Art Nouveau & Art Déco - Gallery in Monaco
Showing 49–72 of 576 results
VASES, CIRCA 1900
Clear glass, acid-etched highlighted with gold and decorated with grasshoppers and dragonflies
Signed and located at Bar-sur-Seine
10 cm. high
Transparent glass slightly tinted in green and mottled white. Design of mulberry branches, leaves and fruits applied in translucid green and amethyst enamels highlighted with gold
14 cm. high
SCULPTURE, CIRCA 1900
Earthenware; multilayered in green, beige, white and shades of brown
Bearing the artist's monogram
11 cm. high; 20 cm. long
Exhibition
A retrospective exhibition was held at the Bilbao Museum of Fine Arts in 2013
Bibliography
French Art Nouveau Ceramics by Paul Arthur, Norma editions, 2015, p. 154.
COFFEE POT, 1902
Repoussé and chased silver with a design of peacock feather, in three parts
Lid in carved and patinated ivory grip decorated with coffee beans
Carved ivory handle decorated with peacock eyes
In its fitted box titled FALIZE / Orfèvre-Joaillier / 8 rue d'Antin / PARIS
Lid bearing the inscription G. G. SOUVENIR DU 27 AVRIL 1902
With French Minerva mark et silversmith mark
20.5 cm high
According to the seller, this object was offered by the State to Mr. G. Griffon, consul of China. However this information could not be verified
Exhibition
Falize – A dinasty of jewelers, Wartski, London, June 10 – June 19, 1999, n° 162
1900, Galeries nationales du Grand Palais, Paris, 14 March – 26 June, 2000, ill. page 161, n°132
Bibliography
Katherine Purcell Falize – A dinasty of Jewelers, Thames and Hudson, 1999, illustrated 271, pl. 392. Another coffee pot of a similar shape can been seen in a “in situ” photograph representing the showroom in rue d'Autin in 1911, ill. p. 46, pl. 52
Provenance
Formerly in the collection of Mr. Griffon fils, Paris XVIème
PAIR OF LAMPS, 1903
Gilded bronze and molded glass
50 cm. high
Bibliography
Art et Décoration, 1903, vol. I, illustrated p. 156 in an article by Frantz Jourdain that describes a building built avenue Victor-Hugo by Charles Plumet and whose interior was realized in collaboration with Tony Selmersheim
“LES OMBELLES”, 1903
Rare table lamp in chased gilt bronze and engraved molded blown glass
56.5 cm. high
Exhibition
Salon de la Société des Artistes Français, Paris, 1903
1900, Galeries nationales du Grand Palais, Paris, March 14 – June 26, 2000, ill. p. 285, n. 307
Bibliography
Le Style moderne, L’Art appliqué. revue internationale, H. Laurens éditeur, Paris, 1903-1904, p. 5
Laurence Buffet-Challié, Le Modern Style, Baschet et Cie, éditeurs, Paris, n.d. p. 173, pl. n. 8
“COLOMBINE” FIVE LIGHT HANGING FIXTURE, CIRCA 1900
Gilt bronze and molded satinated glass, four glass flower buds
96 x 75 cm.
Bibliography
Edith Mannoni, Meubles et ensembles style 1900, Charles Massin éd., Paris, 1968, ill. p. 11
Wolf Uecker, Art Nouveau and Art Deco Lamps and Candlesticks, Abbeville Press Publishers, New York, 1986, ill. p. 44
PAIR OF CANDELABRA “IRIS” OR “REVE ET OBSESSION” CIRCA 1900
Figural gilt bronze; the base in green onyx
Signed, and stamped with foundry mark
54.6 cm. high
Exhibition
Salon des Artistes Français, 1898, for a variation of the design with two branches in silver, probably executed by Falize
Salon du Mobilier, Paris, 1905
Bibliography
Revue des arts décoratifs, 1898, inset plate p. 170, for a variation of the design with two branches
Les bronzes, l’orfèvrerie, la bijouterie au Salon du Mobilier de 1905, pl. 194: candélabre Iris
edited by Thiébaut, Fumière & Cie, avenue de l’Opéra
A. Duncan, Art Nouveau & Art Deco Lighting, Simon & Schuster, New York, 1978, pl. XXIX
Macklowe Gallery, Dynamic Beauty, ill. p. 77
“LA VAGUE”, 1902-1903
Rare pair of gilt bronze and moonstone table lamps, original patina
Signed
49 and 42 cm. high
Exhibition
Salon de la Société des Artistes Français, Paris, 1903
Exposition de l’Habitation, Grand Palais, Paris, 1904. Stand of maison Diot
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, 1903, premier volume, Armand Guérinet, éditeur,
Librairie d’Art Décoratif, Paris, ill. pl. 90
L’Art Décoratif, August 1904, ill. p. 17
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002,
ill. p. 279
Provenance
The few examples in bronze of Max-Blondat’s work that have appeared at auction were all cast by
Siot-Decauville. No other foundry has been listed. There are 12 different models by Max Blondat
in the Siot-Decauville early 20th century catalogue but not our lamps which could have been executed as a special order or a discontinued model for cost reasons
ONE OF A PAIR OF “BLES” WALL LIGHTS, 1907
Bronze and frosted glass
68 cm. high
Bibliography
Felix Marcilhac, R. LALIQUE, catalogue raisonné de l'œuvre de verre, p. 43
Provenance
Anna Blake Collection, South Africa, acquired directly from the artist
PAIR OF CANDELABRA, CIRCA 1900
Patinated bronze, each flower holder in Louis Comfort Tiffany glass and the shades after a model by Louis Comfort Tiffany
50 cm. high
The original drawing of this design by Georges De Feure is kept in the Musée des Arts Décoratifs, Paris. (See: Gabriel P. Weisberg, L’Art Nouveau Bing – Paris Style 1900, Harry N. Abrams, Inc., publishers, New York, 1986, p. 174, n. 34.)
Exhibition
Exposition Universelle, Paris, 1900 (Bing pavilion)
Georges de Feure 1868-1943, Musée Van Gogh, Amsterdam, 26 November 1993-13 February 1994, ill. p. 88 n. 103 in the exhibition catalogue
Georges de Feure – Du symbolisme à l’art nouveau (1890-1905), Musée départemental Maurice Denis, Saint-Germain-En-Laye and Fondation Neumann, Gingins, Switzerland, March-September 1995, p. 91, n. 109 in the exhibition catalogue
Bibliography
Art et Décoration, January 1901, ill. p. 87
L’Art Décoratif, April 1901, ill. p. 23
La Décoration Ancienne et Moderne, 10th year, ill. pl. 36
“STANDING BOY”, 1906
A rare, fine quality, early twentieth century bronze model of a “Standing Boy”.
Rich dark brown patina with reddy brown undertones.
This sculpture was cast in bronze by the lost wax process at the Hébrard Foundry, Paris in 1907.
Before casting it was signed, stamped and numbered in the wax, R. Bugatti, A.A. Hébrard, Cire Perdue, 3
44 cm. high
14 cm. length
16 cm. depth
“LOIE FULLER”, CIRCA 1901
Rare pair of lamps in gilt bronze
Each lamp is signed. Numbered K471 for one lampe. Numbered K493 for the other lamp. With foundry mark
44.5 cm. high
Exhibition
Art Nouveau 1890-1914, Victoria and Albert Museum, London, n. 16.11 in the exhibition catalogue
Loïe Fuller danseuse de l’Art Nouveau, Nancy, Musée des Beaux-arts, May 17 – August 19, 2002,
ill. p. 122, n. 36 in the exhibition catalogue
Bibliography
Maison Siot-Decauville catalogue, ill. page 85
Patricia Bayer, Art Nouveau, Antiques World, October 1981, ill.page 24
Frederick R. Brandt, Late 19th and Early 20th Century Decorative Arts – The Sydney and Frances Lewis Collection in the Virginia Museum of Fine Arts, University of Washington Press, 1985, p. 47
Malcom Haslam, In the Art Nouveau Style, Thames and Hudson, New York, 1989, p. 35
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999,
ill. p. 75, n. 63
Art Nouveau 1890-1914, V&A publications, 2000, p. 261
PRECIOUS BOX, CIRCA 1900
Chased silver with a design in light relief of foliage and fruits
With french Minerva mark and manufacturer’s mark
In is fitted box of the retailer Alfred Hamel
4.5 cm. high
8 cm. diameter
“HOUBLON ET ORGE” BEER SERVICE, CIRCA 1900
Pewter
Signed
The pitcher: 25 cm. high
The cups: 11.5 cm. high
Exhibition
SNBA 1901
Bibliography
Revue des Arts Décoratifs, 1897, p. 155 : the cup
Revue des Arts Décoratifs, 1901, p. 280. “L’exposition de M. Brateau mérite l’attention. On connait M. Brateau. Serf industriel, il a dû longtemps travailler dans les styles passés pour le plus grand profit de ses employeurs. Vient la création d’une section d’objets d’art, l’artiste qui est en lui se réveille, s’affirme.
Un des premiers il s’intéresse à l’étain. Mais l’empreinte des années de servage l’empêche tout d’abord d’être franchement moderniste. Cependant chaque œuvre nouvelle marque un progrès : défaite pour le passé, retour plus accentué à la nature. Cette année, et ce n’est pas la première, Briot et les renaissants sont complètement oubliés par M. Brateau libéré d’un passé pesant.
Son service à bière, en étain, empruntant ses éléments décoratifs aux produits qui entrent dans la composition de la bière – le houblon et l’orge – est d’une conception aussi heureuse que naturelle tant dans la forme que dans le décor. De plus, tout est calculé pour permettre la reproduction facile : point de ces creux, de ces reliefs, subtils, étranges, qui plaisent tant aux artistes et permettent des œuvres curieuses….”. (Charles Saunier : Opinions sur l’Art Décoratif du temps présent à propos des Salons de 1901, Paris, Editions de la Plume, 1902, pp. 22, 23)
L’Art Décoratif aux Expositions des Beaux-Arts – Salons de 1901, 2ème série, Armand Guérinet, éditeur, ill. pl. 86
Art et Décoration, August 1901, the pitcher is illutrated p. 25
Revue des Arts Décoratifs, 1901, ill. p. 280
IMPORTANT VASE, CIRCA 1900
Grès with a glazed cover
The mount by Debain with a floral decor
Signed under the base BRUERE and G.D.V.
With French Minerva mark and silversmith mark
38 cm. high
Bibliography
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 182
COFFEE AND TEA SERVICE, CIRCA 1900
Siver with a decor of papyrus comprising:
A coffee pot, a tea pot, milk jug and sugar bowl. The tray in silvered metal
With French Minerva mark and silversmith mark
The tray: 60 x 44.5 cm.
The coffee pot: 24 cm. high
Exhibition
Exposition universelle, Paris, 1900
Bibliography
Art et Décoration, December 1900. The coffee pot and the milk jug are illustrated p. 167
Roger Marx, La Décoration et les Industries d’Art à l’Exposition Universelle de 1900, Delagrave éditeur, Paris 1901: The coffee pot and the milk jug are illustrated p. 67
IMPORTANT ZOOMORPHIC PITCHER, CIRCA 1900
Grès; beige and brown glaze
Signed
34.5 cm. high
Bibliography
Compare with the models executed in glass for the Manufacture Nationale de Sèvres and illustrated in Gustave Kahn, La Verrerie – verrerie usuelle – la verrerie de table, Art et Décoration, December 1901, pp. 129 à 139
“….En France, Bracquemond donna ses soins à trouver quelques modèles de verrerie. Le principe de cette recherche, où il ne semble pas avoir persisté, semble avoir été d’appliquer à la verrerie quelques-unes des formes utilisées dans la céramique, et stylisées en vue de l’usage nouveau”
SERVING SET, CIRCA 1900
Silver
Knife 27.7 cm.
Fork: 23.5 cm.
SERVING SET, CIRCA 1905
Silver
With maker’s marks and French Minerva mark
Knife: 27.4 cm.
Fork: 23.5 cm.
SET OF FOUR SALT CELLARS AND SPOONS AND A MUSTARD JAR, CIRCA 1900
Grès by Eugene Baudin, the spoons mounted by Debain
Two spoons are new
Fitted box
THREE SILVER SERVICE PIECES MADE FOR SARAH BERNHARDT, 1880-1881
A spoon; the handle in the shape of the letter B, with the engraved letters ERNH and ARDT and bearing the inscription QVAND MÊME and IXXO (for 1880)
Bearing the hallmark of Christofle
20.5 cm. long.
A spoon; the handle in the shape of the letter S, with engraved letters ARAH
With Hénin & Cie hallmark
20.7 cm. cm. long
A fork; the handle in the shape of the letter B, with the engraved letters ERNHARDT, bearing the inscription quand même and IXXI (for 1881)
With Hénin & Cie hallmark
20.7 cm. long
Exhibition
Sarah Bernhardt, The Art of High Drama, The Jewish Museum, New York, December 2, 2005 to April 2, 2006, p. 112, fig. 17
Bibliography
Sarah Bernhardt, The Art of High Drama, Yale University Press, 2005, ill. p. 112, fig. 17
“SARAH BERNHARDT DANS LE ROLE DE THEODORA”, 1893
Ink drawing highlighted with blue
Signed, dated 1893 and dedicated A Mr Victor Ullmann / son ami
Victor Ullman was the director of the Sarah Bernhardt theatre
18.5 x 21.5 cm.
“SARAH BERNHARDT DANS LE ROLE DE LA TOSCA POIGNARDANT LE BARON SCARPIA”, 1893
Ink drawing highlighted with blue
Signed, dated 1893 and dedicated A son ami V. Ullmann
Victor Ullman was the director of the Sarah Bernhardt theatre
18.5 x 24.3 cm.
PAIR OF VASES, CIRCA 1900
Acid-etched, wheel-carved and hammered glass
Engraved signature highlighted with gold
12.5 cm. high
