Fréderic Brou
Large vase "Iris", ca.1895.
Silver-plated pewter.
Signed on the back.
Marks on the back of the Siot-Decauville foundry, Paris.
Bibliography: Philippe Dahhan, "Etains 1900 - 200 Sculpteurs de la Belle Epoque", Editions de l'amateur. Page 71, fig. 159.
The large vase "IRIS" was exhibited at the Salon des Artistes Français in 1895.
Museums: Carnavalet Museum.
Weight: 21.000 g.
Measurements: 72 x 42 x 31 cm.
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DESCRIPTION
FRÊDERIC BROU (1862-1925).
Large "Iris" vase, ca.1895.
Silver-plated pewter.
Signed on the back.
Marks on the back of the Siot-Decauville foundry, Paris.
Bibliography: Philippe Dahhan, "Etains 1900 - 200 Sculpteurs de la Belle Epoque", Editions de l'amateur. Page 71, fig. 159.
The large "IRIS" vase was exhibited at the Salon des Artistes Français in 1895
Museums: Musée Carnavalet.
Weight: 21,000 g.
Measurements: 72 x 42 x 31 cm.
Large Art Nouveau silver-plated pewter jug, with an elegant amphora shape and circular mouthpiece. The relief decoration is notable for the figure of a seated nymph on one side, which rests on the mouthpiece. The front is richly ornamented with delicate iris flowers.
Frédéric Brou was a French sculptor who trained under Antonin Larroux and Georges Lemaire (sculptor, engraver and medalist). He exhibited regularly at the prestigious Salon des Artistes Français from 1897 to 1909, becoming a member of the society. His talent was recognized with honorable mentions both in 1897 and at the Universal Exposition of 1900. One of his most notable works is the monument dedicated to the 19th century writer Villiers de l'Isle d'Adam, preserved in patinated plaster by the Carnavalet Museum.
Siot-Decauville was a prominent French artistic foundry active in Paris from the late 19th to the early 20th century. The house was established by Edmond-Gustave Siot (1841-1908), who entered into partnership with Elise Decauville in 1865. For a period (1888-1891), Siot partnered with Léon Perzinka, operating as Siot et Perzinka. The foundry specialized in the development of colored patinas and, after Edmond-Gustave's death, the management was continued by his widow and his son, Paul. For the exhibition of its pieces, the foundry maintained salons in central locations in Paris, such as the boulevard des Italiens and later at number 24 boulevard des Capucines.
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