EXCEPTIONAL AND RARE RELIGIOUS ALTARPIECE, CIRCA 1902-1910
Koloman Moser (attributed to).
Featuring a temple with the Christ on the cross and two angels in marquetry of macassar ebony,
incrustation of mother-of-pearl, copper and ivory
The lower part is represented by a pattern design of cubes in marquetry
Inscribed IHS (iota-eta-sigma) or (Iesus Hominum Salvator) 55 cm. high
36 cm. wide
25.5 cm. deep
Probably executed by Koloman Moser for one of the many churches designed and built by himself
between 1902 and 1910. We can unmistakably combine the design and technique of marquetry
which combines the inlaying of ivory, copper, mother-of-pearl and exotic wood with the secretary
made in 1902 by Koloman Moser at Charlottenlund Castle near Stockholm
The stylization of the letters IHS corresponds to the work and research on the lettering and
words that occupied Koloman Moser throughout his career
“ANCOLIE BLEUE” VEGETABLE DISHES
Exceptional pair of silver covered bowls. With their trays
The cover decorated with an ivory carved seed
With French Minerva mark by CARDEILHAC PARIS and after the drawing by Lucien BONVALLET, circa 1899
Vegetable dishes: 31 cm. long (with the handles)
Diameter of the trays: 34 cm.
Exhibition
Exposition Universelle, Paris, 1900
“Le surtout de table exposé par M. Cardeilhac a retenu tous les examens (reproduit dans l’Art décoratif, août 1900). Et de l’avis unanime, c’était le groupement le mieux entendu de l’orfèvrerie exposée. La forme basse et bien d’aplomb du surtout et de la jardinière, compensée par le bouquet plus trapu des flambeaux et l’interposition des coupes à fruits laisse le mouvement libre pour toutes les pièces du service, comme il permet à chaque invité de voir l’ensemble harmonieux des cristaux, des fleurs, du linge apaisé, et de jouir en un mot du luxe du décor, sans être tenu à des souvenirs archaïques. A une époque où l’orfèvrerie alternait entre les curiosités de la petite sculpture appliquée et les reconstitutions des anciens styles, l’atelier Cardeilhac se maintenait à une réputation très sérieuse par le soin qu’il apportait à toutes les pièces de table. Sa coutellerie est connue dans l’Europe entière et les spécimens en sont aisément reconnaissables. Ce même soin, il l’a apporté à toutes les œuvres de grosserie, et les cafetières comme les légumiers, les chocolatières, les soupières, la platerie sont vraiment des œuvres de la recherche la plus moderne et la plus séante qui soit. Le mouvement floral a fourni les décors admirablement appropriés à chacune des formes, sans en compromettre ni l’assise ni la ligne. Les photographies des différents objets que nous reproduisons indiquent la supérieure entente de ces orfèvreries, dont les galbes, les contours et les très beaux plans décoratifs ont été trouvés et dessinés par M. Bonvallet, un véritable artiste dont les cartons seront à rechercher”. Léon Maillard, Orfèvreries, Orfèvres, l’Art Décoratif, février 1901, page 206
Bibliography L’Orfèvrerie à l’Exposition, Art et Décoration, December 1900, ill. page 163
“LA DANSE DU VENTRE, SCENE DE HAREM”, 1892
Fire engraved wood panel with gold and silver highlights
Signed lower left and dated 1892
160.5 x 58.5 cm.
With the frame: 170 x 69 cm.
In 1892, Victor Prouvé executed his first two major panels using the pyrography technique which he exhibited at René Wiener’s shop. Both were inspired by oriental dancers. One depicted Javanese dancers (location unknown) and the other is our present example
Exhibition Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin..., Nancy, musée des Beaux-Arts,
musée de l’Ecole de Nancy, 6 May-28 August 2006, ill. p. 191, n. 110 in the exhibition catalogue Victor Prouvé 1858-1945, Musée des Beaux-Arts, Nancy, 17 May-21 September 2008, ill. p. 147, n. 30 in the exhibition catalogue
Bibliography
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 169
Provenance
Collection of Mr Solvay, acquired directly from Victor Prouvé for 450 francs
BALUSTER VASE, CIRCA 1920
Hammered silver, decoration of bunch of grape and vine leaves in semi-relief
Signed jean serriere, with foundry mark A HEBRARD and Paris
Height: 14 cm.
“ALGUES MARINES” OR “LEZARD ET CORAIL”
Gypsography in two colors
From an edition of 100, from “L’Estampe Originale” published by André Marty and Roger Marx
Numbered 62, signed in pencil. The double sheet on the back that contains the dry seal is missing
Similar model (n. 49) at the Fine Arts Institute of San Francisco, Achenbach Foundation for Graphic Arts, 1963.30.1523. Another one at the Minneapolis Institute of Art. Another one (n. 86) at the National Gallery of Art, Washington
Exhibition Sea Algae (Algues marines), 1893, another example in the collections of the Metropolitan Museum of Art, New York, Accession number 22.82.1-35
BEAKER, 1898
Chased and repoussé silver, silver gilt, pearls
Stamped Michelsen / Danish mark / 98 / O M / V W / SG ( for assay master Simon Groth) / H. Slott-Möller / del. / 1898
Height: 16 cm.
Anton Michelsen (1809-77) opened his first shop in Denmark in 1841. For several generations, he was the leading firm of gold and silversmiths, with significant influence on Danish jewelry design during the 19th and early 20th century. A Michelsen was among the first and the last to work in the Old Nordic style.
More widely known as a painter, Harald Sløtt-Moller worked for the Anton Michelsen Silversmithy during the Skønvirke period of design, circa 1880-1920. Skønvirke was the Danish equivalent of the English Arts and Crafts, German Jugendstil and French Art Nouveau movements. Sløtt-Mollers pieces, as evident in the offered lot, were influenced by the Japonisme style which grew in popularity following Japan’s exhibition at the Paris World’s Fair in 1867.
A relatable example of this model is in the permanent collection of the Musée d’Orsay, accession no. OAO 1297, and a teapot by the designer, also in the Japonisme style, is in the collection of the Design Museum, Denmark, accession no. 11a-b/1991.
MANTELPIECE SET, CIRCA 1900
Bronze with a green patina, enamelled sheet metal and gilt bronze for the dial mount, consisting of a pendulum with enamel dial signed in Brussels with metal suspension movement, with two candelabras with three lights with vegetal patterns
Stamped A D. Mougin deux médailles
Height: 45.5 cm. and 41 cm.
VASE
Copper, repoussé and entirely hammered with a decor of algae
The neck is enamelled and signed by Paul Bonnaud Limoges. The base is signed Brandt
In its original fitted box
Height: 15 cm.
VASE, CIRCA 1913
Bronze with a medal patina decorated with stylized eucalyptus
Signed, with intertwined initials. Bearing the monogram of the artist
Height: 18.5 cm.
Exhibition
Salon des Artistes Français, Paris, 1913
Bibliography
– “Dans cette section (du Salon des Artistes Français) notre compatriote, Georges Barboteaux, de Saintes, vient d’obtenir cette année la troisième médaille.
Il avait exposé une vitrine contenant les objets suivants :
1° Un miroir en argent…… ;
2° Un vase bronze décoré verticalement, par tiers, de trois bandes d’eucalyptus
stylisés en bas relief;
…..
9° Un petit vase argent (bibelot, objet de vitrine), deux bourdons, recoquevillés de chaque côté du vase entre le col et la panse, semblent arrêtés à butiner ; leurs ailes viennent s’étaler et se fondre dans la partie supérieure du col (inventaire n°2184)”. L. Tider-Toutant, Les Beaux-Arts dans l’Ouest – Georges Barboteaux, ciseleur-décorateur, Le Pays d’Ouest, n. 13, October 1913
TABLE CLOCK, CIRCA 1900
Gilt chased bronze on a black and gold lacquer background featuring a seated Chinese. Three dials indicating the time, the humidity and the temperature
Above three porcelain swans, with flowering foliage resting on 4 feet shaped as acorns
Signed BOIN-TABURET
Height: 32 cm.
MIRROR, 1896-1897
Rectangular shape in wood, the frame in repoussé copper with a dark brown patina
Design of trees, reeds and three women
Signed lower left
45 x 60 cm.
Exhibition Société Nationale des Beaux-Arts, 1897, n. 190-1 Les Industries d’Arts au Salon de la Libre Esthétique dans le Musée d’Art Moderne de Bruxelles, 1897 Exposition Carabin, Musée Galliéra 1934-1935 Exposition Carabin, Galerie du Luxembourg, Paris, 1974
Bibliography Catalogue de l’exposition L’Œuvre de Rupert Carabin 1862-1932, Galerie du Luxembourg, Paris, 1974, p. 178 ill. under the n. 82
Catalogue de l’exposition L’Art Nouveau : La révolution décorative, 18 April 2013 – 8 September 2013, Éditions Skira, 2013, Paris, the model in bronze ill. p. 59
LARGE FOOTED COUPE, CIRCA 1907-1910
Patinated copper inlaid and applied with silver flowers and leaves
Bears the artist’s seal and signed by hand underneath H. Husson
Diameter: 30.5 cm.
Height: 7 cm.
SET OF THREE RECTANGULAR PLAQUES, AFTER 1918
Mother-of-pearl, with a design in light relief of women in the antique style
Signed Grandhomme Morel
Height: 8 cm.
IMPORTANT VASE, CIRCA 1900
Bronze with a brown patina, decor in light relief of several figures. The handle in the shape of a naked woman
Signed
Height: 51 cm.
Exhibition
SNBA 1895
Bibliography
The Paris Salons, ill. p. 372 (model in pewter)
