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Auguste MOREAU, The Crayfish Fisherman, circa 1902

This statue in Carrara statuary marble was sculpted by Auguste Moreau around 1902. Auguste Moreau (1834-1917) belonged to a distinguished lineage of sculptors. He was the son of Jean-Baptiste-Louis-Joseph Moreau and brother to the renowned Mathurin Moreau, who appear to have been his mentors. Auguste was also the father of two sculptor sons. Both a painter and sculptor, he exhibited frequently at the Salons from 1866 to 1909. The child is seated on a rock covered with algae, beside the water. His pose is dynamic and slightly off-balance: his right leg is bent backward, while his left leg stretches over the water. His left hand rests on his right leg, holding a stick with which he pulls a crayfish by its claw. The child’s head, framed by long curls, is tilted downward, and he gazes at his catch with a faint smile. Special attention was given to textures, with the child’s smooth skin contrasting against the algae and the rough surface of the stick. The work is signed on the side and bears an inscription. The plaster of this statue was presented to the public at the 1902 Salon, catalogued as number 2725. The artist explored similar themes featuring children and small animals in several other works, including Child with warblers, presented at the 1878 Salon, Child with a Frog in 1893 and Happy Fisherman in 1895.

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Neo-Renaissance cabinet, circa 1870

This neo-Renaissance cabinet in carved solid walnut was made around 1870. Its four enameled plaques, of large size and high quality of execution, make it an exceptional piece of furniture. The 19th century was fond of resuming and reinterpreting the art of the past, such as works from the Renaissance here. The lower part of the piece of furniture, open on three sides, is surmounted by a belt housing an enameled plaque on copper, decorated with foliage and a mask recalling the renaissance fashion for grotesques. Its upper part is organized around two doors decorated with elaborately shaped enameled plaques representing Mars, the god of war, and Diana, the goddess of the hunt. Enamel painting and grisaille appeared during the Renaissance. The enameler was also inspired by Renaissance enameled plaques representing Mars and Justice painted by Pierre Courteys in 1559, today in the National Renaissance Museum. On either side, the composite fluted pilasters are reminiscent of the renewed interest of Renaissance artists in classical art. Doors open onto olive-wood veneered shelves and drawers. The inside of the right door bears the stamp of the Parisian art locksmith Huby Fils. The latter participated in the Exhibition of Applied Fine Arts of 1865, where he received a gold medal, and in the Universal Exhibition of 1867. The crowning of the cabinet is composed of two facing volutes, decorated with foliage and a shell, as well as a rounded cartouche surrounded by flowers. Our cabinet is part of the suite of furniture decorated with enameled plaques designed by Hippolyte Sauvrezy in collaboration with the enameler Claudius Popelin, like the one which, presented at the Universal Exhibition of 1867, is today kept at the Musée d'Orsay .

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O. Milon, Émile Diffloth, Ornamental Dish with Hummingbird, late 19th century

This ornamental plate featuring a hummingbird was created by the ceramicists Émile Diffloth and O. Milon at the end of the 19th century. The placement of their respective signatures indicates that the former took care of the design, while the latter probably crafted the plate itself. While the figure of O. Milon is not known, Émile Diffloth (1856-1933) is one of the most recognized ceramicists of his generation. Between 1889 and 1910, he notably worked at Kéramis, the Belgian pottery of Boch Frères, before going to University City (Missouri) to teach ceramic techniques. The plate features a colorful design of a hummingbird with subtle shades of blue and brown, standing out against an orange background and flying among vine leaves and brambles. The background is also detailed, adorned with small vegetal motifs in slight relief. The vibrant colors of the piece highlight the artist’s enameling work.

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Pierre-Adrien Dalpayrat, Small Glazed Stoneware Vase, late 19th century

This glazed stoneware vase was crafted by Pierre-Adrien Dalpayrat in the late 19th century. Pierre-Adrien Dalpayrat (Limoges, 1844-Paris, 1910) is recognized as one of the most significant European ceramists of the late 19th century, particularly for his mastery of flamed stoneware. He worked for various faience factories before establishing his own workshop in Bourg-la-Reine. Dalpayrat’s near-exclusive avoidance of the potter’s wheel showcases his exceptional skill in the art of glazing. He often collaborated with Adèle Lesbros, and their works were met with considerable acclaim at various exhibitions. The vase’s shape is inspired by a gourd, a common motif among Art Nouveau ceramists. The bulbous body culminates in a narrow opening, mimicking the natural form of a stem. The glaze is a testament to Dalpayrat’s extraordinary technical prowess. The rich oxblood red, a signature of Dalpayrat, transitions into a matte gray on the body, with intermediate hues of blue and yellow. Subtle white scratches in relief enhance the already profound texture and depth of the piece. Dalpayrat’s pomegranate mark is visible on the underside of the vase. The Gourd-Shaped Vase housed in the Musée des Arts Décoratifs in Paris, featuring similar color schemes, is another striking example of the artist’s inspiration and technique.