You are viewing a pair of terra cotta pottery vases, made by Haviland & Co in France, and decorated at the L'Atelier d'Auteuil Haviland, or the Workshop of Auteuil Haviland, by the Auteuil artist Jules Habert-Dys. The date is the 19th century, circa 1880.
In "Ceramique Impressionniste: Avec le Soutien de Haviland", on page 33 you can view a color photo of two vases painted by Habert-Dys, and on page 54 you can read a brief biography about the artist. In the "Evolution of Haviland China Design," on page 80, you can view a color photo of a ginger jar painted by the artist. In "Limoges: Deux Siecles de Porcelaine," there are a few references to Habert-Dys on pages 214 and 400. There is a good discussion of the Auteuil School and the Barbotine decorating of faience in the book, "Faience et Porcelaine de Paris" by Regine de Plainval de Guillebon, along with some nice color photos of pieces by Braquemond, Dammouse and others, but a truly exceptional book for discussion of the porcelain factories and decorators of Old Paris. For further reading on this type of art, I refer you to "Japonisme: Japanese Influence on French Art 1854-1910," and "Felix Bracquemond et Les Arts Decoratifs". Of course, I just gave a brief reference list here.
The vases are approximately 10 3/8" high, 8 ¼" long and 4 ¾" wide. There is a loss of glazing in various areas, mostly around the feet, and one tiny spot on the mouth of the vase on the right. I give photos and point to the more obvious areas with red circles and/or arrows. There is some crazing, because the Barbotine techniques of decorating will craze eventually.
The artist, Jules Habert-Dys was a friend of Charles Haviland. He painted Haviland terra cotta pieces at the time Felix Braquemond operated the Auteuil Workshop in Paris, along with Chaplet. Habert-Dys was considered to be one of the few exceptional artists to paint on the pottery pieces produced by Braquemond, using the Barbotine techniques of decorating created by Ernest Chaplet. Habert-Dys painted Impressionism flowers, influenced by the art of the Japanese and the Far-East, and done in an Art Nouveau style. The artist's work was on display at the World's Fair in 1889.
It was difficult to photograph these vases and capture the true colors. Part of the rarity of these vases is that Habert created a color that is a dark green, shading to lighter green, then to almost yellow-green. The colors look different under different lighting also. My photos are too dark if you think you are looking at black. The color is entirely shades of green, from dark-to-light, with the glorious Impressionistic flowers painted in bold daubs of peach, cream and orange-brown across the green. There are flowers on the front and the back of the vases.
In the Haviland book by Nora Travis, the author shows a ginger jar with a lid in the same shape of these vases, also painted by Habert-Dys. This pair of footed vases has an inner lip on the mouths, indicating that there could have been lids at one time. In my opinion, though, a placement of a lid will normally cause wear to the glaze around the inner lip, and as you can see in the photos, there is no such wear. I think that the artist painted the footed vases to be vases, and lids were not included. I discussed the vases with one scholar of Haviland, and he agreed that many times the pieces were decorated without the lids, because the artist wanted the function to be vases and not jars or pots.
The artist's marks are an overlapping "JH", and are incised on the front of each vase, above and a bit to the left of the right front foot.
The Haviland marks are incised or impressed into the bottom of each vase. On the left vase, the mark is more legible. On the right vase, the glaze has filled the mark in and it takes a strong magnifying glass to perceive the outlines of the letters. On the left vase you can make out the word "Haviland" and I think below it the word "Limoges." The artist's signature can be viewed in the fourth photo, and the Haviland mark can be viewed in the 8th photo.