A French Art Nouveau patinated bronze figural jardiniere by Alfred Marionnet. The body of the jardinere is decorated with a nude female embracing the vessel. The woman''s naked feed extend beyond the jardinere''s curving form. The vessel is also decorated with branches that have leaves and berries in relief. The rim of the jardinere is encircled by entwined branches.
A Tiffany Studios New York gilt bronze and Favrile glass "Jonquil-Daffodil" lamp featuring a dome-shaped shade divided into an upper section comprising sixteen downturned trumpet narcissi blossoms in mottled yellow and creamy white colored glass surrounded by mottled blue and green colored stems against a mottled blue, green and blue geometric band.The lower section is decorated with three undulating rows comprising forty-eight daffodil blossoms, with opalescent and creamy white colored petals and yellow orange centers, continuing to a mottled green and blue geometric border. The shade rests upon a gilt bronze "Twisted Vine" base. Daffodils and narcissi were the most abundant flower on Louis Comfort Tiffany''s 600-acre estate. They were notably the only flowers that Tiffany''s children and grandchildren could freely pick, as Tiffany had thousands growing wild on the grounds. Comfort Tiffany Gilder, one of Tiffany''s twin daughters, revealed in her 1962 poem Daffodils that, "in the spring the children (her brother and sisters) would run to the daffodils. Stop first to gaze with rapture, then darting here and there ... slowly picking daffodils one by one." This stunning Tiffany Studios "Daffodil and Narcissus" lamp features an upper section of sixteen downturned daffodils and a lower section of forty-eight narcissi. The bright yellow daffodils that encircle the top were of t
he King Alfred variety, a new cultivar in Tiffany''s time. The bottom section consisted of narcissus poeticus, the narcissi of ancient greek mythology. The pairing of the two flower varieties mirrors the type of artistry Tiffany brought to America, a marriage of beauty old and new. Pictured in "The Lamps of Tiffany" by Egon Neustadt, page 143. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. base: p. 94, plates 373-374.
The "Fish" Box by Alfred Daguet. This rare and stunning French Art Nouveau box is decorated with red enamel surrounding the fish swimming upon the top of the box. The fish''s fins are fully open displaying this creature''s innate beauty.Alfred-Louis-Achille Daguet (Paris, 1875-1942) is famed for his exquisite desk boxes which transform bronze, copper and glass into flowing, organic examples of the Art Nouveau style. Among colleagues as diverse Odilon Redon, the proto-surrealist, and Thomas Eakins, a father of American realism, Daguet studied painting under Jean-Léon Gérôme, the towering academician and outspoken adversary of everything Impressionist. Influenced by Gerôme''s compositions of dynamic tension and his scrupulous attention to life-like detail, by his early 20s Daguet had transferred his talents to Sigfried Bing''s famed gallery "L''Art Nouveau". There, in Bing''s studio above the shop on the rue de Provence, Daguet began creating his extraordinary bronze metalwork, often inlaid with copper panels as well as hardstone and glass cabochons, which Bing would then offer on the gallery floor alongside the objets d''art of Louis Tiffany, William Morris and Eugène Gaillard.This box is one in a series of square forms featuring profoundly integrated compositions portraying unusual predators, with their skins, spines and fins employed as unifying design elements. Created b
y a masterly combination of repoussé and chasing, the fish''s high relief body rests upon a red ground. When the lid and front side are opened, a beautiful red leather interior is revealed. In 1905, when Bing closed his gallery, clients like Sandra Bernhardt and the Barrymore family simply followed Daguet to his new studio down by the Observatory in the 10th arrondissement. It was World War One that brought about a 12-year hiatus and transformation in Daguet''s career. Like Jean Després, he was recruited as an aviation designer and illustrator, earning the title of "true apostle of aerial art", while his work continued to evolve. Intriguing descriptions exist of a series of steel and bronze DESKS exhibited at the Galiera in 1926, suggesting Daguet embraced an Art Moderne aesthetic. Where are they now, and who will rediscover them?Until then, we are proud to share this rare and powerful artwork with our collectors. The "Fish" box is Daguet at his best, exhibiting masterful control of his materials of invention and articulating a clear and unyielding aesthetic vision.Similar boxes by Daguet are pictured in: The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, pp. 202-203.
An French Antique 18 karat gold bangle bracelet, the hinged form set with buff-top turquoise and split seed pearls in an interlocking geometric motif. Alfred Robin and his father are mentioned by Henri Vever in his history of French Jewelers of the 19th Century as successful designers of the post Franco-Prussian War period (1870-1871).
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