A French Art Nouveau ceramic covered jar by Rupert Carabin, depicting a female nude wrapped around a gourd form, with a deep green glaze. All of Carabin''s ceramic work was done by his own hand. This piece was made by Moulines, 20, rue Laffite. Pictured in: L''oeuvre de Rupert Carabin 1862.1932, by Colette Merklen, page 228 and in Dynamic Beauty: Sculpture of Art Nouveau Paris, by Macklowe Gallery, The Studley Press, 2011, p. 81.
A French Art Nouveau patinated bronze figural sculpture of a castanets dancer by Rupert Carabin. The woman, in a dress with flowing hem and a headpiece, holds castanets in each hand. Carabin made a number of sculptures of dancers in different poses.
A French Art Nouveau "Femme-Pieuvre," brown glazed ceramic inkwell by Rupert Carabin, wherein a woman ecstatically rips open the head of an octopus, spilling its ink. A beautiful play on an ancient mean of sourcing ink, this sculptures tranquility and solidity give it the aura of an ancient carving. Pictured in: "The Paris Salons 1895-1914, volume IV: Ceramics and Glass" by Alastair Duncan, p.76; "L''Oeuvre de Rupert Carabin 1862-1932, Catalogue D''exposition, Galerie du Luxembourg", 1974, pp.229 and 232; "Art Nouveau, Sculpture" by Alastair Duncan, Academy Edition, 1978, p.20; and in: "Le Modern style" by Laurence Buffet-Challié, p.74, plat 2.
A French Art Nouveau "Femme à la Coloquinte," glazed ceramic inkwell by François-Rupert Carabin. The inkwell features a nude woman embracing an unusually large gourd. A similar sculpture is pictured in: L''ouevre de Rupert Carabin, 1982-1932, catalogue of the exhibition at le Musée du Luxembourg, Paris, 1974, p. 230, cat. no. 189.
A French stoneware mortuary mask by Rupert Carabin. The mask is of a man''s face. It is finished in beige and brown glaze.In the pursuit of a sophisticated anatomical knowledge, Rupert Carabin attended public dissections at the Paris faculty of medicine. While there, he became acquainted with Jules Talrich, the presider of public dissections and head ceroplastician. Soon after, Rupert Carabin began an apprenticeship with the anatomist. In the midst of his training, Carabin sold mortuary masks for 100 F a head, the equivalent of $1100 in today''s money. The lucrative occupation allowed him to support himself while pursuing his true passion of erotic sculpture. Mortuary masks were modeled when the face of the deceased was too damaged to display, and embalming was no longer a sufficient method of repair. This rare intact example renders the deceased in an entirely unidealized state 8-12 hours after death. The face is in a supine position with the head turned three-quarters to the right. The skin shows significant bloating, livor mortis- wine colored discoloration from blood pooling in the vessels, and tardieu spots, dark pinpoint spots created from ruptured capillaries. Carabin created this effect through a slip of iron oxide and an uneven beige and brown glaze. Carabin was known to have added pestled human ashes to his glazes, an addition that was most likely responsible for
the mask''s irregular complexion and dramatic variation in color. This work is signed Carabin and bears a monogram representing a cat. Étienne Eichholtzer. Le fonds photographique de François-Rupert Carabin (1890-1915) : le regard dévoilé . Art et histoire de l''art. 2014. Ffdumas-01547084f Brunhammer, Y., and C. Merklen. 1974. L''Oeuvre de Rupert Carabin, 1862-1932. Paris: Galerie du Luxembourg. Universite´ de Nantes. 1980. [Actes du] Colloque de Nantes, 21-24 Avril 1976. 1, 1. Paris: Minard. Stead, E´vanghe´lia. 2013. La chair du livre: mate´rialite´, imaginaire et poe´tique du livre fin-de-sie`cle. Paris: PUPS. Reprinted as No. 195 p. 237 and p. 231 of the book The work of Rupert Carabin 1862-1932
A French Art Nouveau bronze sculpture of a castanet dancer in motion with flowing gown by Rupert Carabin. This barefoot woman holds her castanets out in front of her. Carabin made a number of sculptures of dancers in different poses.
A French Art Nouveau plaster plaque by Rupert Carabin that is painted brown. The plaque features two nude women in bas-relief, one seated with her arms extended, the other standing in profile and coyly holding a dish of fruit. The delicate interaction of the two women celebrates the female form and feminine sensuality. Freed from the constraints of corsets and fashion, Art Nouveau sculpture frequently explored the female nude and embued her with a new mystique. Titled "Allegory of Wine." Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 83.
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