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 covered porcelain jar designed by Georges de Feure and manufactured by Dufraisseix & Abbot, Limoges for Art Nouveau Bing. In the manner of de Feure''s renowned textiles, this piece is decorated with elegantly painted abstract floral and vegetal designs. Pictured in "The Paris Salons 1895-1914: Volume IV Ceramics & Glass" by Alastair Duncan, Page 159.
A French Art Nouveau figural pewter tobacco jar with silvered patina, titled "Fumée," by François-Raoul Larche. The female nude atop the box emerging from tobacco leaves and abstracted swirlings is a personification of smoke. This is reflected by her swirling smoke-like tresses and the winding torque of her body. A similar gilded piece is pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, 2011, p. 180.
An Art Nouveau enamel covered box by Louis Comfort Tiffany. The intricate design features vines with tendrils culminating in paisleys almost replicating a Henna pattern and an example of Indian patterns that influenced Tiffany''s work. In the late 1870''s Tiffany''s partnership with Lockwood de Forest resulted in an introduction to the East Indian craft that attributed to the revival of Gilded Age America. This covered box is an example of such influence with a gold background and highlights with the blue enamel paisleys. Several pieces of Tiffany''s enamelware are marked with a four-digit number preceded by an "S." Since there are only a handful of such objects available, it may be that Tiffany designed them for himself, or to fulfil special commissions. The Tiffany & Co. archives contains many drawings marked "S.O." for items sold as commissioned. Perhaps "S" was Louis Tiffany''s way of identifying those earmarked for an exhibition, a special client, or himself. A similar jar is featured in: The Jewelry and Enamels of Louis Comfort Tiffany by Janet Zapata, p. 69.
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