A French "Théâtre de Loïe Fuller" lithograph by Manuel Orazi. The poster depicts the dancer Loïe Fuller with flowing red hair and her signature billowing costume, surrounded by stylized flowers. Realistically-drawn flowers descend from the poster title. The artist''s insignia appears on the lower right of the image. A similar poster is pictured in:" Loïe Fuller: Magician of Light," Exhibition at the Virginia Museum, March 12-April 22, 1979, Richmond: The Virginia Museum, 1979, p. 76; and in: "The Kogod Collection," E. Greenwich, RI: Meridian Printing, 2004, p. 242.
A polychrome bronze Art Nouveau figural candelabrum by Gustav Gurschner. A young woman with brown hair, dressed in a long flowing green skirt, with her breasts exposed, holds a seed capsule in each arm, into which a candle can be inserted. Gurschner displayed his work through the Viennese Secession Group gaining him much acclaim. His depiction of bare breasted women largely survives any stricture in that they have a quiet dignity and poetic charm that never stoops to vulgarization. The woman holds in each arm a lotus flower seed capsule. The size of the capsules relative to her body makes her seem a flower fairy or spirit. A candle would be placed on each capsule, illuminating the dinner table with spectacular charm. In the lead up to World War I, Germany was swept by a wave of artistic nationalism. After spending most of the 19th century dominated by French influence, German artists desired a return to tradition. Integral to German tradition was the vibrant color of Late Medieval wooden sculpture. Since the 14th century, much of antique polychromy had deteriorated considerably, leaving large portions of the wood base exposed. The rich burnt sienna of this woman''s skin may refer to this exposed wood finish. Alternatively it might refer to the skin color of the dancers from the Java Pavillion (1889). After their blockbuster appearance in the World''s Fair, depictions of the d
ancers abounded in salons. Brown-skinned and black-haired women became appreciated in this context as harbingers of exotic delights. A similar candlestick is pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 305ProvenanceRudi Schmutz, ViennaAcquired from the above by the present owner, circa 1980sLiteratureAlastair Duncan, Art Nouveau Sculpture, New York, 1978, p. 49 Wolf Uecker, Art Nouveau and Art Deco Lamps and Candlesticks, New York, 1986, p. 15Yvonne Brunhammer and Suzanne Tise, French Decorative Art, the Société des Artistes Décorateurs 1900-1942, Paris, 1990, p. 8 (for the model depicted in the Manuel Orazi poster)
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