Ref.14914
BOCH Frères, Art Nouveau Vase in Iridescent Faience Decorated with a Toad and Mushrooms, late 19th century

This iridescent faience vase with a toad and mushroom motif was created by the Boch Frères manufactory in the late 19th century. In 1841, Eugène and Victor Boch founded a fine faience manufactory called Kéramis in La Louvière, Belgium. The faience factory quickly flourished and diversified its production, adapting to the stylistic and technical evolutions of the time. This particular vase is emblematic of the Art Nouveau movement, as evidenced by its asymmetrical design directly inspired by nature: the body of the vase takes the form of a tree stump. Wider and rounded at the base due to roots seemingly ready to plunge into the earth, it rises to a certain height before ending with an irregular rim. Several mushrooms, among which an agaric, grow on it, and a toad climbs at the base of the stump. The vase features an iridescent glaze transitioning from pink to violet, lightening to white on the mushrooms and darkening to brown on the toad. This glazing demonstrates the high level of mastery achieved by certain artists and the most important manufactories at the end of the 19th century. The mark under the base indicates that the manufactory had a subsidiary in Thiais, in the Seine department. A vase of the same shape but with a slightly different glaze – where pink blends with yellow-orange, green, and blue (and the toad appears black) – was noted by expert Alain Cical.

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