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  Karl Schmidt / Hagenauer Werkstätte Sterling nude sculpture c. 1965

  KARL SCHMIDT (b. 1948) Vienna
  HAGENAUER WERKSTÄTTE Vienna

  Sculpture  c. 1965

  Handwrought sterling silver repoussé in the form of a nude with blowing hair

  Marks: SCHMIDT WIEN   MADE IN AUSTRIA  925 (silver standard) KS (artist initials)

  For more information see: Metallkunst, Karl H. Bröhan (Berlin: Bröhan Museum, 1990) pp. 200-205; Werkstätte Hagenauer 1898-1956, (Vienna: Österreiches Museum für angewandte Kunst).

  H: 17 1/4″ x W: 12″ x  D: 2 3/4”

  Price: $17,500

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  Andree Flamant-Ducany-Gide / Valsuani Foundry French Cubist bronze “African” mask sculpture 20th Century

  ANDREE FLAMANT-DUCANY-GIDE (1882-1970) France
  VALSUANI FONDEUR (1899-1981) Paris, France

  Cubist mask sculpture  20th Century

  Cast bronze with rich brown-black patina (possibly cast at a later date by the Valsuani Foundry)

  Marks: G. Flamant, 2/8 C. Valsuani Cire Perdue (signed on chin)

  H: 11” x W: 7” x D: 5 ½”;
  On stand: H: 18 ½”

  Price: $35,000

  ANDREE FLAMANT-DUCANY-GIDE
  Flamant-Gide was born in Nimes, France on January 2nd, 1892 and died on March 28th 1970.  She was both a painter and sculptor and exhibited regularly at the Salon des Artists Francais beginning in 1923. She sculpted in an angular Cubist style influenced by African Art and was a fellow artist of Joseph Csaky, Gustave Miklos, Jacques Lipchitz and Henri Laurens who were considered the leading Art Deco sculptors in Paris during the 1920’s.

  CUBISM

  Cubism drew its influence from: Cezanne’s structural analysis in his oil landscapes, e.g. ‘La Montagne Sainte Victorie’ c.1887; Gauguin’s figurative landscapes, e.g. ‘Haymaking’ 1889; and African tribal Art such as Gabon masks. European artists were greatly influenced by African and Oceanic Art during the late 1890s and early 1900s. African sculpture, with its bold shapes and lines, had a great impact on the development of Cubism. Maurice de Vlaminck became a keen admirer and collector of African masks after seeing them in a Paris anthropological museum. He purchased similar masks and his excitement for these works displaying bold primitive expressions and simplistic design filtered through to Matisse, Derain, Gris and Picasso, who all became collectors as well. By the 1920s African art exhibitions were common in Paris and other cities throughout Europe.
  Cubist sculpture brought the simplified shapes of Cubist painting together with the three-dimensional modeling medium of sculpture. The first Cubist sculpture, which could be properly deemed as such was made by Picasso in 1909 and was titled ‘Head of a Woman’. However Picasso did experiment with sculptural forms as early as 1907 when he found himself fascinated and deeply influenced by African masks. Cubist sculpture was mostly reminiscent of Analytical Cubism in its stripping away of illusionist details to reveal the fundamental form contained in each individual subject, be it human or still-life.

  VALSUANI FOUNDRY
  The Valsuani foundry was started by the brothers Claude and Attilio Valsuani who learned the foundry trade while employed at the Hebrard foundry.  While working for Hebrard, Claude Valsuani showed great promise as a finisher and eventually worked his way up to become the Technical Director of the Hebrard foundry. In 1899 Claude Valsuani started his own foundry in Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting (cire perdue). In 1905 he moved his foundry to 74 Rue des Plantes in Paris. Among the famous sculptors who had the Valsuani foundry cast their works were: Renoir, Picasso, Despiau, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele then took over the foundry and continued the tradition of producing extremely fine bronzes until the 1970’s.

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  Hulda Rotier Fischer Art Deco “Giraffes” handbuilt glazed pottery sculpture 1936

  HULDA ROTIER FISCHER (1893 – 1982) Milwaukee, WI

  Three-resting giraffes sculpture 1936

  Handbuilt earthenware sculpture with a golden light brown glaze.

  Marks: Hulda Rotier Fischer 36 (hand incised)

  H: 6 1/2″ x W: 7″ x D: 5 1/2″

  Price: $2,300

  Hulda Rotier Fisched studied at the Milwaukee Normal School and was a student of Robert von Neumann Sr. In 1921 she also studied with Carl Holty. She worked as an Art Instructor at Shorewood Opportunity School for 30 years. Rotier Fischer was a Member of the Milwaukee Art institute.

  She is the recipient of many Milwaukeee Journal Awards.

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  Asprey & Co., Important Cardinal Sculpture gem set with natural rubies, 18K gold and amethyst quartz, signed,1980

  ASPREY & CO. LTD. (founded 1781) London, UK

  Important Natural Ruby Gem Set 18K Gold Cardinal Bird Sculpture   1980

  Finely chased and chiseled 18K yellow and white gold realistically rendered sculpture of a Cardinal bird set with
  85+ carats (approx.) of natural gem quality oval and round cut Burmese rubies (GIA certificate) further heightened with enamel eyes and blackened gold face plumage details, the 18K gold and natural ruby cardinal sets atop a natural Amethyst crystal “mountain rock” with a tooled and gilt (script mark) on the leather under-pad.

  Marks: A & Co. (in a quatrefoil), Crown mark, 750 (gold standard mark) Lion’s head (London assay mark) “F” date mark for 1980, tooled and gilt Asprey (script mark) on the leather under-pad

  Provenance: Privately commissioned by the Sultan of Brunei’s younger brother, Prince Jefri Bolkiah who also later became the owner of Asprey & Co in the 1995. This rare sculptural 18K gold and natural ruby Cardinal was handmade by the finest jewelers and work masters in the workshop of the London Asprey & Co. located above the flagship store at 167 New Bond Street.

  H: 3 ¾” x L: 5 3/4” x W: 1 ½”(Cardinal only)
  H: 6” x W: 6 ¾” x D: 5 ¾” (with Cardinal atop natural Amethyst crystal rock)

  As one might guess, a large part of the animal symbolism of the cardinal comes from the brilliant red color of the males. In fact, its name is derived from the royal red vestments worn by Catholic cardinals. This shock of red, especially against the stark backdrop of winter snow, is a magnificent sight. The male cardinal reminds us passion, warmth and vibrancy is available to us – even under the cloak of Winter’s grey clouds. Interestingly, the more bold and bright his color is, the more successful the cardinal will be at prolonging his lineage. Dull colored male cardinals are less likely to mate successfully than bright colored ones. True to the fire of his color, the crimson cardinal has got some major spunk. He will aggressively defend his territory, and fight attackers with ferocity. Indeed, they have been known to fight ghost males (their reflections) in mirrors for hours on end. Both male and female give us glorious songs. Along with peeps and pips and warbles, the tuned ear can also hear “cheer, cheer, cheer!” Very appropriate to the animal symbolism of cardinals, because they are a delight to both eyes and ears. The cardinal makes a fantastic animal totem. It reminds us to hold ourselves with pride, not ego pride but rather the cardinal asks us to stand a little taller, be a bit more regal and step into our natural confidence as if we were born to lead with grace and nobility. Those who attract the cardinal as their totem are naturally energetic, love life, and happily help others where and when they can!