Art Nouveau & Art Déco - Gallery in Monaco
“WEINENDE”, 1901
Bronze with a black patina
Signed
Height: 27 cm.
Bibliography
Catalogue de La Maison Moderne, Sculptures, p. 4, under the number 3421-1
Bernhardt Hoetger Skulptur Malerei Design Architektur, Hauschild, Bremen 1998, p. 316, n. 207
“JEUNE FILLE AU CHAT”, CIRCA 1900
Statuette in sculpted wood and patinated ivory
The base in marble
Signed
Height: 11 cm.
Alfred Jorel was Sociétaire des Artistes Français and exhibited in Gallièra in 1903. (Exposition de l’ivoire), in 1908 (Exposition de la Parure Précieuse de la Femme) and in 1914 (Exposition de la Statuette). His pieces are unique
LITTLE GIRL PLAYING WITH HER CAT
Bronze sculpture
Signed
Height: 24 cm
SCULPTURE IN IVORY, CIRCA 1900
Featuring a naked woman holding a garland of flowers on a pyramidal marble base
Height: 23.5 cm
17.5 cm. high for the ivory
TWO CHILDREN IN CLOGS
Pair of carved ivory statuettes
Signed on the marble bases
Height: 8.7 cm and 8.8 cm.
Total height: 13.3 cm. and 13.4 cm.
“PETITES NYMPHES”, CIRCA 1900
Bronze with a brown patina
Signed and bearing the foundry seal EUG. BLOT / B. DE LA MADELEINE / PARIS
30 cm. high
Exhibition
Darmstadt Ein Dokument Deutscher Kunst 1901-1976, Die Künstler der Mathildenhöhe,
22 October 1976-30 January 1977, ill. vol. 4, p. 103, n. 328 in the exhibition catalogue
(collection Barlach-Heuer, Paris)
Bibliography
La Maison Moderne, Documents sur l’Art Industriel au vingtième siècle, nd,
Edition de la Maison Moderne, ill. p. 11, n. 3423-1
Laurence Buffet-Challié, Le Modern Style, Baschet & Cie éditeurs, nd, ill. p. 50, n. 2
“LA MORT” (DEATH), CIRCA 1893-1894
Patinated bronze sculpture
Signed
Height: 55 cm.
Exhibition
Intérieurs 2011 – L’Art de vivre avec l’art, Artcurial, Paris, 8-22 September 2011,
exhibited on the booth of Mrs Roxane Rodriguez
Bibliography
L’Art Décoratif, April 1901, ill. p. 8 (Detail in glossy earthenware)
Art et Décoration, April 1904, ill. p. 121
Catalogue des Objets d’Art Moderne faisant partie de la Collection Roger Marx, p. 23,
n. 132 for an example in glossy terracotta
Musée des Arts décoratifs, inv.27961: “Ce buste en terre cuite polychrome appartient sans doute à un projet de décor inachevé. Le visage hiératique de La Mort est rehaussé de touches verdâtres sur les paupières et les lèvres, évoquant le bleuissement d’une noyée et accentuant l’étrangeté de l’œuvre. Cette iconographie unique dans son œuvre montre une nouvelle fois l’influence du courant symboliste dont la mort est une thématique centrale”
There is also an example of just the bust in the Musée des Arts Décoratifs:
Titre : La mort
Dénomination : buste de femme
Date : 1895
Dimensions : H : 17 cm ; L : 15,4 cm ; P : 8 cm
Inscriptions – marques : aucune
Lieu de conservation : Paris, musée des arts décoratifs (inv.27961)
Matériaux : terre cuite lustrée avec rehauts de couleur verte sur la bouche et les yeux
Historique : don de Louis Massignon et de sa soeur en souvenir de leur mère, entrée le 12 novembre 1931
“LA PLEUREUSE”, CIRCA 1900
Gilt bronze modelled as a woman covering her face
Signed
25 cm. high
“BUSTE DE BÉBÉ RIANT”, 1893
Important and rare sculpture in damascened steel
Signed and dated
Height: 20 cm.
Width: 26.5 cm.
“APRÈS LE BAL”, 1901
Grès
Signed
32 x 36 x 30 cm.
“A LA BELLE ETOILE”, 1902
Grès depicting a couple sitting on a bench and a sleeping character on the other side of the bench
Signed
Marked Hector CACCIPUOTTI / Editeur / 65 rue Violet à Paris and Société des Artistes Réalistes, Marque déposée Paris
Height: 21 cm.
Exhibition
V. Pica, Artisti Contemporanei: Karl Millès, Emporium XXIX, no. 196, Jan. 1909, pp. 3-19, ill. p. 12
HEAD OF A WOMAN, CIRCA 1900
Bronze sculpture on a wood base
Signed and marqued Cire perdue A. Hébrard
24.5 cm. height
36.5 cm. height with the base
“THEODORA”, CIRCA 1900
Parcel-gilt and silvered-bronze figure of the empress wearing the Byzantium crown,
heightened with translucent enamels and set with colourful semi-precious stones
Signed and impressed with the foundry mark
61 cm. high
Theodora was the wife of Justinian I who was crowned Emperor of the
Byzantine Empire in 527 AD. As his wife, she ruled by his side, and as his partner,
her intelligence helped to advance the Empire
“APRES LE CAFE”, 1901
Bronze with a brown patina
Signed and bearing the Cire Perdue stamp of the foundry DBB (Danish)
33.5 cm. high
35 cm. long
“STANDING BOY”, 1906
A rare, fine quality, early twentieth century bronze model of a “Standing Boy”.
Rich dark brown patina with reddy brown undertones.
This sculpture was cast in bronze by the lost wax process at the Hébrard Foundry, Paris in 1907.
Before casting it was signed, stamped and numbered in the wax, R. Bugatti, A.A. Hébrard, Cire Perdue, 3
44 cm. high
14 cm. length
16 cm. depth
“TRIADE ANTIQUE”
Bronze with a black patina
Signed, with foundry mark and numbered 6
Original base by Hébrard in yellow sienna marble
24 cm. high
The base: 18 x 16.5 x 5 cm.
Exhibition
Société Nationale des Beaux-Arts, 1902: patinated plaster
Exposition internationale de Buenos Ayres, 1910, Hébrard collection
Exposition à la Galerie Hébrard, April 1911
Bibliography
L’Art Décoratif, July 1910, ill. p. 17
“LE PETITE BLESSE”, 1898
Bronze with black patina
Signed, dated 98 and impressed with La Maison Moderne’s seal
25.3 cm. high
Exhibition
George Minne en de kunst rond 1900, Museum voor Schone Kunsten, Ghent, September 1982 –
December 1982, p. 157, n°80
Bibliography
Art et Décoration, November 1901, ill. p. 112
Documents sur l’Art Décoratif Industriel au XXème Siècle, Edition de La Maison Moderne, nd,
section sculpture, ill. p. 21 under reference 308-1
“MOISSONNEUR AFFUTANT SA FAUX”
Bronze
Signed, with foundry mark Susse Frs éd. Paris.
13 x 15 cm.
“LA FILLETTE AU PARAPLUIE” (“SITZENDES MADCHEN MIT SCHIRM”), CIRCA 1900
Bronze with a brown patina
Signed on the base
20 cm. high
“LE SEMEUR” (“SAMANN”), CIRCA 1904
Bronze with a brown patina
Signed. Bearing the foundry mark
15 cm. high
Exhibition
Was exhibited at the Bremmen exhibition in 1977
“SALAMMBO CHEZ MATHO”, 1895
Carved ivory
Signed and dedicated à mon ami A(ngelo) Mariani
Exhibition
Musée Galliéra, Exposition de la Statuette et du Meuble qui la présente ou l’accompagne, 1914, n. 373,
described as “Salammbô”, ivory (Collection of Mr Jacques Mariani)
Salammbô: Fureur ! Passion ! Elephants !, 20 October 2021-7 February 2022, exposition itinérante au Musée des Beaux-Arts de Rouen, au Mucem à Marseille et à l’Institut national du patrimoine à Tunis
Bibliography
Colette Dumas, Théodore Rivière – sa vie … Son œuvre, p. 61 to p. 66
Salammbo, Mucem, Réunion des Musées Métropolitains de Rouen, Institut National du Patrimoine de Tunisie, éditions Gallimard, 2021, ill. p. 110 in the exhibition catalogue
Provenance
Formerly in the Collection of Mr Angelo Mariani
Angelo Mariani, chemist and inventor of the “Vin Mariani”, a fortifying beverage based on coca bark, a true institution for nearly half a century before its essential component was banned, was the friend and patron of Theodore Riviere, who composed a collection of portraits and statuettes. The period documentation quotes a number of artworks exhibited at different Salons and having belonged to A. Mariani (or by descent to his son Jacques), such as La Caravane, plaster ; le Portrait de M. Mariani, bronze ; Salomé, ivory (our example) ; Les Huns ; Le Mur ; Le Silence, ivory, marble and bronze ; L’Empereur d’Annam, ivory and sculpted wood ; La Femme d’Elchi, ivory, marble and wood ; La brodeuse arabe, ivory, marble and enamels. Angelo Mariani was the patron of several artists including Jean Baffier.
Special order or gift of the artist, this sculpture, which is not among the works on display at the ivory exhibition at the Galliéra Museum in 1903, could have been executed around this date
“PAYSANT PLANTANT DES POMMES DE TERRE APPUYE SUR SA BECHE”, CIRCA 1900
Bronze with a brown patina
Signed
9 cm high
Bibliography
Bernard Hoetger – Skulptur, Malerei, Design, Architektur, Hauschild, 1998, ill. p. 344, n. 236
“DANSE DU PAON” OU “DANSEUSE AU PAON”, CIRCA 1900
Bronze with a black patina
Signed on the base; with foundry mark
31.5 cm. high
Bibiography
Théodore Rivière, sa vie, son oeuvre, Colette Dumas, nd, p. 55, n. 56
“CONFIDENCES”
Bronze
Signed
50 cm. high
Bibliography
L’Art Décoratif, June 1904, ill. p. 232
Exhibition
Société Nationale des Beaux-Arts, Paris, 1904, n°2490
“VENUS KALIPYGOS”, 1909
Patinated bronze
Signed, titled and dated 1909
22 cm high
“TIGGERSKA”, 1901 (“MENDIANTE ET ENFANT”)
Bronze with a black patina
Signed and bearing foundry mark
30 cm. high
“LE SECRET”, CIRCA 1900
Bronze with a brown patina
Signed, with foundry mark and numbered S291
The base in wood bearing the inscription Les artistes du théātre Michel / à leur ami et régisseur / Charles Maudru / 1893-1907
62.2 cm. high
Bibliography
L’Art Décoratif, March 1900, ill. p. 230
“L’année suivante (1894), il s’essaye à une oeuvre de dimension importante : La Maquette du Monument de Joséphin Soulary et à trois statuettes : sculpture monumentale et sculpture intime. Jamais du reste Fix-Masseau ne se dépassera lui-même dans sa compréhension si délicate de la statuette telle qu’elle nous apparaīt en des oeuvres comme l’Eve des Rèves, Le Secret et la Folle du Sonnet, cette dernière vivante et vibrante, les cheveux au vent, emportée par l’ardeur de sa course. Le Secret au contraire montre une sorte de mysticisme que nous retrouverons souvent chez lui. Notons en même temps, en admirant l’allongement de ce corps de femme en partie dissimulé par la draperie, que M. Fix-Masseau interprète largement la nature, mais ne la déforme jamais”.
Maurice Rheims, The Flowering of Art Nouveau, Harry N. Abrams, Inc. Publishers, N.Y., n.d. ill. p. 203, n. 251
Renate Ulmer, Art Nouveau Symbolismus und Jugendstil in Frankreich, Arnoldsche, 1999, ill. p. 76, n. 66
“ELEGANTE EN ROBE LONGUE, SEIN GAUCHE DECOUVERT”, CIRCA 1900
Bronze with a dark brown patina
Signed
With foundry mark and numbererd (M)
39 cm. high
“LA MORT”, CIRCA 1900
Patinated terracotta, shaded brown and partly iridescent
Unidentified incised monogram
18.5 cm. high
“LA POMME D’OR”, CIRCA 1900
Original sculpture of a figure representing Eve, carved in ivory, set in a sculpted mahogany tree, a snake applied in enameled silver
Signed on the wooden base
37.5 cm. high
To the best of our knowledge, three works by Théodore-Rivière incorporated enamel by René Lalique among which “La brodeuse arabe” or “La brodeuse tunisienne” from 1897, and a Cambodian dancer. Therefore, it is very likely that our piece was enameled by Lalique as well.
Bibliography
Colette Dumas, Théodore Rivière, sa vie, son œuvre, 1998, ill. page 89, n. 102
Provenance
Private collection of Louis-Auguste Théodore-Rivière
Théodore-Rivière sale, Hôtel Drouot, room 10, 1st December 1909, lot 36
The Musée d’Orsay keeps in its archives the sales record established by Jean (Théodore) Rivière. It comprises 45 lots originating directly from the studio of the artist, among which bronze sculptures in large part, without any of them being cast, thus unique; two or three marbles, two terracottas and two ivory sculptures, one of them being “La Pomme d’Or”. A few works were bought in, and the total of the sale reached 15.251 francs. Two lots reached the highest bid of 1.500 francs, lot 32: “Néron”; turquin blue marble, unique artwork, 36 cm. high; and lot 36: “La Pomme d’Or”, described as “statuette ivoire, serpent argenté émaillé, sur bois des îles socle marbre, hauteur moyenne 40 cent”.
“LA FEMME AU VOILE”, CIRCA 1900
Bronze with green and dark patina, and marble
Signed and bearing the Siot-Decauville foundry mark
66 cm. high
Bibliography
Gerald M. Akerman, La vie et l’œuvre de J. L. Gérôme, catalogue raisonné, A.C.R. Edition, p. 331, n° S 65
Catalogue de l’exposition de la galerie Tanagra J.-L. Gérôme, sculpteur et peintre de l’art officiel, Paris, 25 avril au 15 mai 1974, n° 14
SCULPTURE, CIRCA 1900
Bronze sculpture with dark patina
Black marble base
Signed
28 x 18 x 13,5 cm
The sculptures were sold by La Maison Moderne
“FEMME AU CHAT”, 1897-1898
Patinated gilt bronze
Signed
49 cm. high
Exhibition
Société nationale des Beaux-Arts, Paris 1898
Musée Galliéra, Paris 1934-1935
L’oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, n. 86 in the exhibition catalogue François-Rupert Carabin, Musée d’Art Moderne de Strasbourg and Musée d’Orsay, 1993, ill. p. 87, n. 66 in the exhibition catalogue
Bibliography
Catalogue de la Société nationale des Beaux-Arts, 1898
G. Geffroy: La vie artistique, 1898, p. 354
Catalogue de l’exposition Carabin au musée Galliéra, 1934-1935
L’oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, ill. p. 178
“DANSEUSE NUE AUX CYMBALES”, CIRCA 1900
Satin finish rock crystal; the base in fluorspar
Signed
23 cm. high; 31.5 cm. high including the base
A very fine stone carver, Georges Tonnelier worked mainly with the jeweller Falize
His works are only found in museums and major institutions. The Walter Arts Museum in Baltimore,
Maryland has four rock crystal statuettes and one other is at the Chrysler Museum of Art in Norfolk, Virginia
“ANDROMEDE”, CIRCA 1900
Bronze with gilt and green brown patina
Titled and signed
28 x 10 x 11 cm.
“STEHENDES MÄDCHEN” (“L’ENFANT”), CIRCA 1901
Bronze with a brown patina
Signed
20.5 cm. high
Bibliography
Pierre Kjellberg, Les Bronzes du XIXème siècle, Dictionnaire des sculpteurs, les Editions de l’Amateur, 1989, model mentioned p. 379
PITCHER, CIRCA 1900
Gilt bronze decorated with a swan and water lilies
41.7 cm. high
Signed
Exhibition
Exposition Universelle, Brussels, 1897
Charleroi Exhibition, 1898
Bibliography
“Un service à toilette en vermeil et en cristal, d’une étonnante richesse, doit aussi être mentionné. Le thême du décor, c’est l’aurore, le réveil de la nature. Sur la pièce principale, c’est-à-dire le broc, est représenté en demi-relief un cygne qui s’ébat dans un étang, que le soleil éclaire de ses feux et à la surface duquel s’étalent des feuilles de nénuphars. Enveloppant le contour du broc de ses deux ailes à moitié ouvertes, comme pour faire sa toilette, le cygne tord son long col dans un geste nonchalant, et son bec s’allonge jusqu’à l’orifice du récipient pour en aspirer l’eau. L’idée est originale, charmante ; il s’en faut de peu que l’œuvre ne soit parfaite”. Victor Champier, L’Exposition Universelle de Bruxelles, La Revue des Arts Décoratifs, 1897, p. 390. Illustration of the pitcher p. 361
The Studio, November 1898, ill. p.136 (charleroi exhibition).
“MELANCOLIE”
Bronze with a brown patina
Signed and bearing the foudry mark I H F Paris
Exhibition
SNBA, 1901 (plaster)
Bibliography
L’Art Décoratif, December 1901, p. 111, model in plaster ill. “…C’est la Mélancolie, avec la vérité de la pose de tout le corps, d’un bras abandonné sur les genoux, du visage penché sur l’autre bras reployé et soutenu par le dossier du siège”
“DEUX DANSEUSES”, CIRCA 1905
Bronze; representing two naked dancers, one holding a tambourine, the other a laurel wreath
Signed and marked Fumière et Gavinot Thiébaut fondeurs
19 cm. high
A similar example is to be found at the musée des Beaux-Arts de Reims, gift of Mr Henry Vasnier, 1907
Exhibition
1905, Galerie Chaine et Simonson, vitrine XI
Bibliography
Louis Delteil, Théodore Rivière, Revue des Arts décoratifs, 1899, ill. p. 308
Albert Thomas, Théodore Rivière, l'Art décoratif, n. 40, January 1902, ill. p. 133
Louis Vauxelles, Gil Blas, 17 November 1907
Il s'agit de deux personnages détachés du groupe “Mathô vaincu, Défilé de la Hâche ou Retour de Mathô à Carthage ou L'Eléphant d'Hamilcar” dont la maquette en plâtre de 1893, aujourd'hui détruite, figura au Salon des Artistes Français de 1894, n°3536, et pour laquelle l'artiste obtint une médaille de 3ème classe. La place de cette sculpture dans le groupe se situe à droite de la patte arrière droite de l'éléphant.
Une autre maquette en plâtre teinté, terre cuite, fil de fer et bois provenant de l'atelier du sculpteur dispersé à Lyon en 1972 a été reconstituée en 1930 par la fille de l'artiste et se trouve aujourd'hui au Victoria and Albert Museum de Londres
“FROID”, 1904
Bronze with brown patina
Signed, titled and dated 1904
24 cm. high
Exhibition
Société Nationale des Beaux-Arts, 1905, n. 1769
Bibliography
Société Nationale des Beaux-Arts, 1905, Catalogue illustré, ill p. 190 (wrongly attributed to P. de Frick, the painter)
“LES VALSEUSES”
Patinated bronze paperweight
Signed
16 cm. high
Bibliography
Documents sur l’Art Industriel au XXème siècle, édition de La Maison Moderne, La Sculpture, nd, ill. p. 16.
“LA PRINCESSE LOINTAINE”, CIRCA 1900
Bronze sculpture with black, brown and gilt patinas
Signed, with foundry mark and numbered L857
54 cm. high
“LE SECRET”, CIRCA 1900
Patinated bronze with medal and brown patina. The base in marble
Signed
69 cm. high
With the base: 74 cm. high
“LES DEUX DOULEURS”, CIRCA 1910
Bronze with a black patina
Signed and bears the foundry mark of Susse Frères
Smaller version of the plaster cast of 1904
31 cm. high
Bibliography
Colette Dumas, Théodore Rivière, sa vie … son oeuvre, nd, the plaster cast ill. n. 126
“DANSEUSE AU COTHURNE”, CIRCA 1900
Bronze
Signed and titled COTHURNE and numbered 2
With foundry mark
27.5 cm. high
“JEUNE FILLE SORTANT DU BAIN”, CIRCA 1905
Bronze with a black patina
Signed, with foundry mark
47 x 57 cm.
“LA DAME AU GRAND MANTEAU”
Bronze with a dark brown patina, cast after 1905
Signed, marked (M), and with foundry mark;
bearing an exhibition label at the Musée des
Arts Décoratifs, Paris,
marked 1933 and M. Hébrard; an inventory label marked 2487; and another label marked Douane Centrale / Paris
37.5 cm. high
Another example commissioned by the French State in 1904 for the Musée du Luxembourg belongs to the Musée d’Orsay, Paris, inv. LUX 214
Exhibition
Salon National des Beaux-Arts, Paris, 1904, 1899 for an example in terracotta
Exposition de la statuette, Musée Galliéra, Paris, 1914, n. 152 of the exhibition catalogue
Roger Marx, un critique aux côtés de Gallé, Monet, Rodin, Gauguin…, Nancy, Musée des Beaux-Arts
Musée de l’Ecole de Nancy, 6 May – 28 August 2006, ill. p. 237, n. 176 in the exhibition catalogue
Bibliography
L’Art Décoratif, June 1904, an example in plaster ill. p. 230
“ADAM ET EVE”, OR “L’ETREINTE”, OR “PARADIS PERDU”, 1903
Bronze with a green patina; on a streaked green marble stepped base
33 cm. high
Exibition
Art de l’Ivoire, 1903, Musée Galliéra
Salon de la Société des Artistes français, 1905, Arts Décoratifs section, n. 5017 for the sculpture in ivory owned by the Ville de Paris
Exposition de la statuette et du meuble qui l’accompagne, Palais Galliéra, 1914, n. 379
Inaugural Exposition of French Art in the California Palace of the Legion of Honor,
Lincoln Park, San Francisco, California, 1924-1925, for the example in bronze exhibited under n. 197
Bibliography
Maurice Rheims, The flowering of Art Nouveau, Harry N. Abrams Inc., New York, n.d., the example in ivory ill. p. 203, n. 250
L’Estampille, March 1983, p. 63, n. 155 for the original example in plaster coming from the
estate of Théodore Rivière, and described as “Adam et Eve enlacés, le visage de l’homme enfoui dans le creux de l’épaule de sa compagne qui, angoissée, regarde le ciel…”.
Mrs Alma de Bretteville Spreckels donated an example in bronze of this sculpture to the
California Palace of the Legion of Honor, San Francisco, inv. 1937-8-6, 1948, which is
now in the collections of the Maryhill Museum, Maryhill, Washington, USA, inv.:14-19.
An example in ivory was acquired by the Ville de Paris for the collections of the Musée Galliéra, 1906. It is now at the Petit
Palais, Paris, inv. O.GAL.12.
No other examples are known to exist.
“LA NATURE SE DÉVOILANT DEVANT LA SCIENCE”, CIRCA 1900
Gilt bronze and marble sculpture with
polychrome highlights; the scarab in sodalite; the base in green marble
Signed E. Barrias, and with foundry mark Susse Frères éditeurs, Paris
58 cm. high
Exhibition
Exposition Universelle of 1900, an example with two patinas illustrated in the exhibition catalogue,
Liège, 1903
Bibliography
Illustrated in the Susse Frères catalogues,
1905 and 1910
Les bronzes du XIXème, P. Kjellberg, Éd. de l'amateur 2005, p.50
Bronzes Sculptors & founders 1800-1950, H. Berman, Abage publishers, 1977 tome 3 n. 1387 p. 375
“DANSE” OR “FEMME NUE A L’ÉCHARPE”, 1906
Bronze sculpture; lost wax cast by Hébrard
Signed
34.3 cm. high
A similar example in terracotta at the musée d’Orsay, inv. n. RF3199
Model in plaster and tissue, Zimmerli Art Museum, New Jersey, USA
Exhibition
1914, Musée Galliéra, Exposition de la statuette et du meuble qui l’accompagne
Bibliography
Musée d’Orsay. Catalogue sommaire illustré des sculptures, similar example in terracotta illustrated p. 142, n. RF3199
Breaking the Mold-Sculpture in Paris from Daumier to Rodin, Edited by Phillip Dennis Cate,
published by the Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, ill. p. 67, n°140,
October 23, 2005-March 12, 2006
Gilt bronze sculpture on a carved stone
Signed
43 cm. high
With the base: 53 cm.
Exhibition
Société nationale des Beaux-Arts, Paris, 1901
Salon d’Automne, 1905
Bibliography
L’Art Décoratif, March 1900, ill. p. 232, 233 (patinated plaster)
Art et Décoration, July 1901, ill. p. 12
“PHRYNE”, CIRCA 1900
Bronze with a black patina
Signed, bearing foundry mark and numbered 57159 7
58 cm. high
Exhibition
Société des Artistes Français, 1899, n. 3927
Bibliography
Art et Décoration, September 1899, ill. p. 82
“LA VIGNE”, CIRCA 1900
Bronze with brown patina; the base in marble
Signed, with foundry mark and numbered 13
18 cm. high
With the base: 20.5 cm. high
The base: 8 x 8 x 2.4 cm.
Bibliography
Raymond Huard, Jules Desbois, ill. p. 65
Carrara marble sculpture representing the bust of a farmer
Signed and titled
Other examples in marble are to be found at the musée de Bourges
“LOIE FULLER” SCULPTURE, CIRCA 1900
Light brown patinated bronze heightened in red
Signed and numbered E12
23 cm. high
Exhibition
Société Nationale des Beaux-Arts, Paris, 1897, 1899
Salon de la Libre Esthétique, Bruxelles, 1897, cat. n.75 to 80
Austellung der Vereinigung Bildender KÜnstler Österreichs, Vienne, 1898
Exposition Universelle, Paris, 1900, n.90 (cat.)
Le décor de la vie sous la IIIème République, Pavillon de Marsan, 1933, n.847 (cat.)
Musée Galliéra, Rupert Carabin, 1934-1935, n. 49 (cat.)
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974, n. 75 & 76 (cat.)
Loïe Fuller : Magicien of light, Virginia Museum, Richmond, 1979, cat. n.11-16, ill. p. 46-47
François-Rupert Carabin, Musée d’Art Moderne de Strasbourg and Musée d’Orsay, 1993, ill. p. 72 & 73 (cat.), n.30 and 34
Bibliography
Catalogue de la Société Nationale des Beaux-Arts, 1897
La Gazette des Beaux-Arts, 1897, p. 247
G. Geffroy, la Vie Artistique 1897, p. 378
Ver Sacrum, n. 56, May-June 1898 and n.9, September 1898
C. Saunier Rupert Carabin, La Revue d’Art, n.11, January 1900, p. 161 to 168
G. Coquiot Biographies Alsaciennes X, François Rupert Carabin, Revue Alsacienne Illustrée, 1901, p. 146
Catalogue de vente Collection A. Alexandre, 1903, n.150 to 156 (Danseuse Serpentine)
G. Coquiot Les figurines de Carabin, l’Art Décoratif, January 1907, p. 25 à 30
Catalogue of the exhibition Le décor de la vie sous la IIIème République de 1870 à 1900, Pavillon de Marsan 1933
Catalogue of the exhibition Carabin au musée Galliéra 1934-1935
Catalogue of the exhibition L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, p. 171 & 172
“LOIE FULLER” SCULPTURE, CIRCA 1900
Light brown patinated bronze heightened in red
Signed, numbered F8 and bearing the foundry mark FJ
18.5 cm. high
Exhibition
Société Nationale des Beaux-Arts, Paris, 1897 & 1899
Salon de la Libre Esthétique, Bruxelles, 1897, cat. n.75 – 80
Austellung der Vereinigung Bildender KÜnstler Österreichs, Vienne, 1898
Exposition Universelle, Paris, 1900, n. 90 (cat.)
Le décor de la vie sous la IIIème République, Pavillon de Marsan, 1933, n. 847 (cat.)
Musée Galliéra Rupert Carabin, 1934-1935, n. 49 (cat.)
L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, Paris, 1974, n. 79 (cat.)
Loïe Fuller: Magicien of light, Virginia Museum, Richmond, 1979, cat. n.11-16, ill. p. 46-47
François-Rupert Carabin, Musée d’Art Moderne de Strasbourg and Musée d’Orsay, 1993, repr. p. 72, 73 (cat.) n. 30, 34
Bibliography
Catalogue de la Société Nationale des Beaux-Arts, 1897
La Gazette des Beaux-Arts, 1897, p. 247
G. Geffroy, la Vie Artistique 1897, p. 378
Ver Sacrum, n°56, may-june 1898 et n. 9, september 1898
C. Saunier Rupert Carabin, La Revue d’Art, n°11, january 1900, p. 161 to p. 168
G. Coquiot Biographies Alsaciennes X, François Rupert Carabin, Revue Alsacienne Illustrée, 1901, p. 146
Catalogue de vente Collection A. Alexandre, 1903, n. 150 – 156 (Danseuse Serpentine)
G. Coquiot Les figurines de Carabin, l’Art Décoratif, janvier 1907, p. 25 à 30
Catalog of the exhibition Le décor de la vie sous la IIIème République de 1870 à 1900, Pavillon de Marsan, 1933
Catalog of the exhibition Carabin au musée Galliéra, 1934-1935
Catalog of the exhibition L’Oeuvre de Rupert Carabin, Galerie du Luxembourg, 1974, p. 175
“WOMAN AND PEACOCK” FOOTED VASE, CIRCA 1900
Gilt bronze; the central motif decorated with a red cabochon,
and each of the four feet decorated with a green cabochon
Signed Flamand
29 cm.
“WOMAN WITH A TORCH” TABLE LAMP, CIRCA 1900
Gilt bronze, original frosted glass shade
The base in marble
Signed and with foundry mark
56 cm. high
“DANCER WITH SNAKES”, 1905-1906
Patinated bronze
Signed, dédicated St Edmond / Le Personnel de la Maison / Laussedat / à leur patron and dated 1906
23.3 cm. high
Another example is part of the collection of the Musée de l’Ancienne Douane, Strasbourg and another
one is part of the Silverman Collection, New York
Exhibition
Société Nationale des Beaux-Arts, Paris, 1906
Musée Galliera, Exposition Carabin, 1934-1935
Bibliography
Catalogue de la Société Nationale des Beaux-Arts, 1906
La Revue Théâtrale, April 1906, ill. p. 1452
Catalogue de l’exposition Carabin, Galliera Museum 1934-1935
L’œuvre de Rupert Carabin, Galerie du Luxembourg, 1974, ill. p. 192, n.104
“BAIGNEUSE” BOTTLE AND “LES TROIS AGES DE LA VIE” STOPPER, CIRCA 1900
Patinated bronze
Signed J. Desbois and numbered 804 B
22 cm. high
Bibliography
Catalogue de la maison Siot-Decauville, ill. p.104
Philippe Dahhan, Etains 1900, Les éditions de l’amateur, Paris, 2000, ill p. 116, n. 293-295 (Model in pewter)
“CHLOE ENDORMIE”, CIRCA 1900
Marble sculpture
Signed
45 x 18 x 27.5 cm.
“NESSUS ENLEVANT DEJANINE”, CIRCA 1900
Silver; the base in sculpted onyx
Signed Tonnelier HC
16 cm. high
“LE BAISER ZELANDAIS”, CIRCA 1920
Patinated bronze
Signed, bearing the rectangular seal Cire Perdue SIOT and numbered 1
34 cm. high
Exhibition
Exposition de la Statuette et du Meuble, Musée Galliéra, 1914 (terracotta)
