Art Nouveau & Art Déco - Gallery in Monaco
Showing 241–264 of 581 results
SMALL CASKET, CIRCA 1900
Pâte d’émail
Signed
5 cm. high; 8 cm. long; 5 cm. wide
The mount attributed to Castel-Cléret (the Société Nationale des Beaux Arts catalogue
of 1910 mentions Brateau objects mounted by the firm of Castel-Cléret).
Bibliography
Janine Bloch-Dermant, Guidargus de la Verrerie, 1988, ill. p. 323
“PETITE FILLE”, CIRCA 1900
Grès with ocher-green glaze with blue streaks
Small restauration on the base
11 cm. high
7 cm. width
“ANDROMEDE”, CIRCA 1900
Bronze with gilt and green brown patina
Titled and signed
28 x 10 x 11 cm.
“STEHENDES MÄDCHEN” (“L’ENFANT”), CIRCA 1901
Bronze with a brown patina
Signed
20.5 cm. high
Bibliography
Pierre Kjellberg, Les Bronzes du XIXème siècle, Dictionnaire des sculpteurs, les Editions de l’Amateur, 1989, model mentioned p. 379
SET OF 6 SPOONS AND A SUGAR TONG, CIRCA 1900
Silver with a floral design
In its fitted box
With French Minerva mark and silversmith mark
Spoons: 11.9 cm. long
Sugar tong: 10.5 cm. long
PAIR OF VASES, CIRCA 1900
Marble. Gilt bronze mount with a design of thistle leaves
50 cm. high
SERVING SET, CIRCA 1900
Vermeil, comprising 12 spoons and a shovel
With an incised and patinated design of flowers; each different
The handle is openwork and decorated with bellflowers
In its fitted box of la maison Ch. Dubret, 83 rue de la Liberté, Dijon
With French minerva mark and silversmith mark (PG & Cie) attributed to Pierre Galli
Spoon: 14 cm. long
Shovel: 26.7 cm. long
COFFEE SERVICE “FENOUIL”, 1898
White porcelain (PN) glazed white with green highlights comprising coffee pot, milk pot, sugar bowl, two cups and saucers and matching tray
Bearing the manufacturer’s oval stamp for 1898 under each piece
Exhibition
Sèvres 1900, Musée des Beaux-Arts de Nancy, cup and saucer ill. p. 33 in the exhibition catalogue
1900, Galeries nationales du Grand Palais, Paris, 14 March-26 June 2000, ill. p. 282, no. 301 in the exhibition catalogue
Bibliography
La Décoration Moderne, XIIIème année, 1905-1906, pl. 7
Frédéric Descouturelle, Olivier Pons, La céramique et la lave émaillée d’Hector Guimard, Edition du Cercle Guimard, p. 12
“DANSEUSE AUX FLAMBEAUX A DROITE”, N. 15, 2eme GRANDEUR, CIRCA 1900
Biscuit, the carved bases with a relief decoration of leaves and cabochons highlighted with gold
Height of the sculpture: 38 cm.
Height of the base: 11.2 cm.
The model exists in two different heights: 57 and 38 cm. Between 1901 and 1923, 59 examples of each version
were executed. The bases were bought directly from the Sèvres Factory.
This series is part of a set composed of fifteen different models that were presented at the Paris Exposition Universelle
of 1900. A complete set was given as a diplomatic gift to the Csar and Empress of Russia in October 1901.
Other complete sets are in the French Embassy in Prague, at the Victoria and Albert Museum in London
and at the Musée national de Céramique at Sèvres
Exhibition
Société Nationale des Beaux-Arts, 1897, section sculpture. A. Léonard exhibits 10 models representing le jeu des écharpes
Exposition Universelle, Paris, 1900
Bibliography
Émile Bourgeois & Georges Lechevallier-Chevignard, Le Biscuit de Sèvres, tome II, Pierre Lafitte & Cie, Paris, 1909, ill. pl. 17, no. 1119
Agathon Léonard Le geste Art nouveau, Musée d’Art et d’Industrie, Roubaix and Musée département
de l’Oise à Beauvais, 2003, ill. p. 48, no. 23
“VASE DE CLERMONT” C PN, 1903
White porcelain glazed yellow and green on a pink and green background; carved and patinated bronze mount with a pinecone motif
Bearing the manufacturer’s stamp for 1908
64 cm. high
44 cm. diameter
Bibliography
Alexandre Sandier & Georges Lechevallier-Chevignard, Formes et décors modernes de la Manufacture Nationale de Sèvres, 1913, pl. 16, for two similar vases decorated by Genevieve Rault with bronze bases
PITCHER, CIRCA 1900
Gilt bronze decorated with a swan and water lilies
41.7 cm. high
Signed
Exhibition
Exposition Universelle, Brussels, 1897
Charleroi Exhibition, 1898
Bibliography
“Un service à toilette en vermeil et en cristal, d’une étonnante richesse, doit aussi être mentionné. Le thême du décor, c’est l’aurore, le réveil de la nature. Sur la pièce principale, c’est-à-dire le broc, est représenté en demi-relief un cygne qui s’ébat dans un étang, que le soleil éclaire de ses feux et à la surface duquel s’étalent des feuilles de nénuphars. Enveloppant le contour du broc de ses deux ailes à moitié ouvertes, comme pour faire sa toilette, le cygne tord son long col dans un geste nonchalant, et son bec s’allonge jusqu’à l’orifice du récipient pour en aspirer l’eau. L’idée est originale, charmante ; il s’en faut de peu que l’œuvre ne soit parfaite”. Victor Champier, L’Exposition Universelle de Bruxelles, La Revue des Arts Décoratifs, 1897, p. 390. Illustration of the pitcher p. 361
The Studio, November 1898, ill. p.136 (charleroi exhibition).
“SILHOUETTE LA BERTHON CHINEHOLD”, CIRCA 1900
Glazed grès
Bearing a label Silhouette La Berthon Chinehold Grès Dalpayrat
17.5 cm. high
“LE COUP DE VENT”, CIRCA 1900
Glazed grès
Bearing a label Silhouette La Berthon Chinehold. Grès Dalpayrat; bearing the manufacturer’s stamp
15 cm. high
VIDE-POCHE, CIRCA 1900
Red, blue, green enameled grès
Signed VD
Bibliography
“Je dois mentionner aussi, dans le domaine du grès, les pièces flambées du malheureux Voisin-Delacroix, mort depuis peu, en collaboration avec M. Adrien Dalpayrat. On ne peut reprocher à cette production que certaines bizarreries de modelage, des amalgames de formes animales ou de formes humaines, et de masses plus ou moins confuses pétries au hasard. On ne me fera point admirer tels petits vases embasés en ergots de coq, ou tels objets indéterminés tenus par une main de femme. Ne m’objectez pas que l’étude de la matière prime ici le sujet plastique. La recherche du potier en face de son four ne s’accomode d’aucun manque de goût. Je formule, d’ailleurs, cette réserve d’autant plus nettement que plusieurs morceaux de Voisin-Delacroix et de M. Dalpayrat sont d’une grande valeur”
L. de Fourcaud, Les Arts Décoratifs aux Salons, Revue des Arts Décoratifs, 1893-1894, p. 7
Provenance
Private collection, Switzerland
“ANDROMEDE ENCHAINEE NUE SUR UN ROCHER”, CIRCA 1900
Green enameled grès. The base in red enameled grès
Signed
Provenance
Private collection, Switzerland
IMPORTANT PITCHER, CIRCA 1900
Glazed grès
Signed underneath
26 cm. high
Exhibition
Exposition Universelle, Paris, 1900
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzerland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium
Bibliography
Der Modern Stil, Julius Hoffmann jr, A. Guérinet, Librairie d’Art Décoratif, Paris, vol. 3, 1901, pl. 25,
in the sideboard by Eugène Gaillard at the 1900 Exposition Universelle
Horst Makus & al., Adrien Dalpayrat – Céramiste de l’Art Nouveau, Arnoldsche, 1998, ill. p. 132, n. 67
Frédéric Descouturelle, Olivier Pons, La céramique et la lave émaillée d’Hector Guimard, Edition du Cercle Guimard, p. 16
Provenance
Private collection, Switzerland
“ELEGANTE AU MANCHON”, CIRCA 1900
Polychrome glazed grès
Signed
14 cm. high
RARE INKWELL, CIRCA 1900
Glazed grès, with a relief decoration of a frog
Signed underneath
7.3 cm. high; 12 cm. diameter
Exhibition
Adrien Dalpayrat (1844-1910) – Céramiste de l’Art Nouveau, 1998
Fondation Neumann, Gingins, Switzerland
Kreismuseum Zons, Germany
Musée de l’Ile de France, Sceaux, France
Museum voor Sierkunst & Vormgeving, Gent, Belgium
Bibliography
Two similar inkwells are kept in the collections of the Musée des Beaux-Arts in Besançon, illustrated in the exhibition catalogue Alphonse Voisin-Delacroix ou quand un sculpteur rencontre un céramiste, 24 April-5 July 1993, p. 74-75, n. 51 and 52
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, n. 77, p. 139
Provenance
Private collection, Switzerland
“THAIS”
Fifteen illustrations, the frontispice in colour by Georges Rochegrosse, etched by E. Decisy
(P. Ferroud, 1909, in.8). Red moroccan leather binding, end papers illustrated with two watercolours by Georges
Rochegrosse, an inner mount of mosaic lotus and papyrus design and a outer mount of lotus and paphnutius design. Inner
binding by Levistsky. This example is on Japon paper with two etchings before the letters with remarques
HAND MIRROR, CIRCA 1900
Gilt bronze
Signed and numbered K 592
37 x 14 cm.
Exhibition
Catalogue de la maison Siot-Decauville, ill. p.107
“FEMME A L’ENFANT AU MIROIR”
Charcoal and pastel on paper
Signed lower right
62 x 48 cm.
“L’ETOILE DES INCONNUS”, CIRCA 1900
Indian ink and color. Signed lower left and marked:
X, Etoile des inconnus ! jambes et bras ouverts, tout nus. Croix charnelle ou l’homme s’immole
26.5 x 19.3 cm.
TWO HANDLED FOOTED VASE, 1897
Engraved, repoussé and applied silver
Signed CARDEILHAC and bearing Minerva and makers marks
30.5 cm. high
Exhibition
Salon de la Libre Esthétique, 1897
Bibliography
Victor Champier, L’Exposition Universelle de Bruxelles (2ème article) – L’Art et l’Industrie en Belgique – l’Exposition Française,
Revue des Arts Décoratifs, 1897, ill. p. 389: “M. Cardeilhac se distinguait par des vases exécutés au repoussé, d’une composition particulièrement élégante”.
VASE, CIRCA 1900
Thick tubular freely blown and shaped glass vase with side protrusions. Multilayered, opalescent glass overlaid in brick red and caramel, intaglio and wheel cut with a design of flowers and stylized foliage and a butterfly in flight
Unsigned. Numbered 532
16.5 cm. high
CARVED WOODEN TRAY, CIRCA 1900
Mother-of-pearl inlay decorated with five bathers
22.5 x 54.5 cm.
Exhibition
Exposition de l’Ecole de Nancy, Musée des Arts Décoratifs, Paris 1903
Provenance
Formerly in the Benedict Silverman collection, New York
