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Musée Collection des Arts

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Musée Collection des Arts

Musée Collection des Arts is one of the largest private collections in Europe.

This unique collection brings together the best samples of decorative and applied art, jewellery and fine art. Over two decades of collecting, the Museum founders have managed to collect remarkable works by internationally renowned and top-ranked artisans and artists, which are significant artefacts of the past. The time span of the collection extends from the second half of the 16th century to th

e present day. The collection is divided to the following sections: art jewellery that features rare antique snuffboxes, clocks and various accessories; large-scale collections of French Art Nouveau glass and Art Deco sculpture, art silver and lapidary art. The entire spectrum of the collectors' interest comprises the history of musical mechanics and sound recording. These sections of the collection feature multifarious self-playing mechanical items: organs, orchestrions, music boxes and automata. The gem of the collection is the Sound Library that enlaces more than 20 thousand musical records of the past, giving a complete picture of sound recording evolution.

12/06/2026

Automaton Oracle Snuffbox

The nineteenth century was an era of intensified travel, trade and collecting. The East entered European culture through objects, narratives and symbols. Within this context emerged the mechanical snuffboxes of the Parisian house Joly, Chenevard & Jouvet, renowned for combining jewel craftsmanship with philosophical metaphor.

The “Snuffbox with automaton oracle performing trick” evokes the oracle as mediator between human and future. The activation of the mechanism becomes a gesture of revelation, a metaphor for prophecy.

Inside the snuffbox is a special compartment into which small tablets bearing written questions may be inserted (such as “Does she love me?”, “Am I handsome?”, “Who made this snuffbox?” etc.), after which the oracle provides an answer. The object thus functions as an interactive device of divination rather than a simple automaton.

Owned by Farouk I, a passionate collector, the object may be read as an attempt to possess not only a precious item but knowledge of time and destiny.

02/06/2026

Lion-Shaped Snuffbox

Created in Geneva around 1810 and later owned by Farouk I, King of Egypt, this snuffbox depicts a lion at rest. The animal neither leaps nor attacks. It lies calmly on grass within a softly rendered landscape. Its posture is balanced, its gaze concentrated, its body relaxed, a strength that does not require demonstration.

The reverse side of the snuffbox is equally remarkable: it features a dramatic storm landscape, adding emotional intensity and atmospheric depth to the composition.

A wreath of pearls frames the composition and continues into the lion’s tail, creating closure and unity. The mane, rendered in small gemstones, shimmers subtly, reinforcing status and distinction.

The lion here signifies sovereignty and protection, recalling ancient Egyptian symbolism. Yet its ex*****on by a European workshop transforms the motif into a site of dialogue between traditions.

26/05/2026

Pocket Watch with Chatelaine

In the second half of the nineteenth century, time became a political language. France and the Ottoman Empire were allies during this period. The gift of a pocket watch of the highest craftsmanship from Napoleon III to Sultan Abdülaziz symbolized not merely respect, but a shared orientation toward modernity, progress, and rational governance.
In the nineteenth century, the watch represented a new type of state: disciplined, technologically advanced, and intellectually confident. The choice of the Parisian house associated with the imperial court reinforced the diplomatic significance of the gesture.

12/05/2026

Snuffbox with Tughra

Created in Paris between 1808 and 1819 in the workshop of Jean-Georges Boizot, this snuffbox belonged to Mahmud II. The tughra, the sacred calligraphic signature of the sultan, served as the official emblem of his personal rule. Within its intricate formula are encoded the ruler’s name, his father’s name, and the assertion of sovereign authority. Each sultan possessed a unique tughra, functioning as a visual equivalent of presence, replacing the portrait.
The object speaks the international language of luxury. The combination of blue and pink suggests harmony and refinement, while gold situates these qualities within the register of permanence and power.
A small personal item becomes a portable emblem of empire.

29/04/2026

🇬🇧 As part of the 10th edition of Art Monte-Carlo (April 29 – May 1, 2026) and Art Week Monte-Carlo,

On May 1, 15:45–16:45 — the talk “Anonymous Collectors: Confessions on Compulsive Buying”, featuring David Iakobachvili.

The discussion will explore the passion for collecting and the role of the collector today. From the Musée Collection des Arts, we are presenting one of the largest collections of French art glass in the world.

Our works are exhibited at the Grimaldi Forum, Section Booth A2:
vases by Émile Gallé and Daum Frères,
as well as hardstone compositions in the tradition of Peter Carl Fabergé.

A dialogue of glass, stone, and epoch brought together in Monaco.

🇫🇷 Dans le cadre de la 10ᵉ édition d’Art Monte-Carlo (29 avril – 1er mai 2026) et de l’Art Week Monte-Carlo,

Le 1er mai, de 15h45 à 16h45 — la conversation « Collectionneurs anonymes. Confessions autour de l’achat compulsif », avec David Iakobachvili.

La discussion portera sur la passion de collectionner et le rôle du collectionneur aujourd’hui. De la Musée Collection des Arts, nous présentons l’une des plus importantes collections de verre d’art français au monde.

Nos œuvres sont exposées au Grimaldi Forum, section Booth A2 :
des vases d’Émile Gallé et de Daum Frères,
ainsi que des compositions en pierres dures dans la tradition de Peter Carl Fabergé.

Un dialogue entre verre, pierre et époque réuni à Monaco.

27/04/2026

Portrait Snuffbox of Mahmud II

In the early nineteenth century, the image of the ruler functioned as a political statement. This snuffbox with the portrait of Mahmud II, created by European masters in Geneva around 1810, employs portraiture as a language of power and modernization.

The deep blue ground symbolizes dignity, distance, and stability. The circular portrait framed in pearls suggests legitimacy and continuity. The sultan’s blue attire emphasizes the rational spirit of reform, while the red headgear affirms sovereign authority and fidelity to tradition.

Upon opening the snuffbox, a brightly colored bird appears - a symbol of movement, renewal, and vitality. Authority is conceived here not as a static condition but as a process of transformation.

07/04/2026

Telescope of the Tanzimat Period

This nineteenth-century telescope, produced in Geneva around 1850 for the Turkish market, belonged to a guard of Sultan Abdülmecid I. It reflects the Tanzimat era, a period during which the Ottoman Empire actively adopted European scientific and military technologies as part of a broader modernization project.

The telescope transforms sight into control and knowledge into political resource. Western engineering precision is placed in service of an Eastern imperial system, creating a dialogue between traditions without abandoning symbolic continuity.
The pink-and-blue floral ornament set within a brass frame is rooted in late Ottoman visual culture, associated with harmony, order, and disciplined sensuality. The metal material translates decoration into durability and authority.

01/04/2026

Table Clock of the Late Eighteenth Century

These table clocks from the era of George III and Abdul Hamid I exemplify a dialogue between European and Ottoman court cultures at the end of the eighteenth century. Their form resembles a tent, a symbol of authority, the mobile court, and the sacred space of rulership.

Gold ornament underscores the ceremonial status of the object, while the deep purple body evokes majesty and monarchical strength. The presence of three dials reinforces the idea of time as an attribute of power. Sky-blue decorative elements create an impression of harmony and connection to a higher order.
This clock is not merely a mechanism; it is a diplomatic object in which time becomes a language of culture and sovereignty.

18/03/2026

The third zarf features a rich turquoise ground - traditionally associated with protection, prosperity, and spiritual strength. Pink, gold and blue elements create an atmosphere of visual solemnity and ceremonial grandeur.

At the center of the composition appears a symbolic ensemble: a tent, drum, blazon, axe, arrow, trumpet and cannon, partially veiled by fabric. The tent refers to nomadic culture and the authority of the host; the drum symbolizes ceremony and public proclamation; the blazon signifies honor and dynastic representation. The partially concealed weapons soften the image of military force, transforming it into a symbol of safeguarded order, controlled authority, and legitimate power.

05/03/2026

Also produced in Switzerland in the early nineteenth century, this second zarf is distinguished by its sky-blue color - a symbol of purity and serenity. Its surface is decorated with floral bouquets arranged within a strict geometric framework.

Such a combination of vegetal motifs and geometry is characteristic of Islamic decorative art and reflects a vision of cosmic harmony and divine order. The ornament does not merely embellish the object; it affirms its ceremonial function.

For Ibrahim Pasha, Governor of Jeddah, such zarfs formed part of the culture of authority - used during official receptions, where the aesthetic presence of the object extended the political and social gesture.

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