- A Dance with a Snake -
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.
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.
French Art Nouveau
Bronze & Marble Bust
~ Laughing Girl ~
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.
Franz Xavier Bergman
Vienna Cold-Painted Bronze Figurine
~ Native American Warrior in Full Military Gear ~
Height: 4 1/4 inches Width: 3 3/4 inches Deph: 4 inches
This lovely desk-size bronze statuette of a Native American warrior in full military gear is rendered in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergman of cold-painted bronze. It is in excellent original antique condition with only some light wear. Please observe photos carefully, as they are a significant part of the description.
Franz Xaver Bergman (1861–1936)
Franz Xaver Bergman 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. This particular statuette is marked with "B" in an urn-shaped cartouche and the model number: 3305.
Flemish Art Nouveau
Bronze Bas-Relief by
~ SALOME ~
Height: 25 1/2 inches Width: 14 2/3 inches Depth: 6 1/2 inches Weight: approximately 125 lbs
The lower left side is inscribed SALOME and J. Cerny. Signed in the lower right corner G.DEVRESSE, and stamped below with the foundry mark " Fonderie Nationale des Bronzes St. Gilles – Bruxelles". Excellent antique condition. Please observe photos carefully, as they are a significant part of the description. Made in the best Flemish Art Nouveau traditions, this extraordinary monumental bronze bas-relief on a marble base depicts actress, Juliette Cerny in a role of Salome during her performance of the Dance of the Seven Veils, an infamous historical personage who's story is told in the New Testament.
Godefroid DeVreese (1861-1941) After starting his training at the Academy of Kortrijk, the artist moved to Brussels and there continued his training at the Royal Academy of Fine Arts in Brussels from 1881 to 1886, having as teachers such famous sculptors, as Eugène Simonis and Charles Van der Stappen. In 1884, De Vreese moves to Schaerbeek which he will not leave until 1939. He travels extensively to England, Spain, Italy, the Netherlands and Paris. He became famous as a sculptor and as a medalist, and as such participated in numerous exhibitions. During his career Godefroid De Vreese has won numerous awards and honors. As Belgium was always considered innovative in the art of the coin and medal, he has created more than 400 of them. However, the range of his artistic interests were much broader. Thus, he is also an author of numerous monuments, statues, fountains and reliefs, some of which are monumental in scale - the monument of the Golden Spurs in Kortrijk, for example. Other monumental works include a remarkable monument to Benefactors and the Vase of Bacchanalia in Schaerbeek, and the Monument to Emile Henricot in Court-Saint-Étienne. Godefroid Devreese was also involved with Victor Horta in the implementation of several monuments in Belgium and France. This was also Victor Horta who drew the plans for the workshop that Godefroid De Vreese occupied in Schaerbeek and which now bears his name, Rue Godefroid De Vreese. De Vreese's wonderful works are widely known. The municipality of Schaerbeek has several of his works, such as two outdoor monuments, 25 sculptures and 75 medals. Other famous works by Godefroid De Vreese can be seen in Brussels, including:
- The bust of Dr. Depage at the St. Peter's Hospital
- Chimeras (the Anspach monument).
- The Fisherman monument at the palace of Heysel.
- Several sculptures at the Cornet House of the King's Grand Place, just to name afew.
Fonderie Nationale des Bronzes - J. Petermann Fonderie St Gilles – Bruxelles
Originally called J. Petermann Fonderie St. Gilles - Brussels was a highly respectable firm, known for the excellent quality and attention to details. Originally copper smelters, the foundry first settled at rue Emile Féron in 1870. Then, it has moved to a few different locations, but always in Saint-Gilles area of Brussels. The foundry was renamed "National Bronze Society" in 1903 and then it was renamed again in 1906, becoming "National Bronze Foundry". The business existed under that name until 1967, when they closed their doors forever.
Salome (c. AD 14 – between 62 and 71) was the daughter of Herod II and Herodias. She is infamous for demanding and receiving the head of John the Baptist, according to the New Testament. According to Flavius Josephus's Jewish Antiquities, Salome was first married to Philip the Tetrarch of Ituraea and Trakonitis. After Philip's death in 34 AD she married Aristobulus of Chalcis and became queen of Chalcis and Armenia Minor. They had three children. Three coins with portraits of Aristobulus and Salome have been found. Her name in Hebrew is שלומית (Shlomiẗ) and is derived from the root word שָׁלוֹם (shalom), meaning "peace". Salome is often identified with the dancing woman from the New Testament (Mark 6:17-29 and Matthew 14:3-11, where, however, her name is not given). Christian traditions depict her as an icon of dangerous female seductiveness, notably in regard to the dance mentioned in the New Testament, which is thought to have had an erotic element to it, and in some later transformations it has further been iconized as the Dance of the Seven Veils. Other elements of Christian tradition concentrate on her lighthearted and cold foolishness that, according to the gospels, led to John the Baptist's death. (Mark 6:25-27; Matthew 14:8-11). A similar motif was struck by Oscar Wilde in his Salome, in which she plays the role of femme fatale. This parallel representation of the Christian iconography, made even more memorable by Richard Strauss' opera based on Wilde's work, is as consistent with Josephus' account as the traditional Christian depiction; however, according to the Romanized Jewish historian, Salome lived long enough to marry twice and raise several children. Few literary accounts elaborate the biographical data given by Josephus.
Dance of the Seven Veils The Dance of the Seven Veils is a term used to refer to the dance performed by Salome before Herod Antipas. It is an elaboration on the biblical story of the execution of John the Baptist, which refers to Salome dancing before the king, but does not give the dance a name. The name "Dance of the Seven Veils" originates with the 1893 English translation of Oscar Wilde's 1891 French play Salome in the stage direction: "[Salome dances the dance of the seven veils.]".
Literature In 1877, Gustave Flaubert's Three Tales were published, including "Herodias". In this story full responsibility for John's death is given to Salome's mother Herodias and the priests who fear his religious power. Salome herself is shown as a young girl who forgets the name of the man whose head she requests as she is asking for it. Jules Massenet's 1881 opera Hérodiade was based on Flaubert's short story.
Theater Salomé's story was made the subject of a Symbolist play by Oscar Wilde that was first banned in London in 1892 while rehearsals were underway, and that subsequently premiered in Paris in 1896, under the French name Salomé. In Wilde's play, Salome takes a perverse fancy for John the Baptist, and causes him to be executed when John spurns her affections. In the finale, Salome takes up John's severed head and kisses it.
Because at the time British law forbade the depiction of biblical characters on stage, Wilde wrote the play originally in French, and then produced an English translation (titled Salome). To this Granville Bantock composed incidental music, which was premiered at the Court Theatre, London, on 19 April 1918.
Opera The Wilde play (in a German translation of Hedwig Lachmann) was edited down to a one-act opera by Richard Strauss. The opera Salome, which premiered in Dresden in 1905, is famous for the Dance of the Seven Veils. As with the Wilde play, it turns the action to Salome herself, reducing her mother to a bit-player, though the opera is less centered on Herod's motivations than the play.Shortly after the success of Strauss' opera, Antoine Mariotte created another opera based on Wilde's original French script. It was premiered on 30 October 1908 at the Grand Théâtre at Lyon. This opera was revived only in 2005 at the Montpellier Festival.
Ballet In 1907 Florent Schmitt received a commission from Jacques Rouché to compose a ballet, La tragédie de Salomé, for Loie Fuller to perform at the Théâtre des Arts. Another Salome ballet was composed by the Japanese composer Akira Ifukube in 1948. Danish choreographer Flemming Flindt's ballet Salome with music by Peter Maxwell Davies premiered in 1978.
Poetry In "Salome" (1896) by the Greek poet Constantine Cavafy, characterized by some critics as "neo-Pagan", Salome instigated the death of John the Baptist as part of a futile effort to get the interest of "a young sophist who was indifferent to the charms of love". When Salome presents to him the Baptist's head, the sophist rejects it, remarking in jest "Dear Salome, I would have liked better to get your own head". Taking the jest seriously, the hopelessly infatuated Salome lets herself be beheaded and her head is duly brought to the sophist, who however rejects it in disgust and turns back to studying the Dialogues of Plato. Other Salome poetry has been written by among others including Ai (1986), Nick Cave (1988), and Carol Ann Duffy (1999).
~ Amazon on Horseback ~
Patinated bronze, height 14 1/2 inches
Signed L. TUAILLON on the plinth in front of the horse’s left hind hoof.
The popularity of Amazons on horseback bears witness to the great appeal Antiquity exerted in the nineteenth century, particularly in Germany. Two important examples are the statue by August Kiss (1802-1865) in front of the Altes Museum in Berlin and the one by Franz von Stuck (1863-1928) in front of the Villa Stuck in Munich. It was only when he created his Amazon on Horseback at the age of thirty-three that Louis Tuaillon became known to a wide audience. In 1894, while in Rome, he produced a design for the life-size sculpture, which was cast in bronze later that year. The sculpture was shown at the Grosse Berliner Kunstausstellung in 1895. The Nationalgalerie in Berlin acquired the work in 1897 and exhibited it in the colonnaded courtyard in front of the museum’s west façade. In 1904-05, at the behest of Kaiser Wilhelm II, a larger-than-life cast was made and installed in the Grosser Tiergarten in Berlin. This statue is a smaller version of the one in the Nationalgalerie. An Amazon on Horseback is not only Tuaillon’s greatest achievement but also one of the most important German sculptures produced in the years around 1900. Tuaillon’s interest in the theme was aroused by his encounter in Rome with the painter Hans von Marées, who derived much of his inspiration from classical themes and in whose oeuvre the horse occupied an important place. The two men were introduced by their mutual friend the artist Artur Volkmann, who was a horse-lover. An Amazon on Horseback would seem to have been directly inspired by a study of horses by von Marées that was acquired by Tuaillon. As early as 1899, Tuaillon contacted Hugo von Tschudi, the Director of the Nationalgalerie in Berlin, to ask him for authorization to make modified casts of An Amazon on Horseback. However, it was not until 1903 that a slightly altered version in statuette format was cast by Hermann Noack in Berlin in an edition of five or six copies. Those statuettes became the property of the Berlin collector and patron Eduard Arnhold, who donated one of them to the Kunsthalle in Bremen in 1904 and a second to the Metropolitan Museum in New York in 1910. Further statuettes of the same height are to be found in the Neue Pinakothek in Munich, at Schloss Cecilienhof in Potsdam and in the gardens of Huis Doorn in the Netherlands. From 1882 onwards, Tuaillon worked as a pupil in the studio of Reinhold Begas (1831-1911). In 1885 he moved to Rome, where he remained until 1903, setting himself up as an independent artist during his stay. Thanks to Artur Volkmann (1851-1941) he became close to artists in the circle of Hans von Marées (1837-87) and Adolf von Hildebrand (1847-1921). On his return to Berlin, Tuaillon joined the Secession. He was soon a highly sought-after artist, receiving numerous public commissions for equestrian works. In 1906 he became a member of the Berlin Academy of Art and as from 1907 he headed a master studio for sculpture in the same institution, where his pupils included Georg Kolbe (1877-1947). Today, Louis Tuaillon is seen as one of the forerunners of Modernism in Berlin at the turn of the twentieth century.
Louis Tuaillon (1862 - 1919)
Louis Tuaillon was a German sculptor and medalist . Tuaillon attended from 1879 to 1881, the Academy of Fine Arts in Berlin and worked 1882-83 as a master student in the workshop of the sculptor Reinhold Begas . The following year he traveled to Vienna and worked the next two years in the workshop of Rudolf Weyr . From 1885 to 1903 Tuaillon lived in Rome . There was 1890-1895, the first version of the bronze sculpture Amazone on horseback, which is considered his masterpiece. The 85 cm large sculpture of the little-known sculptor was at the Great Berlin Art Exhibition in 1885 a lot of applause, Kaiser Wilhelm II gave the order for the larger than life version, 1898 before. National Gallery was erected in Berlin; a replica stands in the Tiergarten in Berlin. About the German Artists Association met him there Georg Kolbe know. In 1899, he received at the Great Berlin Art Exhibition a small gold medal and 1906 a large. From 1902 Tuaillon belonged to the Berlin Secession to. After the founding of the German Association of Artists 1903 Tuaillon was elected to the board of DKB; on its first exhibition in 1904 at the Munich Royal Art Exhibition Building , he exhibited the Amazone and a bull of bronze.  In 1906 he was appointed professor at the Berlin Academy of Art, where he headed since 1907 a Master Studio for sculpture. In 1910 he received an honorary doctorate from the University of Berlin . In 1912 he was admitted to the Orden Pour Le Mérite for Sciences and Arts. In 1916 he became an honorary member of the Dresden Academy appointed. Tuallion was one of the pioneers of modernism in the Berlin school of sculpture . His honorary grave is located on the Urnenfriedhof Gerichtsstraße in Berlin-Wedding .
Measurements: 24 3/4 in. H x 14 in. W x 11 in. D Signed: E. Gomanski Foundry: Ake. Ges. Vonrif. H. Gludenberk Berlin Edition: D6567
GERMAN JUGENSTIL Isadora Duncan Bronze Sculpture by Edmund Gomanski CA. 1902
“We may not all break the Ten Commandments, but we are certainly all capable of it. Within us lurks the breaker of all laws, ready to spring out at the first real opportunity.” – Isadora Duncan
We present here a beautiful Jugendstil period patinated bronze sculpture of the world-famous American dancer, Angela Isadora Duncan (1877 –1927) dancing in the nude, only a thin silk ribbon around her bare chest - in all likelihood, the dance of Salomé from the scandalous Oscar Wilde's play of the same name, violating an old law from the Puritan era that prohibited public portrayal of Biblical characters. Wilde's play portrays Salomé as a bizarre and somewhat evil character who becomes obsessed with John the Baptist. In 1902 it was produced in Berlin, with great success. This remarkable sculpture was created by a celebrated German sculptor, Edmund Gomanski (1854-1930) under the influence of Isadora's performance in the premiere production of the play.
Some more history... In 1903, Isadora Duncan gave a lecture in Berlin, titled "The Dance of the Future," which was published as a pamphlet and became the manifesto of Modern Dance and a feminist classic: "The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body. The dancer will not belong to a nation but to all humanity. She will dance not in the form of a nymph, nor fairy, nor coquette but in the form of a woman in its greatest and purest expression. She will realize the mission of woman's body and the holiness of all its parts. She will dance the changing life of nature, showing how each part is transformed into the other. From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women. She shall dance the freedom of women ..." To achieve her mission, she opened schools to teach young women her dance philosophy. The first was established in 1904 in Grunewald, Germany. This institution was the birthplace of the "Isadorables" – Anna, Maria-Theresa, Irma, Lisel, Gretel, Erika, Isabelle and Temple (Isadora's niece) – Duncan’s protégées, who would go on to continue her legacy. Looking at Isadora, not even the wildest fantasist would have imagined she was a dancer. She was fairly stout, her build nothing like a ballerina’s. She could not dance en pointe. This was offset by a plasticity that appeared to have been modeled on the dancers of Ancient Greek bas reliefs. This likeness was not fortuitous. Isadora had thoroughly researched Greek and Italian dances. Her obsession with Greece reached absurd proportions. She would even go out and about in a tunic. Imagine Europe at the close of the 19th century: prim and proper ladies and top-hated gentlemen, bowing to one another at a distance of 50 yards. And there was Isadora – disheveled, barefoot and dressed like a Grecian dancer. When she went to Greece like that, she was very nearly dragged off to the police station as she walked down the street in Athens. Isadora was not only invited to perform in theatres but at society functions too. She became famous for dancing naked. For her, this symbolized freedom from convention. Casting off her clothes, returning to her natural state. But few people grasped the concept and most were convinced they were simply watching a strip-tease. Interestingly, her best-known successor was the legendary spy, Mata Hari. She became a dancer essentially under the impression of Isadora’s dance performances. Naturally, she danced naked, as well. When she wasn’t engaged in espionage, she would mimic Malay and Indian dancing, but from today’s standpoint, it was stripping, pure and simple. It cannot be said that Isadora deliberately set out to shock. It was just that her emotions overwhelmed her. In the minds of the viewers of the day, the spiritual and physical were kept strictly apart. Art was art, and sex was sex. In Isadora’s mind, however, they were inseparable. Isadora Duncan danced her last dance in Nice. She got into a car after the performance, her famous red scarf round her neck. She said to her companions, “Farewell, my friends, I go to glory!” The car set off, the scarf became caught in the spokes of the wheel and strangled her. If Isadora’s claim is to be believed, she began to dance in her mother’s womb and so her life was one long dance. She danced from beginning to end.
ABOUT THE ARTIST
Aristide Joseph Bonaventure Maillol (French, 1861 - 1944)
Aristide Joseph Bonaventure Maillol was born in Banyuls-sur-Mer, Roussilon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications and several years of living with poverty, his enrollment in the Ecole des Beaux-Arts was accepted in 1885, and he studied there under Jean-Leon Gerome and Alexandre Cabanel from 1882 to 1886.
His contemporaries, Pierre Puvis de Chavannes and Paul Gauguin strongly influenced the artist. In 1893, Gauguin suggested him to join the artist group "Nabis". Around the turn of the century the Nabis developed an anti-naturalist, symbolist pictorial language with two-dimensionally-decorative, simplified color shapes and black contours. This style influenced his early paintings and tapestry designs.
Gauguin had also encouraged his growing interest in decorative art, an interest that led Maillol to take uptaspestry design. In 1893 Maillol set up a small tapestry studio at his home village of Banyuls, where he employed local women for weavings and began producing works whose high technical and aesthetic quality gained him recognition for renewing this art form in France. Up to 1900 he produced wall tapestries in the Art Nouveau style, but then an eye disease forced him to concentrate on sculpture, mainly small statues made of wood and clay from which he developed his monumental stone and bronze statues.
The main subject of his sculptural work was the female nude, which featured a classic calmness and a clear, closed plasticity. His works done between 1902 and 1905 reveal
ART NOUVEAU HIGH BRONZE RELIEF BY ARISTIDE MAILLOL
an approach to classical, statuary forms and his striving for a closed sculptural volume, a harmonious balance and a calm classical expression, which was adopted from Hellenistic Antiquity. Aristide Maillol's compact, voluptuous female figures, reminiscent of Gauguin's women as well as of Renoir's later nudes, considerably influenced European and particularly German sculpture.
Maillol also produced important graphic works - drawings, lithographs and particularly series of woodcuts, which the enthusiast for Antiquity made to illustrate antique literature.
A first overview of his creations was shown in Paris in 1937, as part of the exhibition "Les maîtres de l'art indépendant", which was held at the Petit Palais simultaneously with the World Exhibition and occupied three room.
The artist was awarded with large orders, and 1936 - the biggest one of them all, the monumental sculpture "La Montagne" for the then planned Museum of Modern Art in Paris. But these plans were not destined to come true makes it possible for his tragic death in a car crash in 1944 ...
Maillol is often remembered as the "Cézanne of sculpture", as he, like Cézanne - paved the way to abstraction...
Bas-Reliefs or low-reliefs, as they are also called, are a very fine type of reliefs. For the most part, they can be found on coins or on the sides of artworks and every-day objects that are ornamented with the help of this device. But, bas-reliefs can also be parts of a second, more widely-spread type of reliefs, the so-called high relief. Often times, it is very hard to separate the two, as they are combined in one single relief. One of the best examples for this would be a scenery in which the background is merely indicated with the help of a bas-relief, while the foreground contains more detail and sticks out a lot more as is typical of high-reliefs...
- Date of manufacture : c.1900
- Period : ArtNouveau (1890 - 1914)
- Country : France
- Sculptor : Signed: "M" (for Aristide Maillol) in lower left corner
- Remarks: There is a foundry hallmark "Valsuani"
- Height : 9 5/8 inches
- Width : 9 1/4 inches
- Medium : Bronze
- Inventory number : S-1900-0001
This provocative, desk-size bronze statuette of a semi-nude Oriental dancer in a sensuous, rather candid pose is rendered in the best Art Nouveau traditions - of cold-painted bronze, enamel and glass, by the world-famous Viennese foundry of Franz Xavier Bergman. It is in excellent original condition with only some light wear, and has an original pink/white/brown round marble base. In addition to the extremely elaborated outfit and headdress of the dancer, as the part of the composition, the base is partially covered by a crumpled multicolored cold-painted bronze rug, which makes the whole sculpture even more realistic.
Art Nouveau Vienna Bronze Erotic Oriental Dancer by 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. This particular statuette is SIGNED WITH BOTH, "B" in an urn-shaped cartouche AND "Nam Greb".
- Date of manufacture : c.1900
- Period : ArtNouveau (1890 - 1914)
- Country : Austria
- Foundry: Signed in back "B" & Nam Greb"
- Total height w/ base: 5 3/4 inches
- Base' height : 1 inch
- Base diameter: 2 1/4 inches
- Medium : Patinated & cold-painted bronze
- Inventory number : S-1900-0006