Art Nouveau & Art Déco - Gallery in Monaco
Showing 337–360 of 937 results
BOWL, CIRCA 1928-1939
Blue multilayered glass with brown, red and green inclusions. Acid-etched in light-relief and
weel-carved design of three jellyfish and two fishes on an acid etched backgound to simulate the movement of the water
Signed on the foot and located Nancy under the base
Height: 11.8 cm.
Diameter: 17 cm.
Exhibition
Bestiaire de verre, de la fin du XIXe siècle à nos jours, Musée du verre, Conches, 9 March-22 September 2019, p. 50
GRIFFIN HOLDING A MIRROR, 1880-1885
Bronze with dark brown patina
Signed E Lafont on the base and bears the mark of the founder Delafontaine
Height: 54 cm.
VASE, CIRCA 1919-1922
Tinted vase with internal irregular bubbles applied with mauve glass bunches of grapes
on stylised branches in black glass, the applied mauve foot with a black border.
Executed by Eugène Gall from a model by Emile Wirtz. Signed Daum Nancy with the cross
of Lorraine.
Height : 15 cm
Exhibition
The Art of Glass Art Nouveau to Art Deco, Sunderland Museum & Art Gallery,
17 July-27 October 1996, ill. in the exhibition catalogue
HEAD OF A WOMAN, CIRCA 1900
Bronze sculpture on a wood base
Signed and marqued Cire perdue A. Hébrard
24.5 cm. height
36.5 cm. height with the base
VASE, CIRCA 1880
Exceptional vase modeled as a mosque lamp with applied handles
Blown glass with a richly polychromed enameled decor highlighted with floral motifs, arabesque and a frieze of oriental scriptures
Signed “Brocard Paris”
15 cm. high
“ARTICHAUT FLEURI” VASE, CIRCA 1900
Copper and translucent enamel. The lower part is decorated with green enamel artichoke leaves highlighted with gold. The upper part is decorated with pink enamel.
Signed.
9 cm. high
Identical model at the Kunstgewerbe Museum in Berlin, acquired at the Exposition Universelle in 1900.
Another identical model in the musée des Arts décoratifs in Paris inv. n°10751.
Together with an advertising label illustrating the piece.
Bibliography
L’Art décoratif moderne, June 1898, Les objets d’art aux salons, Arthur Maillet, ill. page 133.
L’Art décoratif, January 1901, ill. page 166.
Wolfgang Scheffler, Werke um 1900, Kunstgewerbe Museum Berlin, 1966, ill. page 28, n° 29 in the exhibition catalogue.
Sotheby’s Parke Bernet Monaco S.A., 23 juin 1979, lot n°325, identical model in green enamel, the upper part in pale blue and mauve.
Exhibition
Salon de 1898.
French Jewellery of the Nineteenth Century, Wartski, Londres, 13 – 23 June 2001, n°194 in the exhibition catalogue, ill. p. 42.
LETTER OPENER, CIRCA 1900
Gilt bronze letter opener depicting a nymph hiding her face, with the blade shaped as stylized foliage
Signed
Length: 29 cm.
Exhibition
Salon des Artistes Français, Paris, 1902 – Decorative Arts Department
“LES ROCHERS DANS LA MER” VASE, CIRCA 1900
Outstanding vase in multilayered glass with marine landscape decor
Original bronze base cast with butterflies
Engraved signature
54 cm. high
Bibliography
Janine Bloch-Dermant, L’Art du verre en France 1860-1914, Edita-Denoël, 1974, ill. p. 62
Provenance
Private collection, Italy
BRETONNE A LA COIFFE, 1904
Biscuit
Signed. Bearing the manufacturer seal for 1904 and the initials HR for Henri Robert (molder)
This model was also edited in bronze
11 x 12 cm.
“LA BERCE DES PRES” CABINET, CIRCA 1900
Carved and moulded walnut with vegetal motifs, featuring a marquetry background with cut-out meadow hogweed, marsh irises, and dragonflies. The upper section is decorated with carved umbels
242 × 118 × 54 cm.
Exhibition
Exhibition of the École de Nancy, Paris, 1903
Similar model: Musée de l’École de Nancy (Bequest of Miss Pittet)
“LE VIOLON”, 1892 – “LE CHANT”, 1892 – “LES ECHECS”, 1896
Three plaques
Patinated gilt bronze
Signed
8 x 15 cm. each
Bibliography
Alexandre Charpentier, Naturalism and Art Nouveau, Musée d’Orsay, 2008, pp. 62 & 145, fig. 133 for Le Violon; p. 145, fig. 134 for Le Chant; and p. 159, fig. 157 for Les Échecs
SMALL PLATE, CIRCA 1900
Repoussé copper with a polychrome enameled design of a sand thistle with white petals.The heart is opalised
Decor of green leaves on a red background
16 cm. diameter
VASE CIRCA 1900
Model number 3227
Mottled ground overlaid in blue, acid etched, and wheel carved; decorated with blue berries
The original foot was broken and replaced with a wooden one at the factory
Provenance
Acquired directly at the crystal Daum factory in 1994
PLAQUE, CIRCA 1900
Large rectangular plaque in pâte de verre figuring an elongated naked woman, in white pâte de verre, abundant red hair, all on a green background under a blue sky
47 x 21 x 2 cm.
VASE, CIRCA 1900
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
Signed and located Meudon
14 cm. high
BOWL, 1902
Glass, with a decor of branches on an interlayered background
Signed and dated 1902
Height: 7 cm.
Width: 14.5 cm.
VASE, CIRCA 1900
Acid-etched and wheel-carved in white on a black background. Decor of seascapes and sailboats
Signed
Height: 21 cm.
Reyen was a master glass engraver who set up his own workshop after working for Eugène Rousseau and Léveillé (1877 – early 1890s). He was strongly influenced by japonism and Rousseau. He produced almost unique pieces
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.
Diameter : 50 cm.
Exhibition
La céramique “impressionniste” / Emaux atmosphériques, Musées de la Ville de Rouen, Musée de la Céramique, 2010, similar example ill. pp. 40 & 41 (detail) & page 98, n. 16
SERVICE PARISIEN, 1876-1878
Complete series of twelve plates titled as:
Le brouillard
Le combat
Le calme
L’effroi
La lune
La neige
La nuit
L’orage
Plein-soleil
La pluie
Le soleil couchant
Le soleil levant
The complete series is in the collection of the Adrien Dubouché’s museum, ADL 2813 à 2824
A plate is in the collection of the Metropolitan Museum of Art, New York, Acquisition number 23.31/18, gift of Monsieur George Haviland, 1923
Exhibition
La porcelaine de Limoges des origines à 1880, musée de l’Evêché, Limoges, 1949
Chefs d’œuvres de la porcelaine de Limoges, musée du Luxembourg, 30 January – 28 April 1996,
n. 130 of the exhibition catalogue
Félix Bracquemond et les arts décoratifs – Du japonisme à l’Art nouveau, Musée national
Adrien-Dubouché, Limoges, puis Deutsches Porzellanmuseum, Selb-Plösberg et Musée départemental de l’Oise, Beauvais, 2005/2006, ill. pp. 92 à 95
Félix Bracquemond et les arts décoratifs – du japonisme à l’Art nouveau,
Musée national Adrien-Dubouché, Limoges, 5 April- 4 July 2005, cat. n°34/1 à 34/12, pp. 86 à 96
Bibliography
Chefs d’œuvres de la porcelaine de Limoges, éditions de la Réunion des musées nationaux, Paris 1996, ill. page 217
Félix Bracquemond et les arts décoratifs, éditions de la Réunion des musées nationaux, 2005,
pp. 88 à 96
Paul Arthur French Art Nouveau Ceramics / An Illustrated Dictionary, Norma éditions, 2015, ill. p.77
CUP AND SAUCER, 1912
Hard white porcelain, with openwork decoration around the rim
Bearing the Manufacturer’s stampt dated 1912
Height of the cup: 7 cm.
Diameter of the saucer: 11.5 cm.
PLANTER, CIRCA 1904-1906
Rouge-sang-de-boeuf enamelled grès
Signed Les Grands Feux de Dalpayrat
Height: 13 cm.
Bibliography
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, catalogue n. 107
Provenance
Jean-Pierre Hassler, Switzerland
CUP AND SAUCER, CIRCA 1903-1912
White porcelain with translucent polychrome enamels heightened with gold and decorated
with a bee and stylized flowers, the saucer with a design of flowering twigs
Marked on the reverse JPL France in chromium green thick pad color, surrounded by two green laurel branches and inscribed in gold Breveté pour la France et l’étranger/Jean Pouyat/Limoges
Extremely rare example of the highest quality of execution
Cup height: 7 cm
Saucer diameter: 13.5 cm
Bibliography
Edith Mannoni, Porcelaine de Limoges, Massin éditeur, nd, p. 104, for a cup and a saucer by Pouyat
Chefs-d’oeuvre de la porcelaine de Limoges, Musée du Luxembourg, 1996, p. 90, for another cup and a saucer by Pouyat
“AUX ANCOLIES” SILVER PLATERIE, CIRCA 1900
A pair of saucieres and their trays. Numbered N82 and M836. 18.5 cm. diameter.
A pair of oval plates. Numbered M834. 42,2 x 32 cm.
Two circular shaped bowls. Numbered N81. Diameter: 20.5 cm.
Total weight: 7 502 g.
Plus two silver plated bowls. Numbered N161. Diameter: 24.1 and 25.5 cm.
GASKET IN BRONZE, SILVER AND GOLD, 1906
Signed and dated 1906
Bearing the hallmark of Fernand Poisson
46 x 36 x 17 cm.
The National Archives (A. N. F21 4314) mention the desire of the State to acquire this work:
1907: Coffret en argent exposé au SAF de 1906 mais impossible pour l’État de l’acheter
Bibliography
” M. Habert-Dys présente cette année encore une belle collection de pièces d’orfèvrerie, vases, coffrets, d’une belle réalisation et d’une conception curieuse. Son grand coffret est d’une très belle matière, d’une parfaite exécution ; mais la sensation de deux insectes gigantesques, parfaitement ornemanisés d’ailleurs, est un peu pénible. Il y a là, je crois, pour le décorateur, un écueil à éviter. Pourquoi employer dans le décor, et surtout à une aussi grande échelle, des bêtes que beaucoup qualifient de repoussantes, et qui provoquent en effet, chez beaucoup, un effet de répulsion ? Je sais bien que la construction anatomique de ces insectes, leur structure et leurs détails sont tentants pour l’artiste ; je reconnais avec plaisir que M. Habert-Dys en a tiré un admirable parti ; mais je reste convaincu que s’ils eussent été remplacés par d’autres motifs plus aimables, le coffret eut séduit, beaucoup plus qu’il ne le fait, certaines personnes attachant une importance, exagérée sans doute, au sentiment pénible produit par certains animaux.
Dans le porte-bouquet et dans le petit pot que nous reproduisons ici (page 193), cette critique n’a pas de prise. L’insecte employé se confond d’avantage dans l’ornementation, est d’un aspect plus rassurant, pourrait-on dire, et l’artiste en a tiré un excellent parti. Les orfèvreries de M. Habert-Dys sont d’un sentiment bien personnel et fort intéressantes “.
M. P.- Verneuil, Les Arts Décoratifs aux Salons de 1906, Art et Décoration, June 1906, pp. 192 & 193
” Habert-Dys nous étonne un peu avec ses très gros grillons se battant sur un coffret de bronze aux artistiques ciselures, mais se révèle maître es-métal avec un grand vase de bronze patiné sombre, décoré de coulées d’or qui rappellent les meilleurs flammés de Carriès “.
Prince B. Karageorgevitch, Les objets d’art au Salon des Artistes français, L’Art Décoratif, July 1906, p. 14
Exhibition
Salon de la Société des Artistes Français, Paris, 1906
Private collection
