Art Nouveau & Art Déco - Gallery in Monaco
Showing 457–480 of 657 results
VASE, CIRCA 1905
Internally decorated, applied and wheel-carved. The neck is pulled, cut and finished by hand
Signed
33 cm. high
Exhibition
L’Art Nouveau la Révolution décorative, Pinacothèque de Paris, 18 April-8 September 2013, p. 82,
n. 43 in the exhibition catalogue
Bibliography
Clotilde Bacri, Daum, Milan, 1992, ill. p. 127
Provenance
Bought directly from the Daimaru Museum, Japan
VASE, CIRCA 1897
Internally decorated glass, acid-etched and carved
in a floral pattern, with applied water lily and flowers in silver; around the neck, the mount in silver featuring frost
The mount signed M Guerchet
24.5 cm. high
Exhibition
Salon des Artistes Français, Paris, 1897
Bibliography
Art et Décoration, June 1897, p. 171
COMB, 1902
Carved and patinated ivory
Bearing the monogram of the artist on the reverse
15 cm. long
The museum of Decorative Arts in Paris has two combs by Becker quite
similar to ours
Exhibition
Salon de la Société des artistes français, 1902
Exposition de la Parure précieuse de la Femme, musée Galliéra, 1908, similar model in carved horn
French Jewellery of the Nineteenth Century – A Loan Exhibition, Wartsky, London, 13-23 June 2001, ill. p. 47, n. 255 in the catalogue
Bibliography
L’Art Décoratif, July 1902, ill. p. 149
J. Tronçay, L’Art Décoratif au Salon de 1902, Revue de la bijouterie, de l’orfèvrerie et de la joaillerie, August 1902, ill. p. 128
L’Art Appliqué, 1903-1904, H. Laurens éditeur, ill. pl. 32
Exposition de la Parure précieuse de la Femme, musée Galliéra, 1908, edited by Armand Guérinet, similar model in carved horn ill. pl. 28
Béatrice Salmon, Chefs-d’oeuvre du Musée des Arts Décoratifs, Paris, les Arts décoratifs, 2006, 222p. ISBN 2-901422-86-1 (p. 132-133)
COMB, CIRCA 1900
Horn, with a gilt metal silver mount decorated with four storks, three turquoise glass cabochons and two
more cabochons shaped as scarabs
10.7 cm. long
17.2 cm. wide
SPOON, CIRCA 1900
Ribbed silver, the handle decorated with leaves and beetles in relief
With silversmith and French Minerva marks
25 cm. long
Provenance
Formerly in the collection of the late Nourhan Manoukian
VASE, CIRCA 1900
Silver with an enamelled decor of wisteria flowers; gilt bronze mount attributed to Keller Frères
Signed
32 cm. high
After heading René Lalique’s enamelling atelier for seven years and working a short while for Lucien Falize, he establishes himself
in 1898 and starts exhibiting at major events. International recognition, prizes and praise soon followed.
As early as 1898, his exhibit at the New Gallery in London was completely sold out, all the pieces were acquired by museums
and English amateurs. The same year the French state acquires a vase and continued to do so the following years.
Museums all over Europe and as far as Japan bought his designs. He was awarded a gold medal at the Exposition Universelle in 1900.
His production includes jewellery and objets d’art in either translucent enamels or enamels applied to gold, silver or copper.
His early palette of colours centers on subdued and pale greens, blues and lilac yet turned more vivid and colourful after 1904.
His shapes are classic and elegant not overwhelmingly and freely organic. Just like his mentor Lalique, he drew his inspiration from
animals (peacocks, swans, swallows, hippocampus and other fishes, butterflies, dragonflies, grasshoppers, snakes, bats and scarabs)
and nature with a predilection for the plants and flowers in vogue (thistles, lillies, wisterias, poppies, mimosa, eucalyptus,
chrysanthemums, umbels, honesty leaves) and mythology (Ophelia, Juno). He died in 1916 fighting for his country in World War One.
VASE, CIRCA 1900
Gilt bronze with a relief decoration of swirls
26.7 cm. high
Exhibition
Hector Guimard, March 1970-April 1971: The Museum of Modern Art, New York
California Palace of the Legion of Honor, San Francisco
Art Gallery of Ontario, Toronto Musée des Arts Décoratifs, Paris
Bibliography
Victor Arwas, Art Nouveau: The French Aesthetic, Andreas Papadakis Publisher, London, 2002, ill. p. 34-35
Exposition Guimard, Musée d’Orsay, Paris 1992, p. 258, ill. 1, n. 65 in the album dedicated to the Castel Béranger; for the design in stoneware, n. 4
New Architecture, Number 6, October 2000, Andreas Papadakis publisher, in collaboration with the Victoria and Albert Museum, ill. p. 8
Hector Guimard, March 1970-April 1971, Musée des Arts Décoratifs, Paris, ill. p. 33, n. 82 in the exhibition catalogue
PITCHER, CIRCA 1900
Sang-de-boeuf glaze, decorated with a relief decoration of grape
Monogrammed, marked with an impressed trefoil, and numbered 3-12
36.8 cm. high
Exhibition
Kunstgewerbemuseums der Stadt Köln, 10 April-28 July 1974 for another example of this design
Kestner-Museum Hannover, 22 August-3 November 1974 for another example of this design
Hessischen Landesmuseum Darmstadt, 12 December-2 February 1975 for another example of this design
Bibliography
Sammlung Maria und Hans-Jörgen Heuser, Französische Keramik zwischen 1850 und 1910, Hamburg, Prestel-Verlag München,
1974, plate n. 21 and p. 218, n. 167 in the exhibition catalogue
UMBRELLA HANDLE, CIRCA 1910
Carved and patinated ivory shaped as a corncob, each grain inlaid with a gold nail in its center
Signed
16.3 cm. high
POWDER COMPACT, 1895
Polychrome enamel; gold mounted on a Sèvres porcelain. Inside the cotton is decorated with an enamelled ladybug on a gold bud
Signed with the monogram and bearing the inscription: Faite pour Antonia Howard Trip 1895.
Three initials are entangled in the design
6.7 cm. diameter
The same decor is found on a small box exhibited at the Exposition Universelle of 1900
“PAPYRUS” PITCHER, CIRCA 1900
Hammered glass; silver mount
With silver mark and maker’s mark
24 cm. high
Bronze with a dark brown patina
Wooden base
Signed R. Carabin
19 x 32 cm.
A copy of the 1901-1902 model, dated 1910, can be found in the Musée d'Art Moderne in Strasbourg (Inv. 55.974.0.1001),
bequeathed by Auguste Dutreux, 1955
The original model of this group, in red wax, is in the Museum of Modern Art of Strasbourg
(1933, gift of Mrs. C. Merklen-Carabin)
First of the series of six works on the theme of Brittany, executed between 1901 and 1904
Exhibition
Société Nationale des Beaux-Arts, Paris 1902
Société des Amis des Arts de Nantes, cat. n. 539, Nantes, 1905
Rupert Carabin, Musée Galliera, Paris, Novembre 1934 – March 1935, cat. n. 54 or 59
L'Oeuvre de Rupert Carabin, 1863-1932, Galerie du Luxembourg, Paris, cat. n. 98
Bibliography
Paul Vitry, La petite sculpture aux Salons, Art et Décoration, 1902, T. XII, p. 46, ill. p. 40
K. E. Schmidt, François Rupert Carabin, Zeitschrift für bildende Kunst, T. XV, 1904, ill. p. 64
K. E. Schmidt, Französische Skulptur und Architektur des 19. Jahrhunderts, Leizig, 1904, p. 71, ill. p. 66
La Décoration Moderne, 13ème année, 1905-1906, ill. pl. 82
Gustave Coquiot, Les figurines de Carabin, L'Art Décoratif, T. XVII, January 1907, ill. p. 25
“HERETIQUE SUR LE BUCHER”, CIRCA 1900
Watercolor
Signed lower left
48 x 32 cm.
CUP, CIRCA 1900
Openwork white porcelain; polychrome enamelled
The rim, base and the decor are highlighted with gold
Signed with the monogram of the artist
8.5 cm. high
Exhibition
Jugendstil aus Münchener Privatbesitz, Museum Villa Stuck, Münich 1972, n. 47
Provenance
Private collection Prof. Kurt Liebermeister, Munich
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
UMBRELLA HANDLE, CIRCA 1900
Orange lacquered wood and mottled black; chased silver rings decorated with thistles
Each ring bears the signature of Vever, with silversmith’s marks
30.8 cm. high
Exhibition
Maison Vever, 9 rue de la Paix, Paris, Dans l’intimité de Vever, bijoux et objets d’art depuis 1821,
June 1st – August 11th, 2023
A SET OF FOUR PLATES, CIRCA 1900
Enamelled earthenware; butterflies and floral decoration in shades of green,
blue and pink on a pale blue background
Bearing the monogram AD S at the back (Albert Dammouse Sèvres)
24 cm. diameter
A GINKO BILOBA CEILING LIGHT, CIRCA 1910
Bronze, wrought iron, the shade in glass by Daum Nancy
Signed
51 cm. high; 36 cm. diameter
VASE, 1905
Trefoil neck; decorated with flowers and three flowers in high relief
Red glaze on mottled brown ground
Signed by hand with a diamond point and dated 1905
7 cm. high
TEA SET, CIRCA 1900
Silver and vermeil with a decor of flowers and fruits in the manner of Japanese Art
Comprising: a teapot, a sugar bowl, milk jug, a spoon. The cup and the saucer in polychome porcelain decorated with flowers
In its original box
With French Minerva mark and silversmith’s mark
Teapot: 12.5 cm. high
Sugar bowl: 8 cm. high
Milk jug: 4.2 cm. high
Cup: 4.7 cm. high
PLATE, CIRCA 1900
Grés, decorated with honesty leaves
Numbered 4234, stamped signature
18.6 cm. diameter
CARVED WOODEN TRAY, CIRCA 1900
Representing a lyre player and a singer or a
poetess on a crescent moon and an undergrowth background
The back is carved with a decor of bird and branches
Bears an old label and numbered 18, signed lower left L. Hestaux
33 x 16.5 x 2 cm.
Acquired directly from the family in May 2008
PITCHER, CIRCA 1900
Grès with a light blue overlay and streaks
The handle in serpentine shape; the mount in pewter decorated with an enamel turquoise pattern
Signed
23 cm. high
Bibliogaphy
Paul Arthur, French Art Nouveau Ceramics: An Illustrated Dictionary, Norma Editions, 2015,
ill. p. 358
PURSE CLASP AND CHAIN, 1913
Chased silver; patinated and applied with a decor of leaves
Signed Louis Mathey, with silversmith mark LM (cat)
Exhibition
Salon de la Société des artistes français, Paris 1913
Bibliography
The Paris Salons, 1895-1914, Jewelry, vol. II, p. 107
