Null Joseph Lucien Mignon FALIZE (1839-1897)

Set in 18K gold 750‰ and silver 2n…
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Joseph Lucien Mignon FALIZE (1839-1897) Set in 18K gold 750‰ and silver 2nd title 800‰, consisting of a pair of earrings and a necklace in the Indian style, adorned with rose-cut diamonds and turquoise. The oval-shaped pendants, chiseled with openwork scrolls of leaf motifs, highlighted with a punctuation of rose-cut diamonds on the outside and balls on the inside. The clip system is attached to the back of a polylobed flower, the petals set with calibrated cabochon-cut turquoise, the center set with a rose-cut diamond. The spring systems for undrilled ears are signed ALOUIS. The necklace is composed of twenty-one oblong plates, of increasing size, mounted on a chain, adorned with an openwork design of interlacing, leaves and a poly-lobed flower, the petals set with calibrated cabochon-cut turquoise, the center set with a rose-cut diamond. The upper part is set with sugar loaf cut turquoise, highlighted with balls, the lower edge is adorned with rose-cut diamonds. The central plate enhanced with a long flower-shaped pattern set with rose-cut diamonds. Ratchet clasp. Marks of the guarantee, posterior. Slight twists in the chain, support of the necklace strengthening the links worn. In its case with the form in blue leather and velvet and white satin, signed L. FALIZE FILS, Grand Prix 1878, Paris, 43, Avenue de L'Opéra. Indentations on the lid of the case. H. of the buckles 6 cm Width of the buckles 3,50 cm Length of the necklace 36,50 cm H. of the necklace in its greatest amplitude 6,40 cm Gross weight 97,40 g Chronology Lucien Falize, son of Alexis Falize, was born in Paris on August 4, 1839. 1871, creation of the firm Falize & Fils; 1873, father and son live at 43 avenue de l'Opéra; 1875, registration of the hallmark Falize Ainé & Fils, living at 35 or 55 ? avenue de l'Opéra; 1875, Alexis Falize's mark is crossed out; 1876, Alexis Falize retires; 1878, Grand Prix at the Paris Exposition; 1880, Falize & Fils is dissolved; 1880 to 1892, Lucien Falize and Germain Bapst are associated at 6 rue d'Anjou; 1892, Lucien Falize's mark is registered. We note that Lucien Falize is alone between 1878 and 1880. This period could correspond to the dating of the set. Moreover, the very late inscription of the Lucien Falize hallmark might explain the absence of a hallmark on this work. The Indian style The design of the earrings is based on the buta or paisley which is the convergence of a stylized floral spray and a cypress tree: a Zoroastrian symbol of life and eternity. The "curved" cedar is a sign of strength and resistance but also of modesty. The floral pattern originated in the Sassanid dynasty and later in the Safavid dynasty of Persia (1501-1736) and was a major textile pattern in Iran during the Kadjar and Pahlavi dynasties. At that time, the pattern was used to decorate royal regalia, crowns and court clothing.

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Joseph-Antoine Bernard (1866-1931) Young girl Model created around 1906 Proof in bronze with a brown-green patina Signed " J BERNARD " on the terrace Published by Hébrard before 1934 Bears the founder's stamp " A.A. HEBRARD CIRE PERDUE ". Bears a handwritten inscription on the bronze " cire perdue Hébrard / J Bernard 90.000 ". H. 55 cm, on a marble base H. 3,5 cm The general composition of this nude woman entitled Young Youth is in keeping with the reflection of one of the most famous models of the Isère sculptor Joseph Bernard, that of the Great Bacchante, which seems to have occupied the artist for many years at the beginning of the 20th century. In its original version presented in 1912 at the Salon d'Automne, the young priestess of Bacchus holds a pampre in her hands in a dance-like movement. The positioning of the feet in internal rotation results in a falsely unstable attitude that is often encountered in the sculptor's art (Young Girl with a Jug or Water Bearer, a model created in 1910). It gives the figure a light and youthful dynamism that manifests, beyond a bacchanalian scene, the artist's predilection for the theme of dance and his fascination for the body in movement. Our figure has a longer barrel, a more supple gesture and a more graceful attitude than the bronze reduction known as Petite Bacchante, which was published in 1919 and originally numbered 25. Without the presence of the pampers in the hands of our young woman, the undulation spreading from the bent arm to the right hand against the cheek and up to the elbow raised above the head is subtly accentuated. The relief of the Feast of the Pampers carved in Lens stone in direct carving (203 x 161 x 45 cm, Saint-Rémy- Lès-Chevreuse, collection of the Fondation de Coubertin), the drawing of the Draped Young Woman (ink on satin paper, dim. 26,8 x 11,5 cm, Bernard-Doutrelandt family) and the two Etudes pour la faunesse (ink and pencil on satin paper, 52,3 x 21 cm and ink and pencil on satin paper, 52,4 x 21cm, Saint-Rémy-les-Chevreuses, collection of the Fondation de Coubertin), all presenting models of the faunesse with the same attitude, but without a tassel, allow us to date the creation of our model to around 1906/1910 The edition was taken care of by the famous publisher and art dealer Hébrard, the same one who organized an exhibition dedicated to the artist in his gallery in 1908. The edition was initially intended to be ten copies, but it seems that it was unfinished and only three were listed in 1934. Related works: - Joseph-Antoine Bernard, Petite bacchante ou Faunesse ou Jeune faunesse, ca. 1911, Asian marble, H. 59 cm, Bernard-Doutrelandt Family, inv. no. CR 177. - Joseph Antoine Bernard, La fête des Pampres, 1906-1907, Lens stone, direct cut, size 203 x 161 x 45 cm, Saint-Rémy-les-Chevreuses, Fondation de Coubertin collections. - Joseph Antoine Bernard, Grand Bacchante ou Jeune faunesse, between 1912 and 1919, dim 173,5 x 45 x 51 cm, Paris, Musée d'Orsay, n° inv. RF 4611. Related literature: - René Jullian, Jean Bernard, Lucien Stoenesco Pascale Grémont Gervaise, Joseph Bernard, Ed. Fondation de Coubertin, Saint-Rémy-les-Chevreuses, 1989, an illustrated copy p.146 under n°63, p.403 and model listed under n°85 p.284. - Sylvie Carlier, Alice Massé, Joseph Bernard. De pierre et de volupté, catalog of the exhibition held at the Paul Dini museum, Villefranche sur Saône from October 18, 2020 to April 25, 2021, n° 129, 170, 171, 172, p.214, pp.255-257, p.334, p.336. - Claire Barbillon, L'anti-bacchante, entre perte d'identité et figures d'ambiguïté, p.171, in Bacchanales modernes, le nu, l'ivresse et la danse dans l'art français du xixe siècle, catalog of the exhibition held from July 1 to October 3, 2016 at the Musée des Beaux-Arts de Bordeaux and Ville d'Ajaccio-Palais Fresch Museum of Fine Arts, Silvana Editoriale, pp.174-175.