Product Description
Paul-Auguste Gagné, French Egyptian Revival Gilt Bronze Garniture Set c. 1875

Paul-Auguste Gagné (Sculptor) France
Egyptian Revival garniture set, circa 1875
Gilt bronze and carved rouge marble mantle clock and candelabra in a high Egyptian Revival style
Marks: P.A. Gagne (elaborate incised scroll signature on the back of the portrait bust)
For more information on Gagné see: Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 4, E. Bénézit (Paris: Librairie Gründ, 1976) p. 579.
For other related Egyptian Revival garniture sets see: Egyptomania: Egypt in Western Art, 1730-1930 (Paris: Éditions de la Réunion des Musées Nationaux and Ottawa: National Gallery of Canada, 1994)
H: 20 3/4″ x D: 6 3/4″ x W: 14 1/2″
Paul-Auguste Gagné, French Egyptian Revival Gilt Bronze Garniture Set c. 1875
FRENCH ART NOUVEAU
JULIEN CAUSSE attr. (1869-1914) Bourges, France
Bronze and frosted glass grape cluster and vine lamp c. 1900
L: 24″ x dia (grape cluster): 7″
Julien Causse was born in Bourges, France and worked from 1890 – 1914. He studied in Paris under Falguiére and exhibited at The Salon des Artists Francais in the 1890s, obtaining honourable mentions in 1882 and 1900 and a third class medal in 1893. He also took part in the exposition Universelle of 1900.
NIGERIA
Benin Head of King Oba, c. early to mid-20th Century
Lost wax cast bronze with a rich brown and black patina with light desert sand patina in some of the recessed areas.
The art of Benin is the product of an urban royal court, and is meant to symbolize and to extol the power, mystique, grandeur, continuity, and endurance of the ruling dynasty and its governing institutions. From the 14th century until its fall in 1897, Benin was ruled by the Oba, a divine ruler at the head of the political system of titled chiefs. Under royal support, a number of craftsman’s guilds produced bronze, brass, and wood sculptures and embroidered cloth, all of which have become prized by museums and collectors.
These heads were typically placed on altars dedicated to each of the past Oba’s of Benin. The altars are semicircular mud platforms that have been packed hard and rubbed smooth and are located in open courtyards of the palace. The royal altars are the settings for one of the two most important rites of divine kingship in Benin, Ugie Erha Oba, when the Oba honors the spirit of his late father and performs sacrifices to the royal ancestors and to the earth in which they are buried. Acknowledging his role as his fathers’ successor, the chiefs pay homage to the king and greet him in order of seniority. The rite expresses the continuity of divine kingship, and the altar before which it takes place provides the means by which the connection between the living king and his predecessors was established and made.
H: 14 1/2″ x D: 7 1/2″ x W: 8 1/2″
SIR WILLIAM REYNOLD STEPHENS (1862–1943) London, UK
BRITISH ARTS & CRAFTS
Photo frame 1886
Bronze / copper lost wax casting with an elaborate stage set with a seeded figure and two capitals with mythological telamons, easel back
Marks: 18 December 1886, W Reynold Stephens London (signature and markings in the cast, bottom left front)
H: 6 5/8″ x W: 11 1/2″
Sculptor of decorative works, portraits and monumental figures, goldsmith and painter. Born 8 August 1862 in Detroit, U.S.A., of British parents; his father’s name was Stephens. Educated in England and Germany, then studied at the R.A. Schools and won prizes for sculpture and painting 1887. Assumed the additional name of Reynolds 1890. Exhibited at the R.A. 1886–1942, solely as a sculptor after 1894. Influenced to some extent by Alfred Gilbert and Pre-Raphaelite medievalism. Made many memorials, including those to Sir William Q. Orchardson, R.A., in St Paul’s, and to Archbishop Lord Davidson in the courtyard of Lambeth Palace. In 1904 he designed the chancel screen, reredos and other decorations for the Church of St Mary the Virgin, Great Warley, Essex. F.R.B.S. 1904, P.R.B.S. 1921–33, awarded R.B.S. gold medal 1928; knighted 1931. Died at Tunbridge Wells 23 February 1943.
SOPHIE BURGER-HARTMANN (1868-1940) Munich, Germany
Vide Poche c. 1900
Richly patinated dark brown bronze Vide Poche modeled as a swirling Art Nouveau nymph holding a stylized shell form low tray.
Marks: VW (Vereinigte Werkstätten für Kunst im Handwerk Munich)
H: 6 1/2″ D: 7″ x W: 8″