LA MAISON MODERNE – BOX, CIRCA 1900
BOX, CIRCA 1900
Leather, silver and hardstone. Suede interior
Gilded monogram. Most probably executed at the La Maison Moderne workshops for leather goods.
With its key
19 x 14 x 5 cm.
Showing 1–24 of 158 results
FRENCH – “LA SOURCE”
“LA SOURCE”
Repoussé and patinated leather panel. Titled at the bottom.
159 x 63 cm. (including frame)
GUSTAVE-PAUL GUÉTANT – THREE INCISED LEATHER PLATES FOR BOOK BINDINGS
THREE INCISED LEATHER PLATES FOR BOOK BINDINGS
One is signed and dated 1906 in the plate
The other two bear the atelier’s seal
MAURICE DUFRENE – LA MAISON MODERNE – PICTURE FRAME
PICTURE FRAME
Interior in moiré fabric, fully covered in brown leather
Decorated with three stylized flowers
Signed lower right
27.5 x 13.7 cm.
Exhibition
Documents sur l’Art Industriel au XXème siècle, Editions de La Maison Moderne, Paris, ill. p.11, under the number 3093-IV
Emile Seyden, Maroquinerie d’art”, L’Art Décoratif, May 1901, p. 74 to 80 : Article reserved exclusively for leather objects by Maurice Dufrène, with numerous illustrations
GEORGES BARBOTEAUX – VASE
VASE
Bronze with a brown patina featuring pine cone decorations in high relief on the sides
Signed
Height: 10 cm.
This vase is identical to the one acquired by the French State at the 1908 Salon des Artistes Français, when Barboteaux exhibited for the first time after leaving his position with René Lalique.
Exhibition
Salon des Artistes Français, 1908
Bibliography
Art et Décoration, July 1909, ill. p. 59
SOLD
ALFRED DAGUET – BOOKENDS, CIRCA 1900
BOOKENDS, CIRCA 1900
Wood and repoussé copper
Unsigned
Each: 38.5 x 15 cm.
PAUL BONNAUD – “VIERGE A L’ENFANT”
“VIERGE A L'ENFANT”
Polychrome enamel on copper
Signed
21 x 15 cm.
FRENCH – PILLBOX, CIRCA 1900
PILLBOX, CIRCA 1900
Pâte de verre, the mount in vermeil
The lid is decorated with gold foil and green and red powder inclusions. The upper surface is engraved
and enameled with small flowers. The leaves are encircled and gold-rimmed in shades of pink,
opal, and green. The sides are decorated with four vertical cartouches featuring the same design, framed in vermeil
Two boar’s head marks
Maker’s mark: A P (unidentified, possibly Adolphe Perrier?)
Diameter: 4.8 cm.
Height: 2.6 cm.
ABEL LANDRY – COLIN & CIE. – TRAY, CIRCA 1900
TRAY
Silvered bronze, decorated with foliage. Handles shaped as snakes
Signed A Landry and Colin
Length: 67 cm.
Width: 34.5 cm
Exhibition
Salon de 1903
Bibliography
L’Art Décoratif aux Expositions des Beaux-Arts, 1903, Armand Guérinet éditeur, ill. pl. 187
ABEL LANDRY – CANDLESTICK, CIRCA 1900
CANDLESTICK, CIRCA 1900
Gilt bronze with its receptacle and match scraper
Signed
Height: 18.5 cm.
Width: 18.2 cm.
A GROUP OF SEALS, CIRCA 1900
THEOPHILE HINGRE
LOUCHET, Chaser
Silvered bronze, featuring two dragonflies facing each other on a sprig of lily of the valley
Signed T. HINGRE and LOUCHET
9.8 cm. high
GUSTAVE GURSCHNER
LA MAISON MODERNE
“MEDITATION” SEAL, CIRCA 1900
Gilt bronze
Height: : 9.5 cm.
Bibliography
Documents sur l’Art Industriel au vingtième siècle. Reproductions photographiques des principales œuvres des collaborateurs de La Maison Moderne, La Maison Moderne, Paris 1901, La Sculpture,
ill. p. 14, seal, n. 724-1
JOE DESCOMPS
SUSSE FRERES
“TANAGRA” SEAl, CIRCA 1900
Gilt bronze
Signed Joé Descomps and Susse Fres
Height: 9.8 cm.
FRENCH
“LES VIOLETTES” SEAL, CIRCA 1900
Silver
With French Minerva mark
Height: 8 cm.
Bibliography
An identical model in gilt bronze is illustrated in Les Sceaux, Empreintes du Pouvoir, Roberto Lucio Rosaia, éditions Langlaude, p. 176
JEAN SERRIÈRE – ADRIEN-AURELIEN HEBRARD – BALUSTER VASE, CIRCA 1920
BALUSTER VASE, CIRCA 1920
Hammered silver, decoration of bunch of grape and vine leaves in semi-relief
Signed jean serriere, with foundry mark A HEBRARD and Paris
Height: 14 cm.
GEORGES FLAMAND – “WOMAN AND PEACOCK” FOOTED VASE, CIRCA 1900
“WOMAN AND PEACOCK” FOOTED VASE, CIRCA 1900
Patinated gilt bronze, with the central motif decorated with a red cabochon, and each of the four feet set with a green cabochon
Signed Flamand
Height: 29 cm.
2 000 €
ALPHONSE DEBAIN – COUPE, CIRCA 1900
COUPE, CIRCA 1900
Silver, with incised decoration of stylized flowers
Design attributed to Maurice Giot
With French Minerva mark
6.5 x 21 cm.
750 €
EXCEPTIONAL AND RARE RELIGIOUS ALTARPIECE, CIRCA 1902-1910
EXCEPTIONAL AND RARE RELIGIOUS ALTARPIECE, CIRCA 1902-1910
Koloman Moser (attributed to).
Featuring a temple with the Christ on the cross and two angels in marquetry of macassar ebony,
incrustation of mother-of-pearl, copper and ivory
The lower part is represented by a pattern design of cubes in marquetry
Inscribed IHS (iota-eta-sigma) or (Iesus Hominum Salvator)
55 cm. high
36 cm. wide
25.5 cm. deep
Probably executed by Koloman Moser for one of the many churches designed and built by himself
between 1902 and 1910. We can unmistakably combine the design and technique of marquetry
which combines the inlaying of ivory, copper, mother-of-pearl and exotic wood with the secretary
made in 1902 by Koloman Moser at Charlottenlund Castle near Stockholm
The stylization of the letters IHS corresponds to the work and research on the lettering and
words that occupied Koloman Moser throughout his career
Koloman Moser (attribué à).
Exceptionnel et rare retable religieux figurant un temple avec le Christ en croix et deux anges en marqueterie de placage d’ébène de Macassar, orme et incrustations de nacre, de cuivre et d’ivoire
Le sol est représenté par une marqueterie de jeux de cubes sans fond
Inscription IHS (iota-eta-sigma) ou (Iesus Hominum Salvator)
Hauteur : 55 cm
Largeur : 36 cm
Profondeur : 25,5 cm
Probablement réalisé par Koloman Moser pour l’une des très nombreuses églises dessinées et construites par lui-même entre 1902 et 1910
Nous pouvons indiscutablement rapprocher le dessin et la technique de la marqueterie qui combine l’incrustation d’ivoire, cuivre, nacre et bois exotiques avec le secrétaire réalisé en 1902 par Koloman Moser au château de Charlottenlund près de Stockholm
La stylisation des lettres “IHS” correspond aux travaux et recherches féconds sur le lettrage et les mots qui ont occupé Koloman Moser tout au long de sa carrière
1 500 €
ALEXANDRE CHARPENTIER – LA MAISON MODERNE – “ZELANDAISE” TABLE BELL, CIRCA 1900
“ZELANDAISE” TABLE BELL, CIRCA 1900
Gilt bronze
Signed
16.3 cm. high
Exhibition
Salon de la libre esthétique, Bruxelles, 1897
Bibliography
Documents sur l’Art Industriel au XXe siècle, Edition de la Maison Moderne, Paris, n.d. , p. 15, n.647-1
550 €
LUCIEN BONVALLET – ANTOINE-ERNEST CARDEILHAC – “ANCOLIE BLEUE” VEGETABLE DISHES
“ANCOLIE BLEUE” VEGETABLE DISHES
Exceptional pair of silver covered bowls. With their trays
The cover decorated with an ivory carved seed
With French Minerva mark by CARDEILHAC PARIS and after the drawing by Lucien BONVALLET, circa 1899
Vegetable dishes: 31 cm. long (with the handles)
Diameter of the trays: 34 cm.
Exhibition
Exposition Universelle, Paris, 1900
“Le surtout de table exposé par M. Cardeilhac a retenu tous les examens (reproduit dans l’Art décoratif, août 1900). Et de l’avis unanime, c’était le groupement le mieux entendu de l’orfèvrerie exposée. La forme basse et bien d’aplomb du surtout et de la jardinière, compensée par le bouquet plus trapu des flambeaux et l’interposition des coupes à fruits laisse le mouvement libre pour toutes les pièces du service, comme il permet à chaque invité de voir l’ensemble harmonieux des cristaux, des fleurs, du linge apaisé, et de jouir en un mot du luxe du décor, sans être tenu à des souvenirs archaïques. A une époque où l’orfèvrerie alternait entre les curiosités de la petite sculpture appliquée et les reconstitutions des anciens styles, l’atelier Cardeilhac se maintenait à une réputation très sérieuse par le soin qu’il apportait à toutes les pièces de table. Sa coutellerie est connue dans l’Europe entière et les spécimens en sont aisément reconnaissables. Ce même soin, il l’a apporté à toutes les œuvres de grosserie, et les cafetières comme les légumiers, les chocolatières, les soupières, la platerie sont vraiment des œuvres de la recherche la plus moderne et la plus séante qui soit. Le mouvement floral a fourni les décors admirablement appropriés à chacune des formes, sans en compromettre ni l’assise ni la ligne. Les photographies des différents objets que nous reproduisons indiquent la supérieure entente de ces orfèvreries, dont les galbes, les contours et les très beaux plans décoratifs ont été trouvés et dessinés par M. Bonvallet, un véritable artiste dont les cartons seront à rechercher”. Léon Maillard, Orfèvreries, Orfèvres, l’Art Décoratif, février 1901, page 206
Bibliography
L’Orfèvrerie à l’Exposition, Art et Décoration, December 1900, ill. page 163
VICTOR PROUVE – “LA DANSE DU VENTRE, SCENE DE HAREM”, 1892
“LA DANSE DU VENTRE, SCENE DE HAREM”, 1892
Fire engraved wood panel with gold and silver highlights
Signed lower left and dated 1892
160.5 x 58.5 cm.
With the frame: 170 x 69 cm.
In 1892, Victor Prouvé executed his first two major panels using the pyrography technique which he exhibited at René Wiener’s shop. Both were inspired by oriental dancers. One depicted Javanese dancers (location unknown) and the other is our present example
Exhibition
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin..., Nancy, musée des Beaux-Arts,
musée de l’Ecole de Nancy, 6 May-28 August 2006, ill. p. 191, n. 110 in the exhibition catalogue
Victor Prouvé 1858-1945, Musée des Beaux-Arts, Nancy, 17 May-21 September 2008, ill. p. 147, n. 30 in the exhibition catalogue
Bibliography
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis publisher, 2002, ill. p. 169
Provenance
Collection of Mr Solvay, acquired directly from Victor Prouvé for 450 francs
PACO DURRIO (DURRIO DE MADRON FRANCISCO) – DECORATIVE ELEMENT, CIRCA 1900
DECORATIVE ELEMENT, CIRCA 1900
Chased and melted silver
Bearing the monogram of the artist and numbered 4
8 x 12.3 cm.
GEORGES DE BARDYERE – TRAY, CIRCA 1900
TRAY, CIRCA 1900
Carved wood with a decor of a butterfly and capucines
Signed
29.7 x 24 cm.
GEORG HARALD SLOTT-MOLLER – ANTON MICHELSEN – BEAKER, 1898
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.
GEORGES BARBOTEAUX – VASE, CIRCA 1910
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
CHARLES-EUGENE THIENOT – “TWO BUMBLEBEES” VASE, CIRCA 1910
“TWO BUMBLEBEES” VASE, CIRCA 1910
Bronze
Height: 11 cm.
Signed
MAURICE DAURAT – TRAY, CIRCA 1900
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