Art Nouveau & Art Déco - Gallery in Monaco
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“VASE DE BOURGES A ANSES”, DESIGNED 1896
Form designer: Gustave-Joseph Chéret
Hard-pasted new porcelain, polychrome decoration featuring cloud motifs
Height: 25 cm.
“VASE DE BOURGES A ANSES”, DESIGNED 1893
Pâte Nouvelle (PN) 1900
Bearing the triangular manufacturer’s stamp for 1900 and decoration mark for 1903. Signed L. MIMARD
25 cm. high
Another example is in the Musée de Mâcon
Bibliography
The shape illustrated in (with a different decoration):
L’Art Décoratif, October 1900, p. 2 (Exposition Universelle of 1900)
E. Baumgart, La Manufacture Nationale de Sèvres à l’Exposition Universelle de 1900, Paris, Librairie des Beaux-Arts, board 19 (N. 68 in the exhibition catalog)
Jean Paul Midant, Sèvres – La Manufacture au XXème siècle, Paris, Michel Aveline Editeurs,
1992, p. 24
Victor Arwas, Art Nouveau: French Aesthetic, p. 528
Provenance
Joseph Cheret, “directeur des travaux d’art supplémant” from 1886-87 designed only a few forms for Sèvres (one large vase destined for the Paris Opéra foyer). His concentration on a restricted number of models rewarded him with the “Prix de Sèvres” in 1897 for his form and decorative compostion depicting “le Passage de Vénus sur le Soleil”, project for the spacious vestibule of La Bibliothèque Nationale
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
Grés with an enameled design of holly branches on an enameled white cream background
25.5 cm. high; 17.2 cm. diameter
Bibliography
Roger Marx, La Décoration et les Industries d’Art à l’Exposition de 1900, Ch. Delagrave éditeur, Paris, 1901
Exhibition
Exposition universelle, Paris, 1900
SUGAR BOWL, CIRCA 1900
Silver with cornflower decoration
Carved and green patinated ivory seed. The interior in vermeil
With French Minerva mark, silversmith mark and signed CARDEILHAC / PARIS and U
Height: 13 cm.
Width: 19.7 cm.
“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
SMALL POT, 1905
Beige-brown enameled grés decorated with a frieze of clovers in blue pastel
Signed and dated 1905
9 cm. high
TINY BOWL DECORATED WITH ALGAE AND SHELLS, MODEL H, FIRST VERSION IN 1906
Pâte d’émail
Signed with the artist’s seal and dated in ink 1906
4 x 8.4 cm.
Exhibition
Véronique Ayrolles, François Décorchemont, Maître de la pâte de verre, Norma éditions, Paris, 2006, ill. p. 221, model H
Musée du Verre François Décorchemont, Conches-en-Ouches, François Décorchemont – L’alchimie de la matière, de la couleur et de la lumière, 24 May 2025 – 30 November 2025
Provenance
Acquired directly from the Décorchemont workshop by the last owner
BALUSTER VASE, CIRCA 1900
Beige stoneware
Signed, located Paris and numbered 1126
25.5 cm. high
INKWELL, CIRCA 1900
Stoneware featuring a small crab forming lid laying on algae
Signed by both artists
38 cm. long
Bibliography
Hélène Bédague, Alexandre Bigot, Chimiste et Céramiste, éditions Louvre Victoire, Paris, 2016,
ill. p. 185
“RAISINS” PLANTER, CIRCA 1900
Pâte de verre
Signed
Height: 16 cm.
Width: 24 cm.
SMALL VASE, CIRCA 1900
Green stoneware with orange-brown nuances and crystallizations on one side. The mount by Gustave Keller in silver with a decor in spiral of flowering branches embellished with small coral beads. Signed with the circular stamp, silver hallmark (twice) on the mount, with silversmith mark and G. KELLER in full letter
Height: 14.5 cm.
“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
A PAIR OF CHARMING PLATES, CIRCA 1900
One decorated with flowers and leaves in polychrome enamel, signed at the back AD / S and
numbered 9, the other with a crab amidst seaweeds in polychrome enamel, signed at the back AD / S.
Diameter: 13 cm.
“LA COMEDIE”, CIRCA 1905
Bronze with a brown patina. Lost wax cast by Hébrard
Signed, with foundry mark
Exhibition
Musée Galliéra. Exposition du Fer Forgé, du Cuivre et de l’Etain, 1905
According to Raymond Huard and Pierre Maillot, authors of Jules Desbois sculpteur, le cherche midi éditeur, January 2000, a bronze example, cast by Hébrard, would have been exhibited in 1905 in Venice and Berlin
A statuette, in plaster, is part of the collections of the musée du Petit Palais in Paris. 0,320 x 0,180 x 0,168 cm.
Bibliography
1905, Musée Galliéra. Exposition du Fer Forgé, du Cuivre et de l’Etain. A jug in pewter was executed in the workshops of SIOT-DECAUVILLE. The showcase 7 executed in copper by Henri Husson and contains: a coupe Champignon, a vase Les Nymphes , four statuettes Feuilles d’Automne, Comédie, Musique and La Fleur; Les Remous (?), a vase Satyres, deux plates Tête de femme and Nénuphars, a bowl Libellule and a small bowl with handles Libellule, a pitcher Le Houblon in pewter and copper. All these objects are edited by A.-A. HEBRARD. Showcase 9: Tobacco pot in pewter (SIOT-DECAUVILLE), a decorative plate in pewter belonging to the museum
The small bowl Libellule is illustrated in the Rapport Général de l’Exposition by Pierre ROCHE, p. 11
Raymond Huard , Pierre Maillot, Jules Desbois sculpteur, le cherche midi éditeur, the model in plaster is illustrated p. 105, under the number 16
VASE, CIRCA 1920
Large conical shaped mold blown glass vase, multilayered with powder inclusions, featuring an aquatic
decor with shells, a crab and plants
Signed
Height : 47 cm
GLASS HANGING FIXTURE
Enamelled glass hanging fixture in the style of mosque lamps, spherical shape, neo-Islamic decoration
Height: 24 cm.
Diameter: 21.5 cm
“LES AMOUREUX SUR UN BANC”, 1906
Bronze. Lost wax cast by Hébrard
Signed. Bearing the foundry mark
10 x 12 cm.
BOWL, CIRCA 1900
Hammered copper with oxidized patina and silver inlay with a decor of thistle
Signed and numbered 24 and bearing the mark HH
6 x 24.5 cm.
The drawing is not for sale
“AUX CAMPANULES” NEST OF FOUR OCCASIONAL TABLES, CIRCA 1900
Graduated in size, sculpted wood, the tops inlaid in various woods, including rosewood, with magnolia, daisies and other flowers and leaves
Each signed Gallé
The largest: 75 cm. high; 70.5 cm. wide; 42 cm. deep
Bibliography
A table with the same sculpted decor is illustrated in: Gallé furniture, Antique collectors club, 2012,
p. 174
VASE, CIRCA 1890
Multilayered transparent bulbous glass vase overlaid in brown, finely engraved featuring a medieval woman spinning wool
Signed under the base A. Reyen / Paris
Height: 20 cm.
“LA FORÊT LORRAINE” DESK, CIRCA 1900
Exotic marquetry inlaid wood
108 cm. high; 72 cm. wide; 50 cm. deep
Bibliography
An identical model is illustrated in the catalogue L’Ecole de Nancy, Art Nouveau et industrie d’Art, Musée de l’Ecole de Nancy, 2018, p. 96
Alastar Duncan, Georges de Bartha, Gallé Furniture, Antique Collectors' club, 2012, ill. p. 239
“ALGUES MARINES” OR “LEZARD ET CORAIL”
Gypsography in two colors
From an edition of 100, from “L’Estampe Originale” published by André Marty and Roger Marx
Numbered 62, signed in pencil. The double sheet on the back that contains the dry seal is missing
Similar model (n. 49) at the Fine Arts Institute of San Francisco, Achenbach Foundation for Graphic Arts, 1963.30.1523. Another one at the Minneapolis Institute of Art. Another one (n. 86) at the National Gallery of Art, Washington
Exhibition
Sea Algae (Algues marines), 1893, another example in the collections of the Metropolitan Museum of Art, New York, Accession number 22.82.1-35
Bibliography
Stein and Karshan 70
BUST OF A YOUNG WOMAN
Model of the sculptor CISEAU
Patinated terracotta
Signed. Bearing the editor’s mark and numbered 2789
Height: 60 cm.
Width : 44 cm.
Bibliography
Robert E. Dechant, Filipp Goldscheider, Goldscheider, History of the Company and Catalogue of Works, Arnoldsche, p. 366, n. 2789
