Art Nouveau & Art Déco - Gallery in Monaco
Showing 1–24 of 110 results
PLANTER, “QUI S’Y FROTTE, S’Y PIQUE”, 1909
Grès with green, yellow, pink, purple and beige glazes
Signed J. Mougin and J. P. Mougin céramistes underneath
Numbered 3144 and Esquisse de J. Mougin
34 cm. high
39 cm. diameter
Exhibition
Exposition Internationale de l’Est de la France, Nancy, 1909
Bibliography
Art et Industrie, January 1912
Catalogue de la maison Mougin, 1914, ill. pl. 1, n. 2
VASE, 1913
Ceramic with a polychrome stylized floral decor in a Persian style
Signed in gold and dated 1913
28 cm. high
“LA DOULEUR”, 1907
Grès overlaid with green glaze
Signed and dated
35 cm. high
32 cm. wide
19 cm. deep
Bibliography
Marc Ducret and Patricia Montjaret, L’école de Carriès, art céramique à Saint-Amand-en-Puisaye
1888-1940, Paris, éditions de l’Amateur, 1997, similar example ill. p. 125
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, similar example ill. p. 349
A SYMBOLIST FIGURAL GROUP, CIRCA 1897
Agnès de Frumerie, Attributed to (sculptor)
Earthenware, featuring three nudes emerging from waves, in shades of blue and mauve
Signed
16 cm. high
21 cm. long
Bibliography
Quoted by Louis de Fourcaud, Revue des Arts décoratifs, 1897, p. 231:
“Quelques vases à figurines agitées, pleines de bonnes intentions et d’incertitudes techniques,
de Mme Kjelberg de Frumerie ont été traduits par M. Lachenal en une pâte céramique à couverte mate,
vert pâle ou vert conjugué de bleu”
VASE, 1913
Enamelled floral decor with applied openwork design
Signed with the monogram of the artist; marked Methey 1913
32 cm. high
Exhibition
Exposition Universelle, Gand, 1913
VASE, CIRCA 1900
Polychrome earthenware with a design of flower buds and leaves
Signed KG/Lunéville/Majorelle
48 cm. high
VASE “CHARDON”, CIRCA 1900
Glazed stoneware
28.5 cm. high
Similar example at the musée de l’Ecole de Nancy
Exhibition
Exposition de la Céramique, Esplanade des Invalides, Paris 1900
Pavillon de Marsan, Paris, 1903
Nancy 1900 – Jugendstil in Lothringen, Münchner Stadtmuseum, 28 August 1980-6 January 1981,
n. 410, n. 67
Céramiques végétales – Ernest Bussière et l’Art Nouveau, musée de l’Ecole de Nancy,
21 June-25 September 2000, ill. p. 46, n. 48
Bibliography
La Lorraine, July 1900, ill. p. 27
Der Moderne Stil, volume 4, Julius Hoffmann junior, ill. pl. 50
Klopp, Gérard, Nancy 1900 – Rayonnement de l’Art Nouveau, 1991, n. 217
Jean-Paul Midant, L’Art Nouveau en France, L’Aventurine, Paris, 1999, ill. p. 35
VASE, 1924
Polychrome enamelled crackled ceramic, featurig three stylized women sitting in different postures
Signed R & B and dated 1924
32 cm. high
Bibliography
Pierre Cruège René Buthaud 1886-1986, les éditions de l’amateur, 1996, front cover page and p. 79
VASE, CIRCA 1900
Glazed ceramic
The pierced base in brown ceramic
Signed, dated and located T. DOAT 1900 Sèvres underneath
16.5 cm. high
“VASE DE CREUSOT”, 1898
Porcelain, decorated with irises
Bearing the manufacturing seal for 1898 and decoration seal for 1901
Signed in fine gold L. MIMARD
45 cm. high
“CHARDONS EN FLEURS” VASE, CIRCA 1900
Openwork enamelled porcelain
Signed M.A. Rörstrand 60056 and numbered 32
26 cm. high
CUP AND SAUCER ” TREFLE”, 1904-1906
Porcelain highlighted with a gilt and green enamelled decor
Bearing the triangular manufacturing seal for 1904 and the circular decoration seal for 1906
The same set is part of the collections of the Adrien Dubouché museum, Limoges, France and in the Los Angeles County Museum
According to the Sèvres Manufactory archives, this model was first edited in 1906
The cup: 6 cm. high
The saucer: 14 cm. diameter
COLOQUINTE VASE, 1920
Porcelain, the ribbed body enamelled in cherry-red pink and tinged with greenish-white;
blisters on the gourd are enamelled in blue; the stem is enamelled in white and pink
Signed, marked Sèvres and dated 1920
10 cm. high
Provenance
Renaud sale, Jean-Pierre Camard expert, Atelier de Taxile Doat , Drouot, Paris, 11 May 1973,
lot 18 illustrated on the cover of the catalogue
A MUSTARD POT WITH COVER AND SPOON, CIRCA 1900
Sang-de-boeuf glazed ceramic and chased silver mount decorated with mustard leaves and seeds
Signed A D and S, stamped Cardeilhac, with French Minerva and silversmith marks under the base
9 cm. high
Provenance
Baron Rodolphe Planta de Wildenberg, Parisud Enchères, Versailles, estate sale, 24 October 1999
VASE, CIRCA 1900
Signed LACHENAL and bearing the monogram of Decœur
18.5 cm. high
POT, CIRCA 1900
Glazed ceramic
Signed and numbered 357
17.5 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p. 298
PITCHER, CIRCA 1900
Sang-de-boeuf glaze, decorated with a relief decoration of grape
Monogrammed, marked with an impressed trefoil, and numbered 3-12
36.8 cm. high
Exhibition
Kunstgewerbemuseums der Stadt Köln, 10 April-28 July 1974 for another example of this design
Kestner-Museum Hannover, 22 August-3 November 1974 for another example of this design
Hessischen Landesmuseum Darmstadt, 12 December-2 February 1975 for another example of this design
Bibliography
Sammlung Maria und Hans-Jörgen Heuser, Französische Keramik zwischen 1850 und 1910, Hamburg, Prestel-Verlag München,
1974, plate n. 21 and p. 218, n. 167 in the exhibition catalogue
ROUND PLATE LANDSCAPE, CIRCA 1874-1876
Hard-paste porcelain, manufactured at Charles Haviland & Co, in the Auteuil workshop
after a design by Félix Bracquemond
Signed with the B monogram
50 cm. diameter
Bibliography
La céramique “impréssionniste” / Emaux atmosphériques, Musées de la Ville de Rouen,
Musée de la Céramique, 2010, a similar example is illustrated p. 40, 41 and p. 98 n. 16
One other example with a variation of colours is known to exist in a private collection
The painter and engraver Felix Bracquemond (1833-1914) is known to have been among the first artists
to discover Japanese art and incorporate it in his work.
Naturally attracted to ceramics and after having worked with Theodore Deck for a short while he designs for
the editor and retailer Eugene Rousseau the famous “Service Rousseau” which was displayed at the 1867 Exposition Universelle.
From 1872 until 1881 he becomes the artistic director of Charles Haviland’s Atelier d’Auteuil and continues to design porcelain
wares including the other famous “Service Parisien”. It is there that he develops the production of “Impressionist barbotines”.
A serie of imaginary landscapes is designed, of which our plate is an example, calling for the technical prowess of painters
rather than ceramists and using strong coloured enamels reminiscent of the work of Paul Gauguin.
It is believed by experts that they were never put into production and only a few examples and their drawings are known to
exist and are mainly in the hands of Haviland’s descendants.
A SET OF FOUR PLATES, CIRCA 1900
Enamelled earthenware; butterflies and floral decoration in shades of green,
blue and pink on a pale blue background
Bearing the monogram AD S at the back (Albert Dammouse Sèvres)
24 cm. diameter
VASE, 1905
Trefoil neck; decorated with flowers and three flowers in high relief
Red glaze on mottled brown ground
Signed by hand with a diamond point and dated 1905
7 cm. high
Service B
Designed by Alexandre Sandier
Impressed with Manufacture stamp for 1903 and Decoration stamp for 1905
25.2 cm. diameter
Exhibition
Sèvres 1900, Musée des Beaux-Arts de Nancy, 9 December 1996-27 January 1997, ill. p. 52
VASE, CIRCA 1900
Polychrome porcelain with four openwork handles
Marked Porcelaine Nlle and numbred 7031
25 cm. high
PLATE, CIRCA 1900
Grés, decorated with honesty leaves
Numbered 4234, stamped signature
18.6 cm. diameter
WALL PLANTER, CIRCA 1878
Earthenware, japanese decor in semi-relief of a bird fisching a carp
Made in the Toul workshop
Signed
34 cm. diameter