Art Nouveau & Art Déco - Gallery in Monaco
Showing 49–72 of 753 results
“ALENCON” PAIR OF VASES, 1902
Flamed porcelain, on a dark purple background enhanced with color with green crystallization in the manner of Chinese effect.
Marked PN (for pâte nouvelle) and bearing the manufacturer’s stamp for 1902
Height: 43 cm.
Diameter: 18 cm.
ALLEGORY OF HEAVEN AND INFERNO
Oil on canvas
Signed
112 x 80 cm.
BEAKER, 1898
Chased and repoussé silver, silver gilt, pearls
Stamped Michelsen / Danish mark / 98 / O M / V W / SG ( for assay master Simon Groth) / H. Slott-Möller / del. / 1898
Height: 16 cm.
Anton Michelsen (1809-77) opened his first shop in Denmark in 1841. For several generations, he was the leading firm of gold and silversmiths, with significant influence on Danish jewelry design during the 19th and early 20th century. A Michelsen was among the first and the last to work in the Old Nordic style.
More widely known as a painter, Harald Sløtt-Moller worked for the Anton Michelsen Silversmithy during the Skønvirke period of design, circa 1880-1920. Skønvirke was the Danish equivalent of the English Arts and Crafts, German Jugendstil and French Art Nouveau movements. Sløtt-Mollers pieces, as evident in the offered lot, were influenced by the Japonisme style which grew in popularity following Japan’s exhibition at the Paris World’s Fair in 1867.
A relatable example of this model is in the permanent collection of the Musée d’Orsay, accession no. OAO 1297, and a teapot by the designer, also in the Japonisme style, is in the collection of the Design Museum, Denmark, accession no. 11a-b/1991.
VASE, CIRCA 1910
Bronze, with a chased decor of insects and barley ears
Signed
Bearing the monogram of the artist under the base
Height: 11.8 cm.
An identical example in silver is in the collections of the Boijmans van Beuningenmuseum in Rotterdam, Netherlands; inventory number MBZ 166 (KN&V)
Exhibition
Salon de la Société des Artistes Français, Paris, 1909
Bibliography
Art et Décoration, July 1909, ill. p. 55
“TWO BUMBLEBEES” VASE, CIRCA 1910
Bronze
Height: 11 cm.
Signed
VASE, CIRCA 1900
Grès with a sang-de-boeuf glaze and shades of green
Signed with the artist’s seal and numbered 2048
Height: 21.8 cm.
Diameter: 21 cm.
BOWL, 1930
White pâte de verre with purple streaks
Signed with the artist’s seal and numbered B913
Diameter: 13.8 cm.
Height: 7 cm.
TRAY, CIRCA 1900
Bronze and repoussé copper
Signed
59 x 33.5 cm.
Exhibition
Salon des Artistes Français, 1911
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, Armand Guérinet éditeur, 1911, ill. pl. 19
“EVE AU SERPENT”, CIRCA 1910
Bas-relief in bronze with a black patina
Signed lower right
Moulded and carved frame
83 x 54 cm.
VASE, 1889-1900
Faience
After a design by Louis Hestaux
Signed in the mould
Height: 14.3 cm.
HAND MIRROR, CIRCA 1900
Polychrome enamel on copper, bronze mount. The handle is enamelled on both side
Signed by both artists
The mount in chiseled bronze by the maison parisienne Henri Cognet & Cie.
24 cm. long
“CIGALIERE” VASE, CIRCA 1900
Faience
Signed EG and Emile Gallé à Nancy Déposé
Height: 31 cm
Similar model (without the dotted lines) at the Württembergisches Landesmuseum, Stuttgart
Exhibition
Nancy 1900 – Jugendstil in Lothringen, 1980, Verlag Philipp von Zabern, Mainz am Rhein, ill. p. 214, n. 148
Gallé, Paris, Musée du Luxembourg, édition de la RMN, 1985, p. 122 for a discussion on a planter with the same decor in the Musée de l’Ecole de Nancy collection
Paul Arthur, French Art Nouveau Ceramics, An Illustrated Dictionary, Norma éditions, 2015, ill. p. 171
“LA GIROFLEE DE MURAILLE”, CIRCA 1900
Multilayered glass with four applied and wheel-carved flowers, gold leaf inclusions, partly hammered
Engraved signature
21 cm. high
Only one other example is known to exist
Provenance
According to previous owners, this vase was acquired at auction in Versailles around 1970 as therefore could be part of a group of vases sold by Emile Gallé’s descendants
CYLINDRICAL VASE, CIRCA 1900
Moulded, blown transparent glass with powder inclusions
Unsigned
Height: 24 cm.
“OIGNON DE JEMEPPE” VASE
Glass
Height: 44 cm.
VASE, CIRCA 1900
Green tinted transparent blown glass with red powder and silver inclusions
Signed E. Léveillé
Height: 16.5 cm
“HOMMAGE A CAMILLE CAVALLIER” LAMP, 1924
Blown and engraved glass
Inscribed: Charlon/Pont à Mousson/Camille Cavallier/Hommage/des Conseillers/du Commerce Extérieur/de la Région de l’Est/1924″ et “Métallurgie/Pont à Mousson/1856/Foug/1905 Au Boue/1905/S’Estienne du Rouvray/1915
Height: 74 cm.
“Ce magnifique vase est la réplique de celui qui a été offert officiellement à Camille Cavallier, président-fondateur des Fonderies de Pont-à-Mousson, en 1924. Sur un fond symbolique de blés mûrs au temps de la moisson, quatre médaillons reproduisent dans une dominante rougeoyante qui leur convient, des scènes d’atelier, depuis la mine jusqu’à la forge. Tous ces motifs sculptés finement dans le verre, sont les témoins de la qualité exceptionnelle des graveurs sur verre de cette époque. Leur travail n’était pas exempt d’aléas, et si ce vase n’est qu’une réplique de l’original, quoique terminé, c’est qu’il est légèrement fêlé. Au cours des derniers coups de roue, une crique s’est déclarée inopinèment, rendant nécessaire la reprise à zéro du travail sur une autre pièce en attente, qui ne dut qu’à un tour de force d’être prête à temps. Le principal auteur du travail était le célèbre H. Racadot”. (Notice of Noël Daum in the catalogue of the exhibition at the Musée des Beaux-Arts de Nancy)
Exhibition
DAUM Cent ans de verrerie d’art “trois styles”, 3ème exposition, March 1979 – March 1980, musée des Beaux-Arts de Nancy, n. 16 in the exhibition catalogue
Bibliography
Noël Daum, Daum Maîtres Verriers, Edita Denoël, 1980, ill. p. 108
Clothilde Bacri, Daum, Paris, 1992, ill. p. 152
PITCHER, CIRCA 1900
Red-brown enamelled grès with ocher streaks. The handle featuring a flower stem
Signed Théo PERROT, and numbered 87 incised under the base
Height: 15.5 cm.
ROLL-SHAPED VASE, CIRCA 1900
Terracotta decorated with barbotine
Floral design of Japanese composition executed by Albert-Louis Dammouse; impressionist technique by Ernest Chaplet excecuted in the Haviland workshop, Auteuil
Bearing the artist’s seal, label from the Roger Marx’s collection and an other old label A la paix …avenue de l’opéra on the reverse
Height: 33.5 cm.
Bibliography
Europäiche Keramik der Jugendstilzeit, Art Nouveau Modern Style, exhibition catalogue,
Hetjens-Museum, Düsseldorf (Allemagne), 1974, p. 50, n. 40 for a similar vase
Félix Marcilhac, Art nouveau 1900, éd. Ouest-France, 1981, ill. p. 25
Anne Lajoix, La céramique en France 1925-1947, éd. Sous le Vent, Paris, 1983, ill. p. 11
Provenance
Collection Roger Marx, Paris
IMPORTANT PLATE, 1903
Enamelled design of three blooming red flowers on a green background highlighted with purple, red, green and brown foliage
Stamped A.Dammouse – S
Diameter: 42 cm.
“ANDROMEDE” EXCEPTIONAL PITCHER, CIRCA 1893-1906
Grès, brown-green glaze with sang de boeuf dripping
Stamped twice
Height: 28.5 cm.
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
Horst Makus & al., Adrien Dalpayrat – Céramique française de l’Art Nouveau, Arnoldsche, 1998, n. 92, p. 147
Provenance
Collection of Jean-Pierre Hassler, Switzerland
“PETALES” VASE, CIRCA 1900
Grès
Height: 27 cm
Very rare model, especially since it is known as made by Keller & Guérin, an example of which is in the collections of the Ecole de Nancy museum (inv. AD 326)
Exhibition
Exposition de l'Ecole de Nancy, Paris, 1903 (Model realized by par Keller & Guérin)
Céramiques végétales / Ernest Bussière et l'art nouveau, musée de l'école de Nancy,
21 June – 25 September 2000, n. 60 ill. p. 51
COUPE, CIRCA 1900
Enamelled grès with metallic reflections
Central design of a medallion with an ocher female profile
The side of the plate is decorated with blue, green and purple flowers
Signed with the seal and Saint-Lerche
Diameter: 20 cm.
Bibliography
“En Norvège, la note originale est donnée par M. Lerche, qui expose des plats, des vases, des coupes d’une facture très large et très osée, où le décor arrive même parfois à confusion. Mais l’artiste est un chercheur ; des sculptures très nerveusement modelées, des plateaux ou des corbeilles d’étain montrent son activité et son intelligence de l’ornement. Il a même inauguré quelques essais curieux de motifs de décoration céramique, où la fonte de métal s’unit aux incrustations d’émaux”, Alexandre Sandier La Céramique à l’Exposition (de 1900), Art et Décoration, vol. I, 1901, p.54 and p. 55
At the Société Nationale des Beaux-Arts of 1910, Hans Stoltenberg Lerche exhibits a plate in ceramic decorated with a head
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma éditions, 2015, ill. p. 350
BOWL, MODEL 477, 1931
Mottled pâte de verre with streaks
Signed with the artist’s seal and numbered C280
Height: 10.5 cm.
From an edition of 3 examples
Bibliography
Véronique Ayroles, François Décorchemont, Maître de la pâte de verre, 1880-1971, Paris, 2006,
ill. p. 292
Presently on loan to the Musée du Verre François Décorchemont, in Conches-en-Ouches
