French Belle Epoch

Émile Antoine Bordelles

A Pair of Sculptural Bookends

Patinated Bronze

Edmond Etling & Cie Foundry, Paris

ca. 1910

DIMENSIONS

Height: 7.5 inches Width: 3.33 inches Depth: 3.33 inches

MARKINGS

Same markings are present on the plinths of both bookends:

Signed 'A. Bourdelle’.

Stamped ‘Edmond Etling & Cie Foundry, Paris’

ABOUT BOOKENDS

This exquisite pair of bookends, created by the renowned French sculptor Antoine Bourdelle, epitomizes the grace and emotional depth of the Belle Époque era. Each bookend is a remarkable sculpture in its own right, yet when placed together, they form an inseparable narrative composition, bound by a shared plot. One bookend captures the passionate embrace of Harlequin and his mistress, a tender yet intense moment frozen in time. The second bookend portrays Pierrot, lost in the anguish of jealousy, his expression and posture radiating sorrow and longing. Together, these two figurative sculptures create a dramatic scene, where the books they support become part of the stage set, acting as a barrier between the characters—much like a stage wall in a theatrical performance. The interplay of emotion and movement in this captivating sculptural pair makes it a true masterpiece, seamlessly blending art with functionality.

ABOUT SCULPTOR

Émile Antoine Bordelles (French, 1861 - 1929) was an influential and prolific French sculptor and teacher. He was a student of Auguste Rodin, a teacher of Giacometti and Henri Matisse, and an important figure in the Art Deco movement and the transition from the Beaux-Arts seyle to modern sculp[ture. His studio became the Musee Bourdelle, an art museum dedicated to his work, located at 18, rue Antoine Bourdelle, in the15th arondissement of Paris, France. His very well known for his use of quivering Romanesque forms in his depictions of mythological figures. One of his best known works Hercules the Archer (1909), was a commissioned sculpture for the financier Gabriel Thomas. Born Émile-Antoine Bourdelle on October 30, 1861 in Montauban, France, he learned woodworking as a youth from his father who was a cabinetmaker. While assisting his father during the workday, he studied drawing at the École des Beaux-Arts in Toulouse in the evening. Moving to Paris in 1885, the artist became an assistant to Auguste Rodin in 1893, Rodin’s influence is evident in many of Bourdelle’s early sculptures. By 1900, he had begun receiving commissions for a number of theaters and later taught classes at his studio to young artist such as Alberto Giacometti and Otto Gutfreund. It was around this time period that Bourdelle began freeing himself from the style of Rodin to find his own way of working. The artist died on October 1, 1929 in Paris, France. Today, his works are held in the collections of the Hermitage Museum in St. Petersburg, the Musée d’Orsay in Paris, and the National Gallery of Art in Washington, D.C., among others.

$1,600

Italian Impressionism

Emilio 'Elia' Sala

TURKEY

Animalier-Sculptural Vide-Poche

Bronze

ca. 1900

DIMENSIONS

Height: 8.5 inches (21.59 cm) Width: 6.5 inches (16.51 cm) Depth: 12 inches (30.48 cm)

DETAILS

The sculpture bears an incised signature "E. Sala" on the base, affirming its authenticity and the artist's craftsmanship. It is in superb antique condition, exhibiting a patina that reflects its age and history. Minor signs of wear are consistent with its vintage, adding to its charm and character.

ABOUT SCULPTURE

Presenting a remarkable example of Italian Impressionist Animalier art, this bronze sculpture of a turkey is a masterful creation by the esteemed artist Emilio 'Elia' Sala. Crafted around the turn of the 20th century, this elegant piece exemplifies Sala's exceptional skill in rendering wildlife with both precision and artistic flair. The sculpture is notable not only for its lifelike representation of the turkey but also for its practical design. It features a thoughtfully integrated low tray incorporated into the base, positioned in front of the turkey. This functional addition transforms the piece into a sophisticated vide-poche — a refined catchall for small personal items, combining aesthetic beauty with everyday utility. Emilio Sala, known for his contributions to the Animalier movement, brought a unique blend of realism and artistic expression to his works. His creations are celebrated for their detailed craftsmanship and vivid portrayal of animal subjects. This sculpture stands as a testament to Sala's mastery and his ability to infuse functional art with elegance and charm. This piece, dating from approximately 1900, is a splendid representation of Sala's artistic legacy, offering both historical significance and practical utility.

ABOUT SCULPTOR ~ EMILIO SALYA a/k/a Elia Salya (Italian / Ukrainian: 1864 - 1920) was born in Milan, Italy. In 1890, he and his brother were invited to Russia to work on the Moika Place in Saint Petersburg. After two years of work there, he heard about the plans to build a new museum in Kyiv and offered his services. As Italian artists were very popular in the Russian Empire, he was accepted and began to create designs. From 1897 to 1905, he produced griffins and lions for what is now called the National Art Museum of Ukraine. During that project, he struck up a very fruitful working relationship with the architect Wladyslawe Horodecki. He also designed various decorations for the Karaite Synagogue, the National Bank of Ukrainer, St. Nicholas Roman Catholic Cathedral, Igor Sikorski Kyiv Polytechnic Institute and the National Opera of Ukraine. Unquestionably, though, his best known work is on the House with Chimaeras (also designed by Horodecki); a flamboyant Art Nouveau-style building, for which Sala created fantastical cement renderings of elephants, panthers, rhinoceroses, giant frogs and other exotic animals. In addition to his architectural work, he taught sculpture at an art school and a trade college. At the outbreak of World War I, he returned to Milan, where he died six years later.

$2,500

German Jugendstil

Fritz Christ

Judith

Bronze

1901

DIMENSIONS

Height: 18.5 in (46.99 cm) Diameter: 5 in (12.7 cm)

DETAILS

Signed and dated on the bronze socle. Original hexagonal Egyptian revival marble base with hieroglyphs and ram heads.

ABOUT

Sculpted by Fritz Christ in 1901, this bronze sculpture depicts biblical Judith holding a sword and the head of Holofernes. , on a hexagonal Egyptian revival marble base with hieroglyphs and ram heads.

FRITZ CHRIST

(German, 1866-1906) was a German sculptor and medalist who exhibited his work in Paris, Copenhagen, Chicago, and Munich. Christ studied at the Munich Academy under Windnmann.

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Austrian Jugendstil

Carl Fiala

Sculptural Paperweight

Cold-Painted Bronze

Vienna, ca. 1910

DIMENSIONS Height: 4.5 inches Width: 2.75 inches Depth: 4.75 inches

ABOUT This elegant Austrian Jugenstil sculptural desk paperweight depicts some fantastic half-human creature from the underwater world, riding a snail. Signed C. Fiala, dark-green cold-painted bronze, Vienna, ca. 1910. Original marble base (a few chips are present).

CARL FIALA (Austrian, 1885-1955) was a well-known miniature sculptor and medalist during the Art Nouveau era. Initially trained as a chaser, he attended evening courses at the State Trade School in Vienna, and then worked in Munich and Cologne as a chaser. In Germany, Carl Fiala studied sculpture at the School of Applied Arts with Professor G. Grasegger. In 1912, he returned to Vienna and continued his studies at the Vienna Academy of Fine Arts under Josef Müllner and Edmund von Hellmer. In 1921, Carl Fiala received the Rome Prize and became an honorary member of the Vienna Künstlerhaus.

$850

JUGENSTIL

Franz Xavier Bergmann

Sculptural Bud Vase

Painted Vienna Bronze

Austria, Ca. 1900

DIMENSIONS Height: 7.25 inches Width: 5.25 inches Depth: 4.5 inches

MARKINGS Fully marked on the bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), and “GESHUTZED” (German: “PROTECTED).

ABOUT What distinguishes this unique bud vase from others is a perfect synthesis of a utilitarian object and a fine sculpture. It is not only the amazing subtlety and taste of the author’s artist skills, but an extraordinary design and an absolutely outstanding original plot. Designed for a single flower only, it is nonetheless a very complex and multifaceted composition filled with warm humor and fantasy. Sitting on a vessel shaped as a gourd, clasping its goat legs with hooves and holding on to the neck with one hand in order not to fall of it; a playful and mischievous faun holds by the tail a fleeing lizard with the other hand.

FRANZ XAVIER BERGMANN (Austrian, 1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$2,200

Austrian Jugenstil

Carl Kauba

Frightened by the Frog

Viennese Bronze Sculpture

ca. 1910

DIMENSIONS Total Height: 7.5 inches Base Height: 2 inches Width: 2.75 inches Depth: 2.75 inches

ABOUT This charming desk figurine in dark brown patinated Viennese bronze by the famous Austrian sculptor Karl Kaub stands out for the originality and humor of its subject matter. The author depicted with amazing subtlety a boy who jumped on one leg in fright, suddenly seeing a frog sitting on his arm.

CARL KAUBA (Austrian, 1865-1922) was born August 13, 1865 in Vienna, Austria. The son of a shoemaker, Kauba chose to follow his calling into the world of art. Collectors now rank him in a class with Remington and Russell as one of the great portrayers of American Western. His subjects were typically American Indians, calvarymen, cowboys, and roughriders. In addition to his American bronzes, Kauba produced a lifetime’s worth of Austrian statuary. His work became fully appreciated on both sides of the Atlantic.

Carl studied at the Academy of Fine Arts in Vienna under professor Laufenberg. Later he would study at the academies under Carl Waschmann and Stefan Schwartz. Next, he went to Paris in 1886 to further study before he set off for the U.S. In fact, some debate still remains as to whether Kauba ever visited the U.S.

Kauba’s fascination with the West was fired by the stories of the German writer, Carl May, whose tales of Western adventure were well known throughout Europe. Most authorities feel that he was about twenty-five years old when he traveled widely throughout the American West. He then returned to Austria with voluminous notes, sketches, and several models of Western sculpture. He later corresponded with a friend in Ohio who sent him a complete collection of costume material.

A few critics cite certain inaccuracies of weapons and equestrian gear. Without a doubt though, his work is most worthy of artistic merit. His bronzes were all, without question, produced in Austria. The polychrome finish, intricate detail, and the realistic forms make Kauba’s sculptures excellent examples of Viennese bronzes at the turn of the century. The difference being, that his subjects were of the American West. Most were cast for the American market between 1895 and 1912. They were widely advertised and sold by Latendorfer in New York during the 1950’s.

$1,350

Viennese Secession

Orientalist Art Movement

Alfonso Canciani

Sculptural Vase

Patinated Bronze

c. 1910

DIMENSIONS Height: 7.25 inches Width: 7 inches Depth: 7 inches

Alfonso Canciani (Italian-Austrian, 1863-1955) was a famous Italian-Austrian sculptor of the period of accession to the Viennese Secession. Son of a stonemason, after a realist period he managed to establish himself as a leading sculptor of the Viennese Secession. In fact, he worked in Vienna, where he had enrolled in 1886 at the Academy of Fine Arts, then at the Higher School of Sculpture and finally at the Special School, where he obtained the Rome prize for the sketch for Dante's Monument.

He developed a notable business obtaining important prizes and numerous commissions. First among the sculptors of the Viennese capital, he was invited to join the Association of the Viennese Secession, of which Klimt was magna pars, after the exhibition of Dante's group in 1900 at the Secession exhibition, and obtained the most important Austrian artistic prize, the Kunstlerlpreis.

This same work, presented in 1910 in Berlin, at the Great Art Exhibition, also received an important recognition here. He obtained the Rome prize in 1896, exhibited successfully in Munich and in 1899 at the III International Art Exhibition in Venice.

In that period he made some statues of saints for the cathedral of Santo Stefano in Vienna, the monument to Wagner, the bust of Nietzsche for the University, the scepter and the gold chain of the University Rector, figures of Italian poets ( Petrarch, Boccaccio, Tasso, Ariosto).

He submitted a sketch for the official monument to Empress Elizabeth, which was then built in Austrisn Gföhl and Pula. At the time of his accession to the Secession, he dedicated himself to decorating the facade of the Artaria house in Vienna in collaboration with the architect Max Fabiani.

He later abandoned the symbolist decorativism of the Jugendstil for a more concentrated and vigorous style, approaching the Belgian sculptor Constantin Meunier for the theme of work, and preferring to exhibit at the Künstlerhaus. In Vienna, he was generous with advice and help with the Italians and in particular with his fellow citizens (such as the Brazzanese Luigi Visintin, then a university student).

After the First World War, he returned to Italy and lived in Friuli, penalized by the fact that the Habsburg Empire had by now disappeared. Instead of large-scale public monuments, he then devoted himself to engraving medals (e.g. for Benedict XV and for the Italian mission in Vienna in 1919) and to designing funeral monuments (examples in Mali Lošinj and Trieste) and portrait busts (of Generals Carlo Caneva and Antonio Baldissera in Udine, sculptures of the War Memorial of Corno di Rosazzo). After all, he had already executed the Bab grave monument in the Döblinger cemetery in Vienna in 1909.

He taught in Trieste from 1920 until 1935, at the local school of industrial art, where he had Marcello Mascherini as a student. However, his activity remained remarkable, so much so that in 1940 he received the prize from the Italian Academy of Fine Arts. In particular, small and large statues inspired by the world of work are remembered, which he knew how to recreate with authenticity by identifying himself with the spirit of the workers (e.g. Friulan miner, fire worker, smelters), just as Domenico Rambelli was able to do.

Canciani’s dynamic statue by Lanciasassi is placed in the central square of Cormons. Also in Cormons, in the Town Hall building, there is a museum dedicated to Alfonso Canciani, which contains numerous works donated by his daughter on the occasion of an exhibition in honor of her father.

The Madonna on the facade of the cathedral of Gorizia is one of his works, as well as under the loggia of the Lionello of Udine the busts of generals Caneva and Baldissera. Other works by him can be found in the Civic Museum in Gorizia and in the Ősterreichisches Museum fűr Angewandte Kunst in Vienna and in various private collections. Various retrospectives were dedicated to Alfonso Canciani’s art, containing the most manageable works, as well as photos of public monuments.

$3,600

French Antique

She-Bear

Patinated Bronze Sculpture

Early XX Century

This exquisite French animalistic bronze sculpture from the early twentieth century is beautiful in every way - as in its artistic expressiveness, so as the highest level of hand-casting and patination.

DIMENSIONS Height: 11.75 inches Width: 8 inches Depth: 7 inches

$3,400

French Art Nouveau

Sculptural Iris Vase

Patinated Bronze

ca. 1900

DIMENSIONS Height: 10.75 inches Width: 8.5 inches Depth: 8.5 inches

ABOUT IRIS

The Iris is a special and mysterious flower. Not only because of its striking appearance, but also from an artistic and historical point of view. It is also like a work of art, as though created by Mother Nature. The unique leaves of this plant not only create wonderful shadow casts, but also look as if they were painted by hand. It's no wonder that iris acts as the muse for countless artists, and can be seen in many famous works of art.

The iris was first spotted in the time of Pharaoh Thutmose, in 1504 BC. He had the iris inscribed into the wall reliefs of a temple as a sign of his power, as well as decorating his sceptre with motifs of the flower. Since then, the iris has been a symbol of victory in Egypt. But the symbolism of the iris goes further than that. In Japan, the flower represents courage and is the symbol of the boys' festival. In Islamic cultures, the iris is a symbol of prosperity. In Europe, the flower was a popular weapon symbol in the Middle Ages and stood for chivalry. And in Christianity, the iris was seen as a symbol of the trinity because of its three-part flowers. With more than 300 varieties, the iris is now the most popular flower among growers and gardeners following the rose.

Countless artists use the iris in their works and the flower is present in all eras. You can see the flower on furniture, vases, jewelry, fabrics, sculptures, coats of arms and much more. Did you know that the iris is also called the sword lily? It's not a coincidence that it used to symbolize physical and emotional pain and suffering caused by a weapon. We also see the flower in religious art, where it's often associated with Mary and Jesus. The iris is also associated with the Greek goddess Iris, where the flower symbolizes reconciliation and divine messages. This is also reflected in many paintings.

Finally, the iris is also visible in Dutch and Flemish still-life paintings. This can be in a religious form, incorporated into an object or as a decorative flower.

In the Art Nouveau art movement, the iris (along with other plants, such as the birch) was often used as an expression of feminine beauty. With its almost otherworldly appearance, the iris is perfectly suited to the Art Nouveau aesthetic and is featured in many well-known works of art. The poet of that era, Hermann Hesse dedicated his fairy tale "Iris" (1916) to his wife. In the first sentence of the story, the poet made it very clear that the flower refers to feminine beauty.

$1,600

FRENCH ART NOUVEAU

Paul Loiseau-Rousseau

JUG

ca. 1900

DIMENSIONS Height: 6.5 inches Width: 4.75 inches Depth: 3 inches

Paul Louis Emile Loiseau-Rousseau (French, 1861-1927) was a famous French sculptor. In his youth, he planned to devote himself to etching, was a student of Antoine-Louis Barye at the École des Beaux-arts in Paris and exhibited for the first time at the Salon in 1886. However, following soon after that health troubles and financial problems made him leave the Fine Arts temporarily.

Nonetheless, he then followed the evening classes of the sculptor, Théophile Barrau and presented at the Salons only a few works of small formats, which brought him success. He then obtained a scholarship in 1892, and was thus able to travel to Africa. His travels in Africa inspired him with Orientalist scenes and wild animal hunts. He then produced characters typical of this continent with a concern for ethnic realism and great anatomical precision. He was also interested in bullfighting and certain characters from the Middle Ages and the Renaissance.

His talent was noticed and he obtained the third place medal at the 1892 Salon; in 1895, the second place medal; and, finally, a gold medal at the Universal Exhibition of 1904. In 1893, he exhibited at the Salon, "Salem, African playing goumbri" in plaster; and in 1895, a "bust of a man from Sudan" in patinated plaster. In 1897, he successfully presented the marble and bronze bust of "Salem, a man from Sudan" at the Salon.

Paul Loiseau-Rousseau was appointed Knight of the Legion of Honor in 1901. Several of his Orientalist-inspired works can be seen in many French museums, including those in Amiens, Tourcoing and Nice.

$3,700

ART NOUVEAU

CANDY BOWL

Austria, ca. 1900

Probably, Austrian, this very original Art Nouveau orientalist sculptural candy bowl made cof gilded Viennese bronze, depicts a young street vendor in bloomers and a fez, holding a huge round straw woven basket on his shoulders.

DIMENSIONS Height: 4.5 inches Diameter: 3.33 inches

$1,250

FAWN YOUTH

PATINATED BRONZE, MARBLE

AUSTRIA, CIRCA 1900

Probably Austrian, this lovely Jugenstil desk-sized black-patinated bronze figurine on its original marble pedestal depicts a fawn youth, checking the size of his tail to see how much he has grown and matured.

DIMENSIONS Height: 6.75 inches Width: 2.75 inches Depth: 2.75 inches

$1,200

French Art Nouveau

Emmanuel Villdnis

‘Nelly’

Patinated Bronze Bust

ca. 1890

DETAILS Signed and foundry mark on back.

DIMENSIONS Height: 4-15/16 inches Width: 2-5/16 inches Depth: 2.25 inches

ABOUT THE SCULPTURE

This portrait bust is of Nelly Faner, famous burlesque dancer at the turn of the XX Century Paris.

ABOUT THE SCULPTORE

Emmanuel Villdnis (French, 1858 – 1914) was born to Italian parents in France, in 1858. He moved with the family to Piedmont, Italy, in March 1861; after the proclamation of the Kingdom of Italy.

Known in Italy as Villani, he studied at theAcademy of Fine Arts Albertina in Turin from 1871 to 1880 alongside master-sculptor Odoardo Tabacchi. When Villanis graduated, he exhibited his first works in cities across Italy, notably his bust ‘Alda’ in Milan, in 1881.

Villanis returned to France in 1885, living and working in the Montmartre district of Paris and didn’t leave Montmartre until his death on August 28th 1914.

Villanis specialised in female bronze busts. Many are based on musical subjects such as opera heroines and composers, as well as famous characters from literature and mythology. The women were beautiful and young and often looked thoughtful, detached and melancholy. They displayed harmonious proportions with each having an oval face, hollow eyes, short nose, full lips and long hair.

His subjects are each found in two or three sizes and mainly made of bronze, pewter or spelter. His busts were cast by the Society des Bronzes de Paris, Bronze Garanti au titre Paris, Vrai Bronze Garanti Paris, E Blot Paris Vrai Bronze and K K Kunst-Erzgiesserei Wien and exported all over the world.

The works of Villanis often feature muti-hued patination, in two or more colours, which is particularly beautiful. They also often feature the title of the piece fairly prominently. During the 19th Century it was vital for a sculptor to exhibit at the Salon des Artistes in order to gain recognition and commissions. Villanis did so 11 times between 1886 and 1910, exhibiting 17 sculptures including the four busts Nerina in 1887, Galatee in 1894, Mignon in 1896 and Judith in 1898. Villanis received an Honourable Mention for the two maquette statues he presented in 1892.

$1,400

Meiji Era ~ Japanese Art Nouveau

Lotus Leaf Bowl - Vide Poche

Patinated Bronze

Japan, ca. 1900

DIMENSIONS: Height: 4 inches Width: 6 inches Depth: 6 inches

ABOUT THE OBJECT

With the laconic Japanese-style Art Nouveau design, filled with symbolism and metaphorism, this multi-use bowl (perfect as vide poche) is made of dark brown-patinated bronze, and represents a lotus flower slightly rising above the level of the table on a coiled stem. At the bottom of the stem an unripe cocoon of a silkworm butterfly nestled comfortably. A small graceful frog adorns the top of the flower.

ABOUT MEIJI PERIOD

The Meiji period (明治時代, Meiji-jidai), also known as the Meiji Era, is a; Japanese era which extended from September 8, 1868 through July 30, 1912.

$1,800

Jugenstil

Young Satyr in Reverie

Patinated Bronze Sculpture

ca. 1900

DIMENSIONS

Height: 11.5 inches Width: 9.25 inches Depth: 4.75 inches

ABOUT SCULPTURE

This outstandingly sculpted figure of a sitting in reverie young satyr was created in Western Europe (probably, Germany) during the Jugenstil, circa 1900. Over the course of Greek history, satyrs gradually became portrayed as more human and less bestial. They also began to acquire goat-like characteristics in some depictions as a result of conflation with the Pans, plural forms of the god Pan with the legs and horns of goats. The Romans identified satyrs with their native nature spirits, fauns. Eventually the distinction between the two was lost entirely. Since the Rennaisance, satyrs have been most often represented with the legs and horns of goats. Representations of satyrs cavorting with nymphs have been common in western art, with many famous artists creating works on the theme. Since the beginning of the twentieth century, in the Jugenstil period in the arts, satyrs have generally lost much of their characteristic obscenity, becoming more tame and domestic figures. They commonly appear in works of fantasy and children’s literature in which they are most often referred to as "fauns".

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Jugenstil

Franz Xavier Bergmann

English Bulldog

Cold-Painted & Patinated Bronze

Vienna, Austria, ca. 1900

ABOUT SCULPTURE

This great Austrian Jugenstil desk-size cold-painted and patinated bronze sculpture of English bulldog has all the necessary qualities to be loved by a new owner – it absolutely life-like and has very expressive eyes.

DIMENSIONS Height 3.25 inches Width 2 7/16 inches Depth 5.5 inches

MARKINGS

Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse (these marks used to disguise his identity on the erotic works). They are also often inscribed ‘Geschutzt’, which refers to the model/design being ‘registered’ or copyrighted; or not marked at all, especially if the pieces are miniatures.

ABOUT ARTIST

Franz Xavier Bergmann (Austrian, 1861-1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze, cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; oriental, erotic and animal figures, the latter often humanized or whimsical and often humorous objet d'art. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. The expertise for the mix of this kind of paint has been lost since.

$1,800

Jugenstil

Franz Xaver Bergmann

Erotic Dancer

Vienna Cold-Painted Bronze Sculpture

Austria, ca. 1900

ABOUT SCULPTURE

This provocative and wonderful life-like sculpture depicts a semi-nude female dancer in elaborate attire and a beautiful headdress, coquettishly rising on one leg during the dance. It is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

DIMENSIONS: Height: 16 inches Width: 9.5 inches Depth: 5 inches Base height: 3 inches Base diameter: 5 inches

MARKINGS

Marked on the back with his both hallmarks, usual for pieces with an erotic content - a "B" in an urn-shaped cartouche (for “Bergmann”) and ‘Nam Greb’ (for “Bergmann” in reverse, as well).

ABOUT ARTIST

Franz Xaver Bergman (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. This particular statuette is signed with both, "B" in an urn-shaped cartouche AND "Nam Greb".

$3,500

ON HOLD

Franz Xavier Bergmann

Erotic Sculptural Vide Poche

Viennese Bronze & Marble

ca. 1900

Dimensions:

Height (w/ skirt down): 6.75 inches (17cm)

Height (w/ skirt up): 8.5 inches (21.25cm)

Diameter of marble base: 6.25 inches (15.63cm)

Rendered in the best Art Nouveau traditions of the world-famous Viennese foundry of Franz Xavier Bergmann, this exquisite desk-size gray & burgundy veined marble vide poche is adorned with a patinated and cold-painted Viennese bronze statuette of a provocative topless oriental dancer. In addition to the extremely elaborated outfit and rich jewelry, as the part of the composition, the marble base partially covered by a naturally crumpled floor rug with a lovely multicolor pattern, which makes the whole scene even more realistic.

The sculptor depicted her frozen in a sensuous and rather candid pose - shyly tilting her head to one side and coquettishly holding her short skirt with her thin fingers, she playfully lifted her slender leg, before her next step just above the round depression in the marble. However, the most piquant in this luxurious trinket is a perfectly disguised secret - the front of the skirt is skillfully suspended on tiny loops, discreetly located in her hands, and easily lifts up with a finger, revealing the beautiful exotic dancer in all the beauty of her perfect nakedness.

Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic art works. However, in most cases with erotic sculpture, he preferred to stay anonymous and leave them unsigned; exactly as this Bronze & Marble Erotic Sculptural Vide Poche with Surprise, ca. 1900 that we have a pleasure to present to your attention here.

Franz Xavier Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Mainly women working at home - a typical cottage industry - carried out the painting. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold-painted".

$3,300

Franz Xaver Bergmann

A Praying Muslim Man

Vienna Bronze Sculptural Vide Poche

Ca. 1900

This wonderful and witty life-like sculpture depicts a bearded Muslim man in picturesque ethnic clothes, standing at full height on a Persian rug and raising his arms up in calling out to the Almighty; where the rug serves as a perfect tray, and the outstretched arms are just perfectly sized for hanging rings and keys.

This little masterpiece is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann. The quality of the casting is superb, as well as the cold-painted surfaces. The sculpture retains original colors and patina.

Dimensions:

Height: 7.63 inches (19.1cm) Length: 6.32 inches (15.8cm) Width: 4.38 inches (10.95cm)

Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$3,200

ON HOLD

Franz Xaver Bergmann

Odalisque

Vienna Bronze Sculpture

Ca. 1900

This wonderful life-like sculpture depicts a half-naked odalisque reclining in a lazy pose on silk pillows on an ottoman, covered with a lion's skin. With bare breasts, only a small light scarf covers the lower part of her body. The odalisque has rich jewelry on - large earrings and necklace, bracelets on her arms and legs. There are graceful mules on her feet. In front of the odalisque, on an exquisite Persian rug, stands a low table with a goblet of wine on it. This little masterpiece is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann. The quality of the casting is superb, as well as the cold-painted surfaces. The sculpture retains original colors and patina.

Dimensions:

Height: 2.75 inches (6.9cm) Length: 6.5 inches (16.25cm) Width: 4 inches (10cm)

Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$2,800

Franz Xaver Bergmann

Koran Scribe

Vienna Bronze Sculpture

Ca. 1900

This wonderful life-like sculpture depicts a Koran scriber, who, bending his legs under him, holds sheets of paper in his hands, on which he transcribes verses from the Koran lying in front of him on a special stand. There is an inkwell and a writing instrument at his feet on the prayer rug. This little masterpiece is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann. The quality of the casting is superb, as well as the cold-painted surfaces. The sculpture retains original colors and patina.

Dimensions:

Height: 3.5 inches (8.75cm) Length: 5.75 inches (14.37cm) Width: 3.5 inches (8.75cm)

Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$3,300

Franz Xaver Bergmann

Koran Reader

Vienna Bronze Sculptural Paperweight

Ca. 1900

Marked on the base bottom with initial "B" in an urn-shaped cartouche (for “Bergmann”).

Dimensions:

Height: 3.63 inches (9.07cm) Length: 4.75 inches (11.87cm) Width: 2.63 inches (6.57cm)

This wonderful life-like sculptural paperweight depicts a Muslim man, kneeling on a prayer rug and holding a Koran.

This little masterpiece is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese

foundry of Franz Xavier Bergmann.

The quality of the casting is superb, as well as the cold-painted surfaces.

The sculpture retains original colors and patina.

Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$2,250

Impressionism

Prince Paolo Troubetzkoy

Bust of a Boy

Patinated Bronze Sculpture

1915

ON HOLD

Signed & dated ‘Paul Troubetskoy ‘15’.

Original dark-brown patina.

Roman Bronze Works foundry stamp.

Dimensions: Height: 12.5 inches (31.25cm) Width: 11.5 inches (28.75cm) Depth: 9 inches (22.5cm)

PRINCE PAOLO PETROVICH TROUBETSKOY (Russian/Italian, 1831-1917) was the son of Russian diplomat, Prince Peter Petrovich Troubetskoy and his second wife, lyric singer Ada Winans (1831-1917). His paternal grandmother was Princess Emilie zu Sayn-Wittgenstein-Berleburg-Ludwigsburg (1801-1869), which makes him great-grandson of famous Marshal Prince Peter Sayn-Wittgenstein-Berleburg-Ludwigsburg. He worked in Russia, the United States, England and Italy. He was a self-taught artist, although he learned sculpture from Giuseppe Grandi. He is associated with impressionism, due to his ability to grasp sketchy movements in his bronze works. He was heavily influenced by the work of Auguste Rodin and Medardo Rosso. He depicted the society of the Belle Epoque. Few of his bronzes are still available in the market. Quite famous is the 35 cm high portrait of Constance Stewart-Richardson called "The Dancer". His work was also part of the sculpture event in the art competition at the 1912 Summer Olympics. The largest and best known of his works is the monumental equestrian statue of the Russian Tsar Alexande III in St. Petersburg, Russia. The monument was opened in 1909 on the Nevsky Prospekt near the Moskovsky Vokzal terminal. After the Russian revolution of 1917, the Soviet government removed the monument from the main street to the rear of the Russian Museum in St. Petersburg. After the dissolution of the Soviet Union, in 1994, the monument to Alexander was placed in front of the Marble Palace near the embankment of the Neva river, at the former site of the armored car that transported Lenin from Finland Station.

$35,000

ON HOLD

Art Nouveau

Louis Auguste Moreau

A Pair of SCULPTURAL Flower Vases

Patinated Bronze & Red Marble ~ Original Brass Inserts

France, ca. 1900

ARTIST: Louis Auguste Moreau.

DESCRIPTION: A set of two brown-patinated flower vases with original brass inserts, on red marble bases, decorated with Gingco biloba floral motif. Due to the fact that in the short Art Nouveau era, the floral motif in the visual and applied arts became very popular due to the use of natural lines, certain plants gained special popularity due to their exquisite smooth curved lines - daffodils, irises, chrysanthemums. Ginko occupies a special place in this series - not only because of the unusual shape of the leaves, but also as a symbol of longevity. Ginkgo biloba, commonly known as ginkgo or gingko, also known as the maidenhair tree, and is a species native to China. It is the only living species in the order Ginkgoales, which first appeared over 290 million years ago!

PERIOD: Ca. 1900

STYLE: French Art Nouveau

MEDIUM: Brown-patinated bronze and red marble,

DIMENSIONS: H: 14.75” x W: 7.75”

MARKINGS: Signed ‘Louis Moreau’ in the back.

CONDITION: Good antique condition. The vases retains original patina.

ARTIST: Louis Auguste Moreau (French, 1855-1919) is considered to be one of important French artists of his era. He was born in Dijon, in 1855. At a very young age Louis Auguste studied with his father; and later under such legendary masters of French sculpture, as Aimé Millet, Augustin Drumont and Jean Thomas. Moreau's style was realistic and graceful, revealing his relation to the other members of the Moreau dynasty. The similitude of names sometimes provokes confusion… Louis August Moreau was the son of Auguste Moreau and nephew to two other celebrated French sculptors Mathurin and Hyppolyte-François. He learned sculpture under their influence, as well as at the École des Beaux-Arts in Paris. His brothe, Hyppolyte was also a sculptor. Thus, a highly celebrated dynasty of French sculptors created works of art that can now be found in numerous museums throughout the world.Bronze sculptures by Louis August Moreau are prime examples of the Art Nouveau style. He worked in France during the turn of the XX century and regularly exhibited his bronzes. Moreau's outstanding artworks, such as Curiese, have inspired other sculptors of that era to create in a similar style.

SALE

$18,000

-30%

JUGENSTIL

Franz Xaver Bergmann

Moorish Warrior

Vienna Cold-Painted Bronze Sculpture

Austria, Ca. 1900

ARTIST: Franz Xaver Bergmann

SCULPTURE: Moorish Warrior

DESCRIPTION: This wonderful life-like sculpture depicts a Moorish warrior in a historical costume, at the moment of throwing a javelin. It is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Jugenstil/Art Nouveau

MEDIUM: Cold-Painted Bronze

DIMENSIONS: H: 7-7/8” x W: 3-3/8” x D: 3-7/8”

MARKINGS: Marked on the inner part of the base bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), model number 2897, and “GESHUTZED” (German: “PROTECTED).

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original colors and original patina.

ARTIST: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

SOLD

JUGENSTIL

Franz Xaver Bergmann

Nubian Banjira Player

Vienna Cold-Painted Bronze Sculpture

Austria, ca. 1900

ARTIST: Franz Xaver Bergmann

SCULPTURE: Nubian Banjira Player

DESCRIPTION: This wonderful life-like sculpture depicts a Nubian musician playing Banjira. It is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Jugenstil/Art Nouveau

MEDIUM: Cold-Painted Bronze

DIMENSIONS: H: 8.75” x W: 4.5” x D: 2.75”

MARKINGS: Marked on the back with a "B" in an urn-shaped cartouche (for “Bergmann”), model number 3260, and “GESHUTZED” (German: “PROTECTED).

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original colors and original patina.

ARTIST: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

SOLD

JUGENSTIL

Franz Xaver Bergmann

Moorish Traveler with Staff

Vienna Cold Painted Bronze Sculpture

Austria, ca. 1900

ARTIST: Franz Xaver Bergmann

SCULPTURE: Moorish Traveler with Staff

DESCRIPTION: This wonderful life-like sculpture depicts a Moorish traveler in a historical costume, with a staff in his hand. It is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Jugenstil/Art Nouveau

MEDIUM: Cold-Painted Bronze

DIMENSIONS: H: 8.75” x W: 4.5” x D: 2.75”

MARKINGS: Marked on the back with a "B" in an urn-shaped cartouche (for “Bergmann”) and model number.

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original colors and original patina.

ARTIST/MAKER: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$3,000

ON HOLD

Orientalist Jugenstil/ Art Nouveau

Franz Xaver Bergmann

Moorish Warrior

Vienna Cold Painted Bronze Sculpture

Austria, ca. 1900

SCULPTURE: Moorish Warrior

DESCRIPTION: This wonderful life-like sculpture depicts a Moorish warrior in a historical costume, at the moment of throwing a javelin. It is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Orientalist Jugensti l/Art Nouveau

MEDIUM: Cold-Painted Bronze

DIMENSIONS: D: 7-7/8” x W: 5-7/8” x H: 10-7/8”

MARKINGS: Marked on the inner part of the base bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), model number 2897, and “GESHUTZED” (German: “PROTECTED).

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original colors and original patina.

ARTIST/MAKER: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

SOLD

JUGENSTIL

Franz Xavier Bergmann

Egyptian Woman Carrying Water Pitcher

Vienna Cold-Painted Bronze Sculpture

Austria, Ca. 1900

ARTIST: Franz Xaver Bergmann

SCULPTURE: Egyption Peasant Woman Carrying Water Pitcher

DESCRIPTION: This provocative Austrian Art Nouveau/Jugenstil sculpture of a beautiful semi-dressed Egyptian peasant woman carrying a water pitcher on her head is created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Orientalist Jugenstil / Art Nouveau

MEDIUM: Viennese Cold-Painted Bronze

DIMENSIONS: H: 12.75” x W: 4.25” x D: 4.25”

MARKINGS: Marked on the base with a "B" in an urn-shaped cartouche (for “Bergmann”),

model number 3066, and “GESHUTZED” (German: “PROTECTED).

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original bright colors and original patina.

ARTIST: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$3,750

Austrian Jugenstil

Franz Xaver Bergmann

Crocodile

Sculptural Paperweight

Vienna Cold-Painted Bronze

Ca. 1900

ARTIST: Franz Xavier Bergmann

SCULPTURE: Crocodile

ESCRIPTION: This wonderful life-like little sculpture of a crocodile is actually a most convenient paperweight, and a perfect desk accessory. Created in polychrome cold-painted bronze, and rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergmann.

PERIOD: Ca. 1900

STYLE: Jugenstil/Animalist

MEDIUM: Cold-Painted Bronze

DIMENSIONS: L: 7.25” x W: 2:75” x H: 1.25”

MARKINGS: Marked on the bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), model number, and “GESHUTZED” (German: “PROTECTED).

CONDITION: The quality of the casting is superb, as well as the superb cold-painted surfaces. The sculpture retains original colors and original patina.

ARTIST: Franz Xaver Bergmann (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergmann was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works. Often, the sculptures are also marked with model number and stamped “GESHUTZED” (German for “PROTECTED”).

$1,600

ON HOLD

French Beaux Arts

Antoine Bofill

Patinated Bronze Figural Vase

Ca. 1900

DIMENSIONS: Height: 6-1/2” Width: 6-1/2” Depth: 5”

ANTOINE BOFILL (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofill often focused on Neoclassical themes, historical scenes, female nudes, and, most frequently, animals. His intricate and realistic works are especially notable for their frequent inclusion of ivory in his miniature bronze casts, an unusual practice that set him apart from the other sculptors of his time. Born in 1875 in Barcelona, Spain, he studied at the Academy of Beaux Arts in Barcelona, Spain, before garnering contact with the Parisian art world. He went on to regularly exhibit in the prestigious salons of Societe des Artistes from 1901 to the mid-1920s. Bofill is thought to have died sometime after 1925.

$1,150

Franz Xavier Bergmann

A Praying Man

Vienna Cold-Painted Bronze Desk Sculpture

Austria, Circa 1900

This gorgeous desk-size Vienna bronze figurine made by famous Viennese Bergmann Foundry in 1890-1900, depicts an Arab praying man dressed in oriental garments. Kneeling on a carpet, the man raises his arms. His shoes and walking stick are put aside on the edge of the carpet. Stunningly life-like, this outstanding little figurine is sculptured with amazing details. Stamped “GESCHÜTZT” (English: PROTECTED) on the bottom, and numbered: 2082

Dimensions:

Height: 5 1/4 inches Width: 5 1/4 inches Depth: 5 1/4 inches

FRANZ XAVIER BERGMANN (Austrian, 1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze, Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; oriental, erotic and animal figures, the latter often humanized or whimsical and often humorous objet d'art. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. The expertise for the mix of this kind of paint has been lost since. Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse (these marks used to disguise his identity on the erotic works). They are also often inscribed ‘Geschutzt’, which refers to the model/design being ‘registered’ or copyrighted; or not marked at all, especially if pieces are miniatures.

$1,350

ON HOLD

A Pair of Dandies

Austrian Jugenstil ~ Vienna, ca. 1900

ATTRIBUTED TO: Franz Xavier Bergman

MATERIAL: Cold-painted bronze.

DIMENSIONS: Height: 5-1/4” (13.1cm) | Width: 2-3/4” (6.9cm) | Depth: 4” (10cm)

CONDITION: Good antique condition, wear consistent with age and use. Original patina, some wear to paint (please refer to photos). No structural issues.

The SCULPTURE.

This wonderful and full of humor tabletop sculpture is a real gem for the Viennese cold-painted bronze sculpture collectors. Created in the best traditions of the world-famous foundry of Franz Xavier Bergman, to whom we are attributing the authorship, the sculpture is unmarked. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost since.

The uniqueness of this sculpture is in its subject matter – a dandy-ism; a literary and artistic style of the latter part of the 19th and early part of the 20th century, marked by artificiality and excessive refinement; a social movement that gave rise to a special breed of men, paying exaggerated attention to personal appearance.

The sculpture composition consists of a pair of typical dandies of the 1900’s, peacefully exchanging their impressions of some invisible to us object. One lounging in a chair and the second is leaning on the back of the same chair. Despite the fact that we do not know the subject of the conversation, their extra-sophisticated postures and facial condescending expressions tell us that their remarks are indeed full of irony and, possibly, even snobbery.

The DANDYI-SM.

A dandy, historically, is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of self. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle despite coming from a middle-class background, especially in late 18th- and early 19th-century Britain.

A brilliant French poet, Charles Baudelaire defined the dandy, in the later "metaphysical" phase of dandy-ism, as one who elevates esthetics to a living religion. He also said that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandy-ism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking ....

Dandy-ism is a form of Romanticism. Contrary to what many thoughtless people seem to believe, dandy-ism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of mind." The dandy creates his own unity by aesthetic means. However, it is an aesthetic of negation. "To live and die before a mirror": that according to Baudelaire was the dandy's slogan; and it is indeed a coherent slogan.

sold

Franz Xavier Bergman

Austrian Jugenstil

Vienna Bronze Sculptural Desk Inkwell

Ca. 1900s

Dimensions: Height: 9.33 inches Width: 6.75 inches Depth: 2.5 inches

This rare and highly collectible desk inkwell is made of cold-painted bronze in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergman.

The composition consists of an oriental man sitting in a relaxed and natural position in the doorway of his home and writing a letter, his gaze fixed on the distance. He thinks of what he would write next. To one side of him is a small tea table, the top of which is a hinged lid of the inkwell. The inkwell itself, made of white porcelain with a gilded rim, is original to the inkwell and in excellent antique condition.

Franz Xaver Bergman (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works.

sold

American Renaissance

Roman Bronze Works

A Pair of Vases with Nymph and Satyr

Patinated Bronze ~ Bas Reliefs

Ca. 1900

Dimensions: Height: 16 inches Width: 5-1/2 inches Depth: 6-3/4 inches

Roman Bronze Works foundry seal is found on the bottom of each vase.

Roman Bronze Works, now operated as Roman Bronze Studios, is a bronze foundry in New York City. Established in 1897 by Riccardo Bertelli, it was the first American foundry to specialize in the lost-wax bronze casting method, and was the country's pre-eminent art foundry during the American Renaissance (ca. 1876-1917).

$5,500

Jugenstil

Harlequin in Golden Mask

Multi-Color Vienna Bronze Desk Statuette

Austria, circa 1900

Dimensions: 4.33 high x 2.25 wide x 2.75 deep

This elegant desk-size statuette of a kneeled harlequin wearing a golden mask is a perfect example of the little masterpieces in cold-painted bronze, created in Vienna around 1900; during the short-lived Austrian Art Nouveau period, Jugenstil.

During that time a numerous cold-painted bronze objects d'art were made. Cold painted bronze refers to pieces cast in Vienna, and then decorated in several layers with so called dust paint; the know-how for the mix of this kind of paint has been lost since. The color was not fired hence ‘cold painted’.

Although usually designed by the leading artists of Jugenstil in Vienna, the actual painting process of these objects was carried out mainly by women working at home, a typical cottage industry.

$1,100

Carl Kauba

Bookworm & Art Connoisseur

A Pair of Bronze Sculptures

Austria, ca. 1910

Both sculptures are signed ‘C. Kauba’ on the plinth.

Dimensions: 9.75” high x 3.75” deep x 3.5” wide

Dark brown patina.

Original marble pedestals.

CARL KAUBA (Austrian, 1886 – 1922) was the son of an Austrian shoemaker, born in 1865. He began his studies at the Academy of Fine Arts in Vienna with professor Laufenberg, Carl Waschmann and Stefan Schwartz; and beginning 1886, he spent 2 years in Paris studying sculpture.

Kauba was part of the 19th-century tradition of polychrome bronze sculpture, using several types of patinas on a single statue. His Western polychrome bronze subjects are highly sought after, although it is highly debatable that he ever visited America.

His sculptures appear to have been copied from period photos. (Certain anomalies such as shod horses ridden by American Indians would suggest this). In particular, Kauba made numerous animal bronzes and Indian depictions. These then came mostly to the United States.

In 1897, he presented in the Vienna Künstlerhaus the bust of Pallas in red and yellow bronze. Kauba also worked under the name of T. Curts, and Karl Thenn -- quite possibly for copyright reasons in Vienna, as he worked for more than one foundry. Thus, it is quite normal to find identical sculptures with any of these signatures.

Kauba's intricate bronzes, imported to the United States between 1895 and 1912, were cast at the Roman Bronze Works and Gorham Foundry.

$6,000

Paul Ludwig Kowalczewski

German Jugenstil

Athlete Tearing Chain

Patinated Bronze Sculpture

Circa 1900

Dimensions:

Height (total): 23-1/2” Height (base): 4” Width: 8-3/4” Depth: 8-1/4”

Dark-brown patinated bronze fine sculptural study of a nude athlete with well-developed body; tearing apart a chain, tangled around his mighty chest. The sculpture is mounted on an original red marble pedestal.

Paul Ludwig Kowalczewski (1865 – 1910) was a German sculptor. A graduate of Berlin Academy of Arts, his works included mainly bronze busts and sculptures of the Art Nouveau style with profane depictions of working people, but also warriors, archers, victorious poses and, occasionally, birds. Kowalczewski exhibited his works regularly between 1899 and 1906 at the Große Berliner Kunstausstellung. The brother of the artist, Karl Kowalczewski (1867-1927), was also a sculptor.

SOLD

HANS LATT

A Roman Clown

Patinated Bronze Sculpture

Rome, 1885

SOLD

FRENCH ART NOUVEAU

Henri Louis Levasseur

Pulling Rope

Patinated Bronze Sculpture

1900s

Dimensions: Height: 19.75” Width: 15” Depth: 8”

Henri Louis Levasseur (French, 1853 – 1934) was a French sculptor best known for his Art Nouveau depictions of historic figures, mythological figures such as Diana (1900), and religious themes. His sculptures are composed in a realistic manner, often including painstakingly detailed, draped fabrics that appear to be captured mid-movement. Born on April 16, 1853 in Paris, France, Levasseur went on to study with Auguste Dumont, Gabriel Jules Thomas, and E. Planche. He won many awards during his lifetime, at both the Salon des Artistes Français and the Art Exposition in Paris. Today, Levasseur’s works are in the collections of the Pushkin State Museum of Fine Arts in Moscow, the Grohmann Museum at the Milwaukee School of Engineering, and the Columbia Museum of Art at the University of South Carolina, among others.

sold

Flemish Art Nouveau

Female Torso

Terracotta Sculpture

1900s

Dimensions: Height: 23.5” Width: 17” Depth: 10”

sold

French Art Nouveau

Female Bust

Gilt Bronze

1900s

Signed: ”CerNelille”

Dimensions: Height: 18” Width: 10.5” Depth: 11

$4,900

French Art Nouveau

Charles Vital-Cornu

Bronze Sculptural Floral Vase

1900s

Signed by the artist and stamped with foundry mark.

There is an original metal insert for displaying fresh-cut flowers in water.

Dimensions: Height: 15 ¾ inches Width (max.): 14 inches

CHARLES VITAL-CORNU (French, 1851 - 1927), Jouffroy’s and Pils’ pupil, he acquired a skillfulness mastery in carving marbles and producing bronzes. He used several patinas in his production. Indeed, if his pieces' embodiments are often golden-brown colored, the hollow part are darker. His figures, hands, faces, and bodies are of a great quality. Charles Vital-Cornu had participated in numerous annual ‘‘Salons’’ organized in Paris by ‘‘la Société des Artistes Français’’ where he got several awards, such as a mention of Honor in 1880 and 1881, a third class medal in 1882, a travelling grant in 1883, a second class medal in 1886, a bronze medal at the 1889 World Fair and, finally, a silver medal at the 1900 World Fair at the Grand palace in Paris. The works of this artist are in the permanent collections of the following world museums:

                                                                         Musée d’Ajaccio :                    Narcisse enfant
                                                                         Musée de Grenoble :               Le spleen
                                                                         Musée de Lausanne :              Maternité 1905, bronze
                                                                         Musée de Limoges :                 Belle vendanges
                                                                         Musée Galliera, Paris :              Archimède

$8,500.00

German Jugenstil

Friedrich Seidenstuker

A Little Devil

Bronze Sculpture

1900

Signed “F. Seidenstuker” on the base.

Dimensions: Height: 16.75 inches Width: 4 inches Depth: 4 inches

SOLD

FRENCH ART NOUVEAU

Robert T. Delandre & Gorham Foundry

A Rover

Bronze Patinated Sculpture

1906

Dimensions: Height: 8 inches Width: 4 inches Depth: 3 ½ inches

Robert Delandre (French, 1879 - 1961) was a famous French sculptor, a student of Alexandre Falguière and Denys Puech, whose works include:

·Le Vent et la feuille (The Wind and the Leaf, exhibited at the Salon des artistes français of 1912)

·Monuments to the dead of Fère-Champenoise, Oissel, Saint-Étienne-du-Rouvray, Cutry…

·Monument To those lost in Latham 47 at Caudebec-en-Caux (1931)

·Monument of Neuf-Marché

·Meditation, Fitzroy Gardens, Melbourne (Australia)

·Bust of Alexis Ballot-Beaupré, Cour de cassation, Palais de justice, Paris

$1,200

ON HOLD

French Art Nouveau ~ belle epoque

Gustave-Joseph Chéret

Patinated Bronze Figural Flower Vase

Circa 1885

Signed ‘Joseph Chéret’ and ‘E. Soleau. Editr. Paris’

Cast by the famous Paris foundry of Eugene Soleau, this outstanding sculptural flower vase features a picturesque group of putti, frightened by two big frogs.

Dimensions: Height: 14.5 inches Diameter: 5.75 inches

Gustave-Joseph Chéret (1838 – 1894) was a very talented and known French sculptor and ceramist. The son of Marie Nicolas Chéret and Justine Ormeau, Joseph Chéret was first trained as an ornamentalist, before becoming, around 1864, one of the principal assistants of the sculptor Albert-Ernest Carrier-Belleuse, one of whose daughters he married in 1868. Auxiliary precious for his father-in-law, he takes care of the daily business of his Paris studio at no. 15 rue de la Tour d'Auvergne. He assimilated the style of his master while building a modest independent reputation with works he sent to the Salon of French artists in 1863. Until 1873, he collaborated with ornamental houses like Christofle in Paris, and Pallemberg in Vienna, Austria. When Carrier-Belleuse died in 1887, Joseph Chéret briefly assumed the position of director of works of art at the Sèvres factory, which remained vacant. In 1891, he exhibited at the National Society of Fine Arts of which he became a member in 1894. Joseph Chéret is the author of numerous sculptures of small dimensions, groups and statuettes, but also vases, planters that adorn characters, scenes and various motifs. His Neo-Baroque work announced in many ways the newly born Art Nouveau movement. He also created some decorations, fountains, and monumental fireplaces executed for mansions. Chéret is also the creator of the shape and decor of the first salamander (round model or fan model) that he launched in collaboration with the house Chaboche. After his death in1894, his works were exhibited at the Ecole des Beaux-Arts in Paris, and then dispersed at the Hotel Drouot from 26 to 29 December 1894.

sold

Franz Xavier Bergman

Lizard

Vienna Bronze Sculptural Paperweight

Circa 1900

Marked with "B" in an urn-shaped cartouche.

Dimensions:

Length: 10 inches Height: 1.5 inches Width: 6 inches

This real size life-like bronze lizard desk paperweight is a perfect example of the little masterpieces in cold-painted bronze, created by the world-famous Viennese foundry of Franz Xavier Bergman.

Franz Xaver Bergman (1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze - Oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so called dust paint; the know-how for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". The painting was carried out mainly by women working at home, a typical cottage industry. Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks were used to disguise his identity on the erotic works.

$3500

sold

German Jugenstil

Paul Leibküchler

Sisyphus

Patinated Bronze Sculpture

Circa 1900

Signed by the artist on the plinth: “Leibküchler fec.” (for Paul Leibkuchler) and the foundry signet: “Aktiengesellschaft Gladenbeck Berlin D4397 Germany”.

Dimensions:

Height: 26 inches Base diameter: 11 inches

This extremely impressive depiction of Sisyphus, the figure from Greek mythology in darkly patinated bronze as an athletic male figure with energetic facial expression, wearing only a loincloth, stiffening a boulder over his right shoulder, on round, geometrically decorated plinth.

Paul Leibküchler (German, 1873 - 1938), a noted sculptor and medalist, trained at the Berlin Art Academy.

Aktien-Gesellschaft Gladenbeck was a foundry in Berlin, Germany which operated between 1851 and 1926. Gladenbeck was known for producing bronze castings of highest quality.

In Greek mythology, Sisyphus was the king of Ephyra (now known as Corinth). He was punished for his self-aggrandizing craftiness and deceitfulness by being forced to roll an immense boulder up a hill only for it to roll down when they near the top, repeating this action for eternity. Through the classical influence on modern culture, tasks that are both laborious and futile are, therefore, described as Sisyphean labor.

$11,500

HOLD

Anna Vaughn Hyatt Huntington

Yawning Panther

Patinated Bronze Sculpture

Circa 1915

Signed, "Anna Hyatt". Further impressed "Gorham CO. O 492", and further impressed #358. In good condition, consistent with age. Original patina.

Dimensions:

Height: 5.5 inches Width: 15.5 inches Depth: 4.5 inches

Sculpted by Anna Vaughn Hyatt Huntington during the American Art Nouveau era (circa 1915), the bronze sculpture "Yawning Panther" was cast by Gorham Co. Founders. The identical sculpture is photographed in "The Gorham Company, Famous Small Bronze" ©1928, pg. 15.

A yawning and fully outstretched panther finished in patinated bronze, resting atop a black Belgium marble plinth. Yawning Panther demonstrates the realism of Huntington's art in pose, detail, and style. Rather than showing her subject stalking a prey, she has caught the panther in an intimate moment as it stretches in a wide-mouthed yawn with its front legs tautly extended and its tail elegantly arched. Her skill in the lost-wax method of casting bronze is evident in the texture and wrinkles of the animal's fur. Although the scale of the work is small, the work conveys great strength and graceful movement.

Anna Hyatt Huntington (1876 - 1973) was a prolific artist known for her bronze animal sculptures. By combining classical features with modern abstract trends, Huntington developed a distinct style that captured the spirit of her subjects, such as Yawning Panther. Huntington developed her intense attention to detail through close observation of animals at zoos, circuses, live animal shows, and farms. These experiences enabled her to create intimate portraits of domestic and wild animals and heroic equestrian monuments.

Yawning Panther depicts a panther during a quiet moment. It stretches its full length, crosses its front legs, and opens its jaws in a thoroughly convincing yawn. The curve of the panther’s bold head balances its elegant, taut tail and leads the eye over its muscular body. With highly tactile fur and wrinkles in evidence, Yawning Panther demonstrates Huntington’s skill with the lost-wax method of bronze casting.

SOLD

Alexandre Vibert

French Art Nouveau

Gilt Bronze Ewer

Circa 1900

Dimensions

16 in.H x 11 in.W x 12 in.D ~ 41 cm H x 28 cm W x 30 cm D

An Art Nouveau gilt bronze lobed ewer by Alexandre Vibert (French, 1847-1909), produced within the early 20th century period, depicting a classical nude female figure on the bank of a body of water. Markings include signature “A.Vibert”.

Price: $4,900

Austrian Jugenstil

- A Dance with a Snake -

Ca. 1900

Full of tasteful provocative eroticism, this Austrian Jugenstilmassive but elegant sculpture, depicting a beautiful Eastern female dancing with a snake is a fine example of the Art Nouveau movement that swept through the decorative arts and architecture in the late 19th and early 20th centuries. Made of a beautifully crafted patinated bronze, it proudly stands on its original magnificent marble base. Unsigned, the authorship is unidentified.

Dimensions:

Height : 21 1/4 inches Width : 7 inches Depth : 7 inches

Austrian Jugendstil Movement

The Austrian Jugendstil differs dramatically in style from the other European styles. Vienna was the heart of an independent movement. In contrast to the floral patterns and shapes of the French artist Charles Plumet a special unique style was developed in Vienna.; clear lines were introduced into architecture (Adolf Loos: Villa Steiner/ House at Michaelerplatz; Otto Wagner: Vienna`s City Railway/ Post Office and Interior in Vienna) as it was also introduced into furniture design (Josef Hoffmann, Kolo Moser). The Vienna artists joined together with writer Hermann Bahr, the painter Gustav Klimt and the architect Otto Wagner to form the „Wiener Secession“. Artistic disciplines were not separated from each other in Jugendstil, but flowed together. The artists endeavored to complete a "Gesamtkunstwerk" (total art work). They brought their Avant Garde ideas into all fields of art and daily life: Literature – Music – Painting – Architectur – Furniture design – Cloth weaving – Wallpaper – Lighting – Jewelry – Cutlery – Glass – Heating systems. Their appreciation of details in their work is expressed in the use of: Faceted Glass, decorative and ornamented wood and metalwork.

$3,900

French Art Nouveau

A. Charroi

Bronze & Marble Bust

~ Laughing Girl ~

Ca. 1900

Dimensions:

Height: 3/4 inches Base diameter: 3 3/4 inches Max. width: 3 3/4 inches

This wonderful sculpture of a laughing girl is a bright example of the French Art Nouveau movement that swept through the decorative arts and architecture in the late 19th and early 20th centuries. Made of a beautifully crafted dark-brown patinated bronze, it proudly stands on its original marble base and bears artist's signature: "A. Charroi", as well as unidentified diamond-shape foundry mark and bronze authenticity stamp.