulation are mainly Art Nouveau inkwells (often in patinated metal), which constitute the emblematic and most sought-after segment. There is a strong demand for circular or ovoid boxes, mainly in silver, with naturalistic decoration.

Rarer, decorative flasks can also be found, as well as office and display objects, which form part of a complementary market, with high decorative interest. The materials found on the market are mostly metal for decorative alloys, and silver, which enjoys a premium for rarity and material.

Small formats (palm objects, boxes smaller than 8 cm) have very good liquidity. Medium formats (inkwells, large boxes) are the most active and valued segment. There are no large formats, which is in line with Art Nouveau silverware production.

The most sought-after decorations are peacock feathers, foliage and fruit, and insects ; but generally speaking rich, legible and well-preserved decorations take precedence over worn or simplified ones.

Valuation criteria include marked Art Nouveau typicity (curved line, organic decoration), the quality of the chasing and legibility of the motif, the state of preservation (extent of patinas, absence of bumps or restorations), the provenance and rarity of the model.

The main market is in France, but works can also be found in Switzerland and the UK. Liquidity is very good for typical inkwells and boxes, and excellent for well-decorated silver objects. The collectors' market is not very speculative but steady, with a growing interest in decorative and collectible Belle Époque office objects. Supply is limited, supporting prices despite moderate transaction volumes.

Recent results show a moderate upward trend, particularly for silver coins. Eugène Feuillâtre occupies a solid segment of French Art Nouveau silverware. Metal inkwells form the core of the quotation, and silver boxes represent the most qualitative and valued segment.

Recognizing the artist's signature

The artist's works are not necessarily signed. Hallmarks can also be found on jewelry. To be sure of the authenticity of your object, it's best to consult a specialist.

Expertise your property

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