Art Nouveau & Art Déco - Gallery in Monaco
Showing 265–288 of 697 results
“RUE DE VILLAGE EN BRETAGNE, LA NUIT”, CIRCA 1900
Oil on canvas
Signed lower left
16 x 22 cm.
Steinlen has executed a variant in aquatint with the same scene, without the figures and in full day light
LORGNETTE, CIRCA 1900
Horn, with an applied decoration of silver and enamel butterflies, cut-glass set
with silver stones simulating stars, two opals set with silver holding the mount in vermeil
Bearing the silversmith and maker’s marks
24 cm. long
Provenance
John Jesse, London, acquired in 1996
STRAWBERRY SERVING SET, BEFORE 1898
Silver and vermeil Comprising: A shovel, interior in vermeil, reference in the Christofle catalogue of 1898 n. 6850
A sugar spoon, with an openwork design, interior in vermeil, reference in the Christofle catalogue n. 6851
12 strawberry spoons, interior in vermeil, reference in the Christofle catalogue n. 6852
Shovel : 16.5 cm. long
Sugar spoons : 15.5 cm. long
Spoons : 12.6 cm. long
Exhibition
Orfèvrerie Christofle, Tarif Album, 1898, ill. p. 129
David Allan, Le couvert et la coutellerie de table française du XIXᵉ siècle, ill. p. 220
SERVING SET, CIRCA 1900
Silver gilt with a design of foliage
With French Minerva mark
With silversmith mark: L & Cie (crown)
Spoon length: 25.2 cm.
Fork length: 24.3 cm.
VERY RARE COFFEE SERVICE “PINECONES AND NEEDLES, 1896
Comprising a chased silver and silver gilt coffee pot, a covered sugar bowl, milk jug and matching tray
Each piece fully signed, bearing Minerva and makers marks and numbered
Coffee pot: 21 cm. high
Sugar bowl: 12 cm. high
Milk jug: 8 cm. high
Tray: 35 cm. diameter
Exhibition
Salon de la Société Nationale des Beaux-Arts, Paris, 1896
Exposition Universelle, Paris, 1900
Bibliography
“A M. Henri Bouilhet et aux ateliers de la maison Christofle nous devons quelques très beaux morceaux d’orfèvrerie où l’ornement végétal est finement adapté à des formes de poteries très simples, commodes et d’un bon profil.
Dans un service à thé la feuille de chêne joue un rôle décoratif plein d’élégance. Une chocolatière s’enrichit pittoresquement de têtes et de feuilles de céleri. Le décor de deux cafetières s’emprunte aux aiguilles et aux pommes du pin et à la feuille
du platane… Le catalogue de l’Exposition nous fait connaitre les collaborateurs de M. Henri Bouilhet et je me fais un plaisir de citer leurs noms : les modèles sculptés sont de M. Léon Mallet et la ciselure est de MM. Arvisenet, Lindermann, Portrait,
Marionnet, Roze et Simon”. L. de Fourcaud, Les Arts décoratifs aux Salons de 1896, Revue des Arts décoratifs, July 1896, p. 229
Art et Décoration, 1900, vol. II, coffee pot illustrated p. 173
Tony Bouilhet, L’Orfèvrerie française au XXème siècle, éditions Émile-Paul frères, Paris, 1941, coffee pot illustrated in one of the plates
PAIR OF FRUIT BOWLS, CIRCA 1900
Wheel cut crystal on silver bases
With silver and makers marks
Bowl: 25 cm. diameter
Weight of silver base: 1060 gr.
Between 1894 and 1899, Lucien Bonvallet designed for Cardeilhac a large array of silverware destined for the Exposition Universelle. Tea and coffee services in two sizes with their matching trays in engraved silver or pyrographed with silver mounts, handles and finials in either ebony or tinted ivory, sculpted ivory and silver candy dishes, vases, soup tureens, vegetable dishes and plates, fruit bowls, scent bottles, eggcups, a large centerpiece that included a jardinière and candlesticks. He drew his inspiration from flowers and plants which were transposed on the various models: thistles, columbines, mistletoe, clovers and chestnut leaves
All of those models were exhibited in January and February 1913 at the pavillon de Marsan, Musée des Arts décoratifson the occasion of a retrospective exhibition of Lucien Bonvallet
“CHARDONS” WALL SCONCES, CIRCA 1900
Wrought iron
80 cm. high
We can attribute this work to Emile Robert, Régius or an artisan from the School of Nancy
TABLE LAMP, CIRCA 1901
Metal, four waterleaf in relief on the base
Signed
48 cm. high
Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue
Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113
TABLE LAMPS, CIRCA 1901
Metal, four waterleaf in relief on the base.
Signed
48 cm. high
Exhibition
Dr. Martin Eidelberg, E. Colonna, Dayton Art Institute, 1984, fig. 1, p.47, n°99, p. 86 in the exhibition catalogue
Bibliography
” Une lampe de ” L’Art Nouveau Bing “, dont le modèle a été donné par M. Colonna, ainsi qu’une autre, composée par M. Paul Follot pour la Maison Moderne, sont des lampes de table ou de bureau, à foyer caché par un abat-jour. On trouvera dans celle de M. Colonna une très grande grâce. La ligne se poursuit d’un jet depuis le pied jusqu’au sommet, accentuée par des épanouissements de feuilles, et s’arquant pour suspendre l’abat-jour de soie moulé sur des côtes en spirale “. L’Art Décoratif, March 1903, ill. p. 80
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 133, n°113
MATCH BOX HOLDER, CIRCA 1900
Gold, decorated with clovers
With maker’s mark, eagle’s head (2) and marked DEPOSE
4.5 x 3 cm.
Bibliography
Henri Vever, La Bijouterie française au XIXème siècle, vol. III, p. 582, illustration of a match box holder with an identical decor
“RAIES” VASE, 1901-1902
Porcelain
Bearing the manufacturer’s stamp, bearing the monogram of the artist, numbered 12806
22.5 cm. high
“LE PETITE BLESSE”, 1898
Bronze with black patina
Signed, dated 98 and impressed with La Maison Moderne’s seal
25.3 cm. high
Exhibition
George Minne en de kunst rond 1900, Museum voor Schone Kunsten, Ghent, September 1982 –
December 1982, p. 157, n°80
Bibliography
Art et Décoration, November 1901, ill. p. 112
Documents sur l’Art Décoratif Industriel au XXème Siècle, Edition de La Maison Moderne, nd,
section sculpture, ill. p. 21 under reference 308-1
SMALL VASE WITH TWO HANDLES, CIRCA 1901-1905
Enamelled stoneware
Signed with monogram A.L. under the base
8 cm. high
Exhibition
Agathon Léonard had exhibited stonewares at the Nationale des Beaux-Arts from 1901
SQUARE GLASS VASE, 1903-1906
Garnet, green and gray metallic iridescent with a design of irises
Signed
29 cm. high
The base: 12 x 12.5 cm.
BOWL, CIRCA 1910
Polychrome enamel on copper
Bronze mount by Edgar Brandt decorated with starfishes
Signed
34.5 cm.
VASE, CIRCA 1900
Engraved marquetry with a design of ray and aquatic flora
Powder inclusions and inclusion of shattered gold foils, hammered with small facets
Silver gilt mount with French Minerva mark
Vertically engraved signature
17 cm. high
No similar example known to exist
Bibliography
For the same shape of the mounted vase: Tsuneo Yoshimizu, The Glass Arts of Emile Gallé, Gakken 1985, n.144; without the mount n. 143 and 184
Georges de Bartha, Glass by Gallé, Thames & Hudson Ltd, 1984, p. 59, n. 61 (EU 1900)
IMPORTANT LAMP, CIRCA 1900
Triple glass with metallic powder inclusions with a design of butterflies on the shade on a arborescent landscape. Fired polished and hammered
The mount in patinated bronze
Etched signature
70 cm. high
Diameter of the shade: 40.5 cm.
“ANEMONES” VASE, CIRCA 1880-1884
Multilayered glass, internally decorated, acid-etched and finely wheel-carved
20.5 cm. high
Another example is in the collection of the Kitazawa Museum in Suwa, Japan
Exhibition
Emile Gallé – Nature and Symbol / Le Langage des Fleurs et des Choses Muettes, 16 January-10 April 2016, Tokyo Metropolitan Teien Art Museum; 24 April-5 June 2016, Utsunomiya Museum of Art, ill. p. 44, n. 027
Bibliography
L’Estampille, December 1978, ill. p. 16
Provenance
Jean-Claude Brugnot, Paris, 1974-1975
Private Collection, Italy
Acquired from the above
“DRAGONFLIES” VASE, CIRCA 1895
Cylindrical vase in clear double layered glass, decorated with acid-etched radiant suns and
inclusions of metal oxides; embellished with two polychromatic enamelled dragonflies
Signed underneath by hand with a diamond point
21.5 cm. high; 11 cm. diameter
VASE, CIRCA 1900
Polychrome enamel on copper with a design of peacock feathers
Signed Georges Jean and located Les-Issarts-Le-Roy
9.5 cm. high
“MOISSONNEUR AFFUTANT SA FAUX”
Bronze
Signed, with foundry mark Susse Frs éd. Paris.
13 x 15 cm.
“LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
Bronze with a brown patina
Signed on the base
20 cm. high
RARE MANTLEPIECE MIRROR FRAME, CIRCA 1900
Carved wood and gilt stucco designed as “laser ribolum” leaves.
174 x 110 cm.
Restored.
Bibliography
Frédéric Descouturelles, Eugène Vallin Menuisier d’art de l’école de Nancy, imprimerie moderne, December 1998, ill. p. 84
Cadre de miroir de cheminée en bois et stuc doré à décor de laser tribolum.
Restauré.
174 x 110 cm
Bibliographie
Frédéric Descouturelles, Eugène Vallin Menuisier d’art de l’école de Nancy, imprimerie moderne, décembre 1998, repr. p. 84
CONSOLE, CIRCA 1900
Wood.
95 x 210 x 90 cm.
Commissioned by Gaston Bachelard for their apartment in Paris after the couple has left Nancy.
Console en bois.
95 x 210 x 90 cm
Commandée par Gaston Bachelard pour leur appartement de Paris après que le couple ait quitté Nancy.
