Pierre Du MONT: 1930's pewter box with ivory handle, signed

 

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Pierre-Lucien Du MONT : Rectangular box in polished pewter using three differengt techniques: 'hammered', 'repoussé', 'guilloché'. Rectangular handle in solid ivory. Signed under the base 'P. Du MONT' with the 'cuneiform' signature.

Circa 1930

Height : 3 cm - 1 3/16 in
Diameter : 13,1 x 9,7 cm - 5 1/8 x 3 3/4 in

Bibliography

Dominique & Marie-Cécile FOREST: La Dinanderie française 1900-1950. Paris. Les Editions de l'Amateur. 1996. See s.n. "DU MONT", p.223.
MODERN ART OF METALWORK. Bröhan-Museum State Museum of Art Nouveau, Art Deco and Functionalism (1889-1939), Berlin. Berlin. Bröhan-Museum. 2001. See p.404-407 on Pierre Du Mont work.

Pierre Lucien DU MONT:
Reknown during his life time as a renovator of pewter art equal to Maurice Daurat, Pierre Du Mont remained comparatively unnoticed. If his work is not well known, the man is still more.
In 1920, Du Mont exhibits for the first time in Salon d'Automne in Paris and the same year the Galliera Museum buys two pewter pieces from him. Du Mont produces poised and original designs and is noteworthy as an independant artist specialized in the unconventional technique of pewtering.
If the material quality of his pewter do not display the confidence of a Daurat, Després or Fjerdingstad, he can be compared with Pierre Plasait or René Delavan. Like all of them, he is an artist and like to work pewter in precious way.
Du Mont likes surface decors with soft lines, "guillochés", small dots or light hammering. His round shapes, his extremely "feminine" work differ from his colleagues.
He exhibits gold and silver jewels in Salon d'Automne in 1926 and also some silver wares, but pewter is his favorite material for table wares. From 1921 to 1934, he regularly participate in the Société des Artistes Décorateurs exhibitions.
In 1928, he exhibits in Salon d'Automne only graphic works and in salon des Artistes Décorateurs he presents a coffee service in pewter and "visiting cards with variable decor" which meet a great success.
His graphic work is not without link with this of pewterer as his signature of "DU MONT" is replaced at this period by a very stylized signature inspired by the Mesopotamian cuneiform scripture.

MODERN ART OF METALWORK. Bröhan-Museum State Museum of Art Nouveau, Art Deco and Functionalism (1889-1939), Berlin. Berlin. Bröhan-Museum. 2001. s.n. Du Mont, pp.404-407.
Dominique & Marie-Cécile FOREST: La Dinanderie française. Paris. Les Editions de l'Amateur. 1995. s.n. Du Mont, p.223.

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