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.
A Tiffany Studios New York Favrile glass and patinated bronze Three-Light-Lily desk lamp. The lamp features three yellow pulled feather Favrile glass lily blossom shades suspended above a cushion base. Provenance: Private collection, Barbados A similar lamp is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 211.
A Tiffany Studios New York "Three-Light-Lily" glass and bronze piano lamp. The lamp features three golden Favrile glass shades suspended above a patinated bronze decorated "Artichoke" base. PROVENANCE: From a Los Angeles, CA Collection. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 212.
A Tiffany Studios New York glass and bronze table lamp featuring a green "Damascene" shade that sits atop a patinated bronze three-arm base.A similar shade is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827. A similar base is pictured on p. 63, plate 234.
A Tiffany Studios New York glass and bronze "Linenfold" table lamp, featuring a gold-colored leaded glass shade that resembles fabric, suspended from a gilt bronze "Counter-Balance" base. The leading on the shade is gold-colored to match the gilding on the base. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 112, plate 461; base: p. 89, plat 352.
A Tiffany Studios New York "Damascene" Favrile glass and patinated bronze base. This "Damascene" table lamp is composed of transparent green, "Dychroide" glass and iridized glass combed decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at the Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted obliquely around the form.
The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The shade sits on a patinated bronze urn-shaped base with three arms supporting the shade.Provenance: Property from the Geyer CollectionA similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 59, plate 209; base: p. 32, plate 89.
A Tiffany Studios "Zodiac" turtleback desk lamp in dark patinated bronze with two dichroic blue/green turtleback tiles. The head swivels revealing one turtleback tile in the front and one in the back. The lamp base and the bronze frames for the two turtleback tiles are decorated with the twelve signs of the zodiac. The undulation and asymmetry of the bronze casing echoes the form of the turtleback tile.In his early 20s, before eventually transitioning to the Tiffany Studios in Corona, Tiffany set about finding his signature style. Among his earliest innovations was the "Turtleback" tile, that dated back to his collaborations with Louis Heidt in 1881. The turtleback tile and iridescence, among other inventions, distinguished him as a luminary of glass innovation. The interlaced strapwork design that repeats itself throughout the lamps zodiac design was inspired by Celtic and Norwegian Viking prototypes. To Tiffany, the Celtic interlace motif evoked the richly encrusted cover of an early medieval book. This allusion closely relates to the desk lamp''s place in an office-- a light in a place of unfettered learning. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 106, plate 424.
A Tiffany Studios New York glass and bronze eighteen light "Lily" table lamp, featuring 18 golden iridescent Favrile glass "Lily" shades on individual bronze stems extending upwards from an intricately sculpted and detailed gilt bronze "Lily Pad" base. This exquisite eighteen light lily lamp marks the combination of two of Tiffany''s favorite floral motifs, the pond lily, and the morning glory. Ths shades take the form of morning glories. Inspired by Japanese woodblock prints, Tiffany made many water-color paintings of morning glories, entranced by their polychromatic brilliance and trumpet-like shape.The morning glory or asagao was beloved by the Japanese as the commoner''s flower. Day laborers, artisans and many other persons who could not indulge in the aristocratic pleasure of raising dwarf trees or chrysanthemums, eagerly became asagao cultivators. The asagao blooms at dawn before the sun rises, and consequently, asagao lovers have to rise early in order to appreciate the blossoms. Like the morning glory rises to the sun, so does this lamp come alive with the addition of light.The gilt bronze "pond lily" base is modeled after the lilies at Laurelton Hall, Tiffany''s Long Island garden estate. Tiffany cultivated the Latour-Marliac Lily, the world''s first colored water-lilies. It was these very same lilies that inspired the likes of Monet in his famous water-lily seri
es.A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 80, plate 313.ProvenanceMinna Rosenblatt, Ltd., New York
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