Sydney Pitcher "St. Martin's Cross Iona" Arts & Crafts photograph c. 1900
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Sydney Pitcher “St. Martin’s Cross Iona” Arts & Crafts photograph c. 1900
SYDNEY PITCHER F.R.P.S. (d. 1950) England
ARTHUR H. PITCHER (Framer)
“St. Martin’s Cross Iona” c.1900
Carbon process photograph, hand carved oak frame with beautiful wood grain detail.
Marks: S MARTINS CROSS IONA (carved incised mark)
Art Nouveau paper label (on back): Framed by Arthur H. Pitcher, College Court, Gloucester, Moulding No…..
Photograph: H: 9 1/2″ x W: 5″
Frame: H: 16 3/4″ x W: 8 5/8″ D: 5/8″
Sydney A. Pitcher FRPS (active 1904-1939) was a photographer with an interest in monument and church architecture. He is listed in the 1927 Kelly’s Directory of the County of Gloucester as a commercial photographer, publisher and picture frame maker, operating from 5 & 7 College Court, Gloucester. Pitcher was involved primarily in the photography of Gloucestershire churches, but also took pictures of churches and cathedrals in neighbouring counties, and of medieval sculptures at Winchester College. He collaborated on the publication of Rushforth’s series of volumes The stained glass of Great Malvern Priory Church , Gloucester, 1916-1927.
He joined the Royal Photographic Society in 1904, was admitted as an Associate member in 1925, and became a Fellow in 1928.
Paul Haustein Germany Rare Jugendstil enamel and silver inkwell c.1900
PAUL HAUSTEIN (1880-1944) Germany
HERMANN BEHRND (b. 1849) SILBERWARENFABRIK (silver) Dresden, Germany
JAKAB RAPOPORT (enamelist) Budapest, Hungary
Inkwell c. 1900
Multicolored burgundy, purple, blue and green enamel with silver mounts, glass insert
Marks: Moon, crown, 800, HB (Hermann Behrnd mark)
Same model with variant mount illustrated: Deutsche Goldschmiede-Zeitung, n.d. (circa 1903-05), p. 23
For related works and more information see: Art Nouveau in Munich: Masters of Jugendstil, ed. Kathryn Bloom Hiesinger (Philadelphia: Philadelphia Museum of Art, 1988) pp. 67-69; Jugendstil in Dresden, Aufbruch in die Moderne, Gisela Haase et al., exh. cat. (Dresden: Staatliche Kunstsammlungen Dresden; Wolfratshausen: Edition Minerva, 1999).
Maurice Bouval French Art Nouveau Nymph Silvered Bronze Candleholder c. 1900
MAURICE BOUVAL (born Toulouse, died 1920) France
M. COLIN France
“Nymph Embracing a Blossom” candle holder c.1900
Silvered cast bronze in the form of a nymph on a leaf embracing a blossom
Marks: M. Bouval (script signature) and COLIN, (Foundry) written above
For other examples of Bouval’s work see: The Paris Salons 1895-1914, Vol. V: Objets d’Art & Metalware, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1999), p. 127; Ecole to Deco, Small Sculptures from a Private Collection, Stephen C. McGough ed. (Oberlin, Ohio: Allen Memorial Art Museum, 1979) pp. 33-4; Art Nouveau Sculpture, Alastair Duncan (New York: Rizzoli, 1978) pp. 30-1.
Important Lucien Gaillard “Staghorn beetle” silver and gold inlay magnifying glass, signed c. 1900
Silver hand finished and repoussed in the form of a staghorn beetle with horns encircling the round magnifying glass, gold details
Signed: L. GAILLARD (engraved) on lower right leg, head of Minerva (950/1000 pure silver)
The staghorn beetle was a favorite form for Gaillard and the inspiration for many examples of his work including jewelry, vases and this magnifying glass. A variant model in cast bronze can be seen in the collection of the Musee d’Orsay in Paris.
Black Starr & Frost American Art Nouveau Sterling Mounted Jewelry Box c.1900
BLACK STARR & FROST New York, NY
Art Nouveau Sterling and Mahogany Jewelry Box c.1900
Mahogany jewelry box with thick sterling silver decorative graphic mountings in an elaborate Art Nouveau whiplash design, original key
Marks: Eagle mark (Company logo) BLACK STARR & FROST, Sterling
For more information see: American Jewelry Manufacturers, Dorothy T. Rainwater (West Chester, Penn.: Schiffer, 1988)
H: 4 1/2″ x W: 10 1/2″ x D: 7″
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One of America’s oldest fine jewelers, Black, Starr and Frost traces its roots to 1810. In that year, Erastus Barton and Frederick Marquand opened Marquand and Barton near New York’s Maiden Lane. The firm added and lost partners numerous times and it also frequently moved locations in accordance with the addresses of its prestigious clientele. Its merchandise was eclectic and greatly varied including, lamps, jewelry, paintings, porcelain, and artistic objects. In 1876, the firm changed its name from Black, Ball, and Co. to Black, Starr, and Frost, and moved to 251 Fifth Avenue. Its inventory became focused on jewelry and silver objects, some imported from Europe, some produced in-house. For many decades, the renowned jewelry house, Black, Starr, and Frost was considered one of the great American jewelers. In 1876, it was invited to exhibit at the Centennial Exposition in Philadelphia along with renowned firms like Tiffany & Company, Whiting, and Gorham. In 1939, the firm was one of five American jewelers invited to exhibit at the New York’s World’s Fair. In 1929, it merged with Gorham to become Black, Starr, Frost – Gorham.
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