Ref.14831
Italy, 19th century, Rare armchair with owls.

Walnut Armchair with OwlsThis extraordinary armchair is designed like the bow of a boat. In walnut and fully carved it is very unique.The armrests and chair back are topped by carved figures of owls. They stand peacefully, their claws dug into moon crescents. Several owls are carved in low relief on both sides of the seat. On the seat, the birds stand on a crescent flanked by holly branches.By the quality of the carvings and originality of design this is a remarkable and highly decorative piece of furniture.

Ref.10859
Paul ROUSSEL (1867-1928) - Pair of pewter lamps, cast by Eugène Soleau and globe signed Sèvres

This beautiful pair of lamps was made around 1900 out of pewter. Inspired by Art Nouveau, they bear the signature of Paul Roussel, sculptor, and Eugène Soleau, bronze manufacturer in Paris. A farandole of putti unfolds along the neck while the body of each lamp is adorned with flowers in slight relief. Paul Roussel is a major sculptor of the turn of the 20th century. Born in 1867, he entered the École des Beaux-Arts in Paris where he studied with Jules Cavelier, Louis-Ernest Barrias and Jules Coutan. In 1895, he won the Grand Prix of Rome for the bas-relief "David, winner of Goliath, brought in triumph to Saul". He won several medals at the Salons and exhibited Hors-Concours in London, Brussels, Turin, Liège, Amsterdam, Ghent. From 1906, he became a member of the jury of the Ecole des Beaux-Arts and member of the grand jury of the Salon des artistes français. He obtained many orders from the State, including several monuments of importance: "The Duke of Aumale", stone statue commissioned by the State and kept at the entrance of the Museum of Decorative Arts of Paris, for example. He is decorated Knight of the Legion of Honor in 1914 and is promoted officer July 23, 1920. Eugène Soleau, bronzier, was born in Buenos Aires, Argentina, in 1853. His foundry was located at 127 rue de Turenne in Paris. Secretary (1885-1889), then vice-president (from 1895 to 1899) and finally president (from 1900) of the Union of Bronze Manufacturers, he invested himself, at French and international levels, in the protection of Intellectual property.

Ref.12564
Carlo BUGATTI, Pair of Moorish style wall console sconces, circa 1888

This false pair of wall sconces is quintessentially characteristic of Carlo Bugatti’s art, designed by him around 1888. Carlo Bugatti (1856-1940) trained at the Brera Academy in Milan and later at the École des Beaux-Arts in Paris before turning his focus to furniture design. He exhibited his works at the Italian Exhibition at Earl’s Court in 1888, at the 1900 Paris Exhibition – where he won a silver medal – and in Turin in 1904, where he received an honorary diploma. Bugatti later moved to France and decided to focus on silverwork. These wall sconces perfectly embody his unique style. The geometric influence is evident in his use of circles, a recurring motif in his work. Hammered and perforated, the circular element supports a small square-topped cedarwood console adorned with triangular patterns and bone inlays inspired by Islamic art. The console is mounted on a stand resting on a base decorated with stylized rosettes. Suspended beneath is a small dome holding three chains, which are attached to a perforated copper bowl. The two sconces feature slight variations in their decorative details. This model was presented at the Italian Exhibition in London in 1888, where Carlo Bugatti was awarded an honorary diploma. On this occasion, a page featuring his works was published in the journal The Queen, The Lady’s Newspaper & Court Chronicle on July 7, 1888. The ensemble was described as “quaint”, meaning “picturesque”, a term that aptly reflects the variety of influences in Bugatti’s work. While he primarily drew inspiration from Moorish art, he also incorporated elements from other styles, eras, and cultures. The Musée d’Orsay in Paris holds a photograph of this same model, published between 1888 and 1898, likely for commercial purposes. Additionally, the Kunstgewerbemuseum in Berlin houses another version of this wall sconce. This pair of wall sconces is thus a concentrated expression of Carlo Bugatti’s decorative vocabulary, showcasing both his creativity and the importance of Moorish influences in his work, though he cultivated a distinct and unique style throughout his work. Carlo Bugatti False Pair of Moorish-Inspired Wall Sconces Circa 1888Publish at Calameo