Monthly Archives: April 2015

Relief art Egypt

Egyptian wall paintings and relief art


Amenhotep-III-Representation-at-Karnak-Temple-Complex         Egyptian wall art

Amenhotep III Representation at Karnak Temple Complex, Luxor

The extent to which the ancient history of Egypt was recorded by their artists is remarkable. Ancient Egyptian art displays a vivid representation of the Egyptian’s lifestyle, spiritual rituals and belief systems. The artists weren’t concerned with representing the world with any realism or having a sense of depth in their art. The Egyptian art was primarily concerned, above all, with ensuring the continuity of the universe, the gods, the king and the people.The artists therefore depicted things not as they saw them but as idealized symbols intended to be more significant and enduring than was otherwise possible in the real world.

Many of the fundamentals of Egyptian art were established at the very beginning of Egyptian history and changed little over time. Subject matter also remained relatively unchanged over long periods of time. However, Egyptian art did not remain completely static over the three thousand years of pharaonic history. Despite the limited repertory of subject matter, Egyptian artists valued variation and avoided producing exact copies of the same forms. Essentially though the human figure was a composite with the face, limbs, waist and buttocks shown in profile, while the chest and shoulders were in full view facing the viewer as were one eye and an eyebrow.





Pillar relief – Kom Ombo  Temple


The temple religious ceremonies were accurately depicted in their art ensuring their preservation in the future and reinforcing the recollection of royal deeds. Art portrayals of offering gifts were an act of reverence to their Gods, an affirmation of abundance and it also meant these items would be available in the next world. The images of protective deities found in houses, palaces and temples were created as powerful shields against the malign forces of the universe.
Great emphasis was placed on decorating tomb walls with reliefs or painted scenes to ensure the perpetuation of life and tradition. Symbolism had an important role in their art, ranging from the pharaoh’s regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and goddesses. The highly symbolic hieroglyphics with more then 700 symbols was omnipresent in their art, appearing on both statues and wall reliefs.The hieroglyphic texts within any scene typically formed an integral part of the whole composition.

Most of the walls of the temples and palaces were decorated with art, either painted on a flat surface or employing sculptured relief. This could have been a raised relief where the background was cut away or a sunken relief where the figures were cut back to be lower then the background which was more suitable in bright light. The more important artworks featured sculptured reliefs. Egyptian art used hierarchical proportion, where the size of figures indicated their relative importance.The ultimate destination for Ancient Egyptians was the ‘great garden’, the Elysian fields of Osiris. Images of the god Osiris were popular and added to tomb walls, either painted or carved, to invoke the protective and guiding spirit of Osiris. All the Egyptian Gods had consistent representation and carving their Gods into the living rock of the tomb gave it a tangible form which became an object, where it was believed the deities could manifest a presence.


Two anubis dogs on the walls of the tomb of pashedu

The entry to the tomb of Pashedu is flanked by spectacular Anubian guardians




 Egyptian footed Perfume Vessel in the Shape of Two Trussed Ducks-found in upper Egypt(Thebes) 17th Dynasty

17th Dynasty Egyptian Perfume Vessel in the Shape of Two Trussed Ducks-found in upper Egypt(Thebes)




Sunken relief of Thoth-Luxor_temple_photo-John Bodsworth

Sunken relief of Thoth – Luxor temple

photo – John Bodsworth




 Papyrus art from Book of the Dead from the tomb of a scribe called Nebqed from the 18th Dynasty _louvre_museum

Part of the Book of the Dead from the tomb of a scribe called Nebqed from the 18th Dynasty. The whole papyrus is over 6 metres long.

Louvre, Paris




column with the face of Hathor at temple of Bastet at Bubastis_Louvre Museum

A column with the face of Hathor. From the ruins of the temple of Bastet at Bubastis from the time of Osorkon II

Louvre Museum



Egyptian wall relief of women at a funeral

Lamenting Women, from the tomb of Ramose, c. 1411-1375 BCE.





A painting from the tomb of Nebamun showing him standing on a reed boat hunting birds in the papyrus marshes using throwsticks and three decoy herons

Wall painting from the tomb of Nebamun showing him standing on a reed boat hunting birds in the papyrus marshes using throwsticks and three decoy herons

18th dynasty c.1390 BC.

Dra Abu el-Naga, West Thebes.

Werner Forman Archive/ British Museum, London


Egyptian wall relief - offering  perfumes and lilly flowers

Offering perfumes and lily flowers wall relief



Temple of Hathor, Dandarah, Egypt

Temple of Hathor, Dandarah, Egypt




Ancient Egyptian Tomb Art –  a feast for Nebamun, showing musicians and dancers, painting from the tomb-chapel of Nebamun, an accountant in the Temple of Amun (Karnak), circa 1350 BC, Ancient Egypt, panel in the British Museum, London WC1. Full-face images are rare in Ancient Egyptian art.





Amenhotep III_luxor_museum

Amenhotep III





A wall painting in the tomb of Queen Nefertari. Isis/Hathor leads the queen by the hand.

19th dynasty c.1290-1220 BC. – West Thebes.

Werner Forman Archive



Goddess Seshat – personification of writing

This relief in the Amun temple at Luxor dates from around 1250 BCE and shows Seshat, the goddess of temple geometry and scribal arts, inscribing regnal years for the king on the palm-leaf rib which had long served for tallying up the years and so had become the hieroglyph for “year”.




Egyptian gold ankh -  symbol of life and fertility

Ankh gold-sheathed mirror case




Detailed  wall painting in the tomb of Amen-hor-khepeshef. The son of Ramses III wearing the side-lock of youth stands behind the pharaoh.

Egyptian wall painting in the tomb of Amen-hor-khepeshef. The son of Ramses III wearing the side-lock of youth stands behind the pharaoh.

20th dynasty c.1190-1160 BC. -Valley of the Queens, tomb 85

Werner Forman Archive/ E.Strouhal




egyptian_transplant  frankincense trees planted in the courts of Hatshepsut Deir el Bahari mortuary temple.

A relief commemorating Hatshepsut having frankincense trees planted in the courts of her Deir el Bahari mortuary temple.




Sphinx statue_louvre_museum

Sphinx statue

Although this Sphinx was usurped several times by Pharaohs as late as the 22nd Dynasty it was originally carved for Amenemhat II.

Louvre, Paris



Funerary Relief-,-18th Dynasty-,-The Louvre

Egyptian Funerary Relief, 18th Dynasty, The Louvre




Goddess Maat with outspread wings and kneeling on a hieroglyphic sign which could signify ‘mourn’, was utilized at the entrance to a number of later New Kingdom royal tombs. 19th Dynasty. Tomb of Siptah. Valley of the Kings. Western Thebes. Egypt




guenther-eichhorn-com-Painting-inside the Queens Temple of Abu Simbel of the Goddesse -Isis-(right) and Hathor-(left) blessing-the Queen

Painting inside the Queens Temple of Abu Simbel of the Goddesse Isis (right) and Hathor (left) blessing-the Queen




Hathor Fragment Elephantine Island, Egypt

Hathor sculpture fragment

Elephantine Island, Egypt




Horus-falcon statue

Statue of Horus in falcon form.

 Horus was the son of the Great Goddess Isis, conceived by his virgin mother after the death of her brother-husband Osiris




Karomama Meryetmut- Louvre Museum

Karomama Meryetmut – Louvre Museum




Khnum_Temple, Esna     Knum making an offering

Wall relief, Knum Temple

Esna, Egypt





Colossus of Tutmosis III – Red granite. New Kingdom

Cairo Egyptian Museum




Painted wood from a coffin depicting the goddess Nut spreading her wings in protection over the deceased.

New Kingdom, 21st or 22nd Dynasty.

Werner Forman Archive/ British Museum, London



Lavishly-carved-wall,-Kom Ombo Egypt

Temple of Kom Ombo wall relief





Painting of a winged cobra from the staircase leading to the burial chamber of Queen Nefertari. It is offering protection to a shen sign, symbol of infinity.

 New Kingdom, 18th Dynasty, 1290 – 1254 BC – Western Thebes, valley of the Queens.

Werner Forman Archive.





Egyptian wall painting in the tomb of Queen Nefertari. Osiris, god of the underworld, in his green form.

Pharaonic Period: 19th dynasty c.1290-1220 BC – West Thebes.

Werner Forman Archive



 statue of a seated lion from Nekhen ( Hierakonpolis ) red coloured lion sculpture

Statue of a seated lion from Nekhen ( Hierakonpolis )

Old Kingdom c.2250 BC.

Werner Forman Archive/ Ashmolean Museum, Oxford






The tomb of Sennedjem. Luxor, Egypt

The Egyptian goddess Hathor, a perfect model of the feminine principle, incarnates the radiant energy of perpetually renewable life. Numerous frescoes, like that of the tomb of Sennedjem, represent the goddess of the sycamore in the tree of life. She pours a vessel of water of life and presents her sacred fruits to the deceased, that they may nourish themselves and thus receive the benefit of eternal life.




Osiris relief First-Chamber---Nefertari's-Tomb

Egyptian god, Osiris – First Chamber: Nefertari’s Tomb.





Wall painting – Tomb of Menna




Maat or ma’at was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities.



Osiris on a lapis lazuli pillar in the middle, flanked by Horus on the left, and Isis on the right, 22nd dynasty, Louvre

Osiris on a lapis lazuli pillar in the middle, flanked by Horus on the left, and Isis on the right, 22nd dynasty, Louvre



Outside Nephertiti's temple---Abu-Simbel, Egypt Roderick MacKenzie-flickr

Huge column reliefs at Nephertiti’s temple—Abu Simbel, Egypt

Roderick MacKenzie-flickr



Tomb of Nakht 18th Dynasty     wall relief  art

Tomb of Nakht –  18th Dynasty



Tomb-of-Pashedu Luxor - painted tomb both walls and ceiling

Tomb of Pashedu

Located in the necropolis of Deir el-Medina on the West Bank at Luxor (ancient Thebes).





Horus the younger




Wall-painting-of-Nefertar i-  Nefertari Tomb scenes, Valley of the Queens, Egypt

Nefertari Tomb paimting – Valley of the Queens, Egypt




Temple relief of Winged Goddess between the Apis Bull and a winged lion on the left.

Isis the Winged Goddess between the Apis Bull and a winged lion on the left.

Temple of Kom Ombo

Isis, is represented like this but she has a single feather on her head, which is usually a sign of the Goddess Ma’at





Tjepu, from Thebes, Tomb 181, New Kingdom





Nefertem,  god of healing and beauty, symbol of fragrance and the water-lily, son of Ptah and Sekhmet




Walk in the Garden limestone relief of a royal couple in the Armana style;

New Kingdom, 18th dynasty, c. 1335 BCA





Zodiac-Ceiling relief Temple-of-Hathor,-Dendera

Dendera Zodiac  – ceiling relief Temple of Hathor





Wall paintings in the Tomb of Horemheb, showing the Goddess Hathor (left) facing the Pharoh and the god Harsiese is on the center right)

18th dynasty c.1330-1305BC – Valley of the Kings, tomb 57.





Quartzite head of king Amenmesse He is wearing the crown of Egypt.

New Kingdom Dynasty




Queen-Ahmose-Nefertari wall relief

Queen Ahmose Nefertari




Stela of Amenemhat and His Mother Yatu

Middle Kingdom, Dynasty 12, ca. 1976-1794 BCE

Art Institute of Chicago




The Narmer Palette is one of the earliest historical records from ancient Egypt. It records King Narmer’s victory over Lower Egypt,

The Narmer Palette is one of the earliest historical records from ancient Egypt. It records King Narmer’s victory over Lower Egypt,




The Royal Scribe and Chief Steward of Memphis, Amenhotepamong the ruins of the temple of Osiris at Abydos in 1903.

A statue of Amenhotep,the Royal Scribe and Chief Steward of Memphis, among the ruins of the temple of Osiris at Abydos




Tomb of Pashedu, showing a procession of Gods-West-Bank-at-Luxor-(ancient-Thebes)

Ancient Egyptian art from the Tomb of Pashedu, showing a procession of Gods. 13th century BC

Deir el-Medina on the West Bank at Luxor (ancient Thebes).




Wall Relief of Hathor in the Temple of Horus in Edfu. Stone carved  image of a standing Hathor

Relief of Hathor in the Temple of Horus in Edfu, Egypt




Ra the Sun God The Egyptian-sun-god-Ra-was-said-to-sail-his-boat-across-the-sky-by-day-and-carry-it-back-through-the-underworld-by-night.-This-depiction-of-Ra-is-from-the-tomb-of-Nefertari

Ra the Sun God.

The Egyptian sun god Ra was said to sail his boat across the sky by day and carry it back through the underworld by night. This depiction of Ra is from the tomb of Nefertari.



ReliefTemple18dynasty Medja Temple Relief Nubia - four Nubian warriors

Nubian warriors, Medja Temple Relief, Nubia



Futurist Fervor


Italian Futurism revolution



‘Speeding Train’, Ivo Pannaggi, 1922.



Marcia-su-Roma-Rometti-Italia-C.Cagli---1932 - ovoid vase depicting men riding horsses

‘Marcia su Roma’ – C.Cagli – Rometti Italia




Il-Calciatore-D.Baldelli---1934 - a futurist style plate featuring a soccer player

‘Il-Calciatore’ – D.Baldelli, Rometti





‘The Knife Grinder’ –  (Principle of Glittering) by Kazimir Malevich

Russian Cubo Futurism, 1913

When Aristarkh Lentulov returned from Paris in 1913 and exhibited his works in Moscow, the Russian Futurist painters adopted the forms of Cubism and combined them with the Italian Futurists’ representation of movement.




‘Aeropittura’—Fillia (Luigi-Colombo), 1932

Museo Novecento



Italian Futurist-sculpture and painting Umberto Boccioni - Guggenheim

 Umberto Boccioni Futurist painting, ‘Dynamism of a Soccer Player’ and sculpture ‘Unique Forms of Continuity in Space’

Reconstructing the Universe at the Guggenheim, 2014



futurism-Tullio-Crali-1932-Bombardamento-Aero - bi planes on a bombing raid

‘Bombardamento Aero’ – Tullio Crali






Futurism was conceived in a period at the beginning of the twentieth century where there was an unprecedented shift in technology and innovation in pursuit of modernity. This was provoked by the political upheavals at this time and new technological advances in communication, travel and mass production, all adding to the perception of increased speed.. The avant garde, futurist movement began in Italy with grandiose aspirations of shaking Italy out of its cultural malaise, which had hardly changed from the classical era of 16th century, to embrace a new modernism. This was all stirred by the launch in 1909 of the Futurist Manifesto by Filippo Tommaso Marinetti.
The Futurist movement celebrated the dawning of a new world featuring themes of motion, speed and technology, by eagerly embracing new interpretations of sculpture, painting, music, architecture, ceramics and fashion with rampant colours and explosive energy. The reality of this quickly changing world was to be expressed by an omnipresent dynamism. Even gastronomy, poetry and graphic design were given attention. Just as Art Nouveau had made a deliberate break away from classical art, Futurism went to another level in renouncing the classical romanticism and replacing it with an audacious social and artistic revolution in culture and urbanism.

The early Futurist artists that took up the cause were Carlo Carrà, Umberto Boccioni and Luigi Russolo and  Gino Severini.  Settimio Rometti, founder of Rometti Ceramiche, was also one of the first in Italy to break away from the figurative style of the late Renaissance and Art Nouveau traditions and take up the innovative ideas of the avant garde in international art and design, created by such artists as Corrado Cagli, Dante Baldelli, Mario Di Giacomo, Giacomo Balla, and Fortunato Depero. By 1912 the Futurist movement already had considerable momentum and when Italian Fascism gathered pace in 1921, the artists had already escaped into the future with their art.



futuristic speed Fortunato Depero mand speeding into the distance on a motorbike

Fortunato Depero


In 1910, the father of Futurism, Filippo Marinetti, in an act of cultural radicalism, had dropped leaflets from the Campanile in Saint Mark’s Square in Venice, calling for the city’s canals to be filled with the rubble of its palaces, to herald in a new era of artistic innovation and military and economic renewal in the Adriatic region. The futurists released many ambitious Manifestos designed to draw passionate attention to their cause and provoke a cultural shift. The second Futurist manifesto of 1910 proclaimed: “Everything is in movement, everything rushes forward, everything is in constant change.” Their fervor for revitalizing the Italian spirit through art, design, technological innovation and education later became aligned with the nationalistic, expansive goals of the Italian Fascist movement. Despite the profound influence Futurism had on the development of modern design, it was slightly tainted by this association. Futurism had developed into a broad multi-media socio-politico-cultural movement. However the politicizing of the movement by some of its zealous members had little representation or impact on the art itself. Overall the art remained pure and the drive and inspiration of the futurist artists transcended the darker elements of this era and triumphed in shaping the direction and design aesthetic of the 20th century. Futurism had a tangible influence on art movements that followed including Art Deco, Vorticism, Constructivism, Dada, Surrealism and Mid Century modernism. For a movement that didn’t even span three decades, its vibrancy and originality has made a lasting contribution.



Women, stairs, skyscrapers, 1930 - Fortunato Depero Futuristi art abstract cubist

‘Women, stairs, skyscrapers’ – 1930 – Fortunato Depero




Futrurist Antonio-Sant'Elia-(1888---1916)-was-an-Italian-architect

Drawing by Italian futurist architect Antonio-Sant’Elia




One of the defining aspects of Futurist art was its adaption of cubism. Whereas Cubism focused on dividing objects into their component geometrical shapes and reassembling them abstractly, Futurism regarded all objects as an interconnecting whole by emphasizing the evident contiguity of all things seen. The mind doesn’t perceive objects to be separate from their surroundings “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself”. Boccioni, perhaps the most dedicated to the aspirations of Futurism, began by re-working cubist techniques in drawings and in three-dimensional renderings in attempts to show the contiguity and flux of things. As described in this manifesto, his designs featured bold groupings and large-scale disposition of planes and masses creating a heroic industrial expressionism. His vision was of a highly industrialized and mechanized city of the future, which he saw not as a mass of individual buildings but as a vast multi-level interconnected and integrated conurbation designed around the “life” of the city. The Italian futurist Antonio Sant’Elia’s extremely influential designs featured vast monolithic skyscraper buildings with terraces, bridges and aerial walkways.




‘Bailarina’ – Gino Severini -1915


Extract from a letter Gino Severini wrote –

“In the early days the Cubists’ method of grasping an object was to go round and round it; the futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.”
“Futurism and Cubism are comparable in importance to the invention of perspective, for which they substituted a new concept of space. All subsequent movements were latent in them or brought about by them… the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d’être of art.”



Depero-Fortunato---Gondoliere-veneziano Futurist painting of a venetian gondola

Depero Fortunato— ‘Gondoliere Veneziano’



Enrico-Prampolini 1915 Woman-+-Light-+-Environment futurist cubist painting of a woman

Enrico Prampolini – ‘Woman + Light + Environment’




Giacomo-Balla-Sculpture"Il Giardini Futurista," installation view, at Galerie Nordenhake in Berlin, 2003 -futurist flower sculptures

Giacomo Balla “Il Giardini Futurista,” flower sculpture installation view, at Galerie Nordenhake in Berlin



Vaso-Volo-di-Uccelli-par-Tullio-Mazzotti vase with flying black birds on yellow and white

‘Flight of Birds’ vase – Tullio Mazzotti




Fortunato Depero-(1892-1960)-–-Le cycliste traverse la ville-(1945) futurist painting of cyclists

 Fortunato Depero (1892-1960)-–- ‘Le cycliste traverse la ville’





Russian–cubo-futurist, pre-constructivist production of Turandot at the MAT (Studio)- designed by Igor Nivinsky.




– Futurist painting The Strength of the Curve- Tullio Crali,-1930

 Curvilinear cubist futurist  ‘The Strength of the Curve’ – Tullio Crali





Ceramic-manufacturing-Giuseppe-Mazzotti,-Albisola John Acquaviva-(study-of-decorum)-and-Tullio-Mazzotti-said-of-Albisola-(execution)-vase-with-decoration-aereofuturista-anteater-and-seaplane-,

 Giuseppe Mazzotti Vase with decoration of aereo futurista anteater and seaplane

Albisola, Italy




Phobia-antimitativa Tullio Mazzotti-d'Albisola - Mug-acentric-'Fobia-antimitativa'-1928, -terracotta-painted

Phobia antimitativa  – Tullio Mazzotti

d’Albisola  1928



Giuseppe Mazzotti Italian Futurist sport figures Action sporting sculptures

Giuseppe Mazzotti  Italian Futurist sport figures

Albisola, Italy


 Fortunato-Depero-''Nitrito-in-velocità',-1932 Futurist cubist painting of a man riding a horse

Fortunato Depero – ”Nitrito in velocità” 1932

In 1919 Depero founded the Casa d’Arte Futurista (House of Futurist Art) in Rovereto, Italy



Gio-Ponti---Richard-Ginori---SAN-CRISTOFORO blue white vertical striped sperical vase

St. Christopher  – Gio Ponti & Richard Ginori – spherical, futurist style vase




Abstract Harlequin made in the late '50s in Deruta designed futurist artist Ernesto Nino Road

 Harlequin mid-century vase made in Deruta and designed by futurist artist Ernesto Nino Road



1930 - Mussolini inspecting ceramics on the street in Italy

Some Italian fascists had tried to persuade Mussolini to ban modernism (as Hitler had in Germany) and include Futurism in the list of degenerate art. Mussolini refused because by the late 1930s, the style of Futurism had become the favoured art form for promoting Fascism.




Gino Severini - Harlequin-and-the-Mandolin,-1919,-oil-on-canvas,-private-collection

Gino Severini



Italian Futurist Style Pair Of female figure table-Lamps Sala-Italy-(Designer)-1930 ROBERTO NAVARRO

Italian Futurist Style Pair Of Table Lamps by Sala Italy


Roberto Navarro 1st Dibs




Italian futurist table lamp, Italy

Futurist table lamp, Italy



Jar with lid and winged aircraft 1930-1931-ceramic formed in the mold and decorated with enamel underglaze, gun and with parts-in platinum,Dante-Baldelli-Archers-Vase,manufacture-Rometti

 Dante Baldelli – ‘Archers Vase’, manufactured by  Rometti

Jar with lid and winged aircraft in formation – ceramic formed in the mold and decorated with enamel underglaze,  platinum highlights




Manlio-Trucco-(1884-1974) nude female centaur. On the back, incidentally signature and initials, Albisola. 1930

Manlio Trucco-(1884-1974) nude female riding centaur, Albisola 1930

In an early Futurist manifesto they had declared “We demand, for ten years, the total suppression of the nude in painting.” as a reaction to the predominance of classical nudes in Italian art.




Mazotti Albisola Cup and saucer ceramic decoration futurist,-1930

Mazotti ceramic cup and saucer with futurist decoration

Albisola, 1930



MEDUSA CUP Terracotta decorated in paint colors and polychrome enamels.

 Medusa Cup – Tullio Mazotti

Terracotta hand decorated in polychrome enamels.

Albisola – 1930




Tullio Mazotti D’Albisola - 1930 medusa cup futurist design

Medusa Cup – Tullio Mazotti ( top view )

Albisola – 1930



Materia---Umberto-Boccioni futurist abstract cubist painting

Umberto Boccioni – ‘Materia’ – 1912 ( portrait of his mother )

Peggy Guggenheim Collection, Venice

In place of the intersecting architectonic planes characteristic of Cubism, transparent planes with radiating and arching lines imply movement. This led forward to the language Boccioni was to use for his studies of rapid movement in the second half of 1913, such as Dynamism of a Cyclist.




Rometti-futurista elephant jar

Futurist elephant jar – Rometti, Italy




nicola-diulgheroff--(1901-1982)---M.G.A futurist bowl

 Futurist Bowl – Nicola Diulgheroff–M.G.A



Ponti,-Gio--Domitilla-1924 cherry red ceramic sculpture of a seated nude lady

 Gio Ponti — ‘Domitilla’

Italy, 1924



Nicolaj Diulgheroff and Tullio Mazzotti Albisola-1930-31 espresso.repubblica

Ceramic compote – Nicolaj Diulgheroff and Tullio Mazzotti Albisola




Piatto motociclisti Tullio Mazzotti, Albisola Dish with speeding cyclists decoration

‘Piatto Motociclisti’ dish – Tullio Mazzotti, Albisola





Manilo Tucci Albisola futurista vase

1stDibs – Wyeth NY




Nicolaj Diulgheroff- and Tullio Mazzotti-said-of-Albisola-(execution)1932

Nicolaj Diulgheroff and Tullio Mazzotti futurist vase

Albisola, 1932




Nicolaj-Djulgheroff---M.G ceramic tea set

Futurist ceramic tea set – Nicolaj Djulgheroff—M.G, Italy




Robert Venturi-,-1925 Manufacture-Alessi,-Crusinallo-1992-White-porcelain-vase-with-polychrome-decoration,

Futurist vessel designed by Robert Venturi




rometti ceramics on display

Rometti ceramics

Umbertide, Italy




Tea set - Nicolaj Djulgheroff-1930-Futurism--Manufacture-Giuseppe-Mazzotti-1903

Futurist tea set – Nicolaj Djulgheroff – 1930

Manufactured  by Giuseppe Mazzotti



Slender vase with handles-Series F-1937 Giuseppe Mazzotti

 Slender vase with handles – Series F   Giuseppe Mazzotti

Albisola, 1937





 Tullio Mazzotti Vase – ‘Amori Fiori’




  Dante Baldelli designed vase for Rometti




boccioni brass futurist cubist sculpture

Futurist cubist sculpture – ‘Development of a Bottle in Space’ (1912) –  Umberto Boccioni




Tullio Mazzotti - Albisola Vase With Question Mark 1930-31

 Tullio Mazzotti –  ‘Vase With Question Mark’

Albisola, 1930-31




Nicolaj Diulgheroff-Tullio-D’Albisola---M.G.A.-Albisola

 Futurist ceramics – Nicolaj Diulgheroff – Tullio D’Albisola

circa 1934





 Rometti futurist ceramic set





Shaking Flight [Tullio Crali, 1939

‘Shaking Flight’  by Tullio Crali, 1939




Umberto Boccioni painting ‘Dinamismo di un footballer’





Giacomo Balla – ‘Planet Mercury passing in front of the Sun’





vaso-geometrico by Tullio Mazzotti for the Centenary of Movement Futurista

‘Vaso Geometrico’

Designed by Tullio Mazzotti for the Centenary of Movement Futurista 1909 – 2009





‘Dinamismo di un Automobile’ -futurist painter Luigi Rossolo




Futurist-Cat--planter--Signed-Louis-Wain--Futurist-Cat--stamped-Imperial-Amphora- Ceramic blue and yellow cat figure planter

Futurist Cat Planter—Louis Wain

Imperial Amphora, Austria




Piatto-biliardo Tullio Mazzotti, Albisola dish showing three men playing billiards in futurist style

‘Piatto biliardo’ – Tullio Mazzotti

Albisola, Italy




1936 Italian futurist plate Nicolaj Diulgheroff, Tullio Mazotti


Quoted Sources –  Italian Futurism: From Cubism in Motion to Fascism’s Official Style

                                                                                                                                   – Before It All Began: The Visionary




Gardens with sculpture


Flickriver--mharrsch-s-photos-Reflection-Garden-at-the-Jordan-Schnitzer-Museum-of-Art - kneeling statue by pool

Reflection Garden at the Jordan Schnitzer Museum of Art

University of Oregon


The evolution of decorative and garden sculpture in ancient Greece.


The most radical transformation of sculptural art for mainstream decoration occurred in ancient Greece. The earliest incarnation of Greek sculpture was in the form of wooden cult statues, where they were used as objects of veneration. The first piece of Greek statuary to be reassembled was the Lefkandi Centaur, a terra cotta sculpture found on the island of Euboea, dated c. 920 BCE. It is the earliest known depiction of myth in the history of Greek sculpture.

The artistic endeavour of early Greek sculpture was centered around the human form, as they viewed their Gods as having a human form and there was no distinction between the sacred and the secular in art—the human body was both secular and sacred. The forms from the geometrical period (c. 900 to c. 700 BCE) were chiefly terra cotta figurines, bronzes, and ivories. Typical works of the era included statues depicting the gods and heroes of Greece, which were displayed in their temples and public places. The Greeks did not produce sculpture merely for artistic display. Statues were commissioned either by aristocratic individuals or by the state, and used for public memorials, as offerings to temples, oracles and sanctuaries.  Sculptures in limestone and marble, terra cotta, bronze, wood, and rarer metals, both free-standing and in relief were produced and the creation of life-sized statues began to occur at about 650 BC. During the Early Archaic period, c. 660–580 BCE, inspired by the monumental stone sculptures of Egypt and Mesopotamia, the Greeks started carving free standing stone statues, but the forms were more dynamic. Some of the the figures were also given a more distinctive human characteristic by giving them smiles. Also around this time new Greek colonies were established and became widespread, and arose in places including southern Italy, Sicily, Sardinia, Corsica, the southern French coast, the eastern Spanish coast, the coast of the Black Sea, and Cyprus, among others. The art was naturally exported too.

Statues in the Archaic period ( 800Bc to 480BC ) were not all intended to represent specific individuals. They were depictions of an ideal—beauty, piety, honor or sacrifice. The sculptures in the Archaic and Geometrical periods were centered upon the works themselves, and seldom, if ever, on the sculptors. During the Classical period from about 500 BCE, Greek statues began increasingly to depict real people, as opposed to vague interpretations of myth or entirely fictional votive statues, although the style in which they were represented had not yet developed into a realistic form of portraiture. Public memorials representing real people began to appear. It was during the Classical Period that an increase in the use of statues and sculptures as decorations of buildings and gardens was witnessed.


Isis_Musei Capitolini_Roman-Isis holding a sistrum and oinochoe and wearing a garment tied-with-a-characteristic-knot

 Roman Isis holding a sistrum and oinochoe and wearing a garment tied with a characteristic knot

Musei Capitolini, Rome


An increasing shift towards naturalism occurred during the Hellenistic period in the 4th century BCE, where common people, women, children, animals, and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens. The statues also became more expressive and dynamic as the sculptural art became more widely adopted. There were new Hellenistic cities springing up in Egypt, Syria, and Anatolia which required statues and this made sculpture, like pottery, an industry. By the 2nd century BCE, the rising power of Rome had also absorbed much of the Greek art and tradition. The legacy of Greek sculptural art has remained an ongoing, dynamic cultural force ever since.


The Castlestrange stone,-County Roscommon---dating-from-the-Iron Age period between 500 BC and 100-AD

The Castlestrange stone,- County Roscommon, Ireland

This stone curiously has a continental influence in the style of its carving.

Iron Age period between 500 BC and 100 AD


Modern sculptures in garden locations.


Nature is blessed with so many intrinsic sculptural forms, so viewing sculptures in a natural setting always looks symbiotic.



Bernard Hosey outdoor sphere sculpture

 Bernard Hosey sphere sculpture



Netherlands sculpture by Eddy-Roos A bronze sculpture of a couple kissing on a ball

“Beelden en tekeningen” by Eddy Roos, Netherlands




artpark_sculpture_Ben Greenwood Spaniel in_ Fight Dog sculpture in garden

‘Spaniel in Fight’ – Ben Greenwood



artpark_sculpture_Brendan Hesmondhalgh - Gannet bird sculpture

Brendan Hesmondhalgh – ‘Gannet’




artpark_sculpture Francony Kowalski The Spring colourful statue of a standing woman

Francony Kowalski –  ‘The Spring’



artpark_sculpture Ginger Gilmour - Seated Angel winged angel with closed eyes sitting in garden

Ginger Gilmour – ‘Seated Angel’



Statue of a lady seated on a lion

LomNom – deviantart


artpark_sculpture Irakli Zhvania Mucisians Sculpture of musicians performing in a fountain

Irakli Zhvania – ‘Musicians’



artpark_sculpture Jens Ingvard Hansen - World Wide Widex Chrome finish abstract sculpture

  ‘World Wide Widex’ – Jens Ingvard Hansen



artpark_sculpture John Huggins Caprice kneeling nude girl

Contemporary British Sculptor John Huggins – ‘Caprice’



artpark_sculpture John Huggins Maltese Goddess

John Huggins ‘Maltese Goddess’




 Angel sculpture in hydrangeas

Photography Joseph De Sciose



sculpture-1928-by-Raymond Delamarre-represents-Perseus and Andromeda

 Art Deco sculpture ‘Perseus and Andromeda’ by Raymond Delamarre

Mounted on his horse Pegasus, Perseus delivers Andromeda from the sea monster about to devour her.


Entrance of the stadium Léo Lagrange, the Pyramid Highway, opposite the Parc Floral de Vincennes.




Baby Clanger-sculpture,-Bergh Apton sculpture trail Norfolk

 Baby Clanger sculpture

Bergh Apton sculpture trail Norfolk, UK

Moominpappa06 – Flickr




Barbara Hepworth's Garden, St-Ives-daveserjeant on Flickr abstract sulpture black and teal

Barbara Hepworth’s Garden, St-Ives

daveserjeant on Flickr





‘Duet’ – Jeff K Laing

Sculpture garden — Benson Park, Loveland, CO



Tom Frantzen Belgium sculptor Three hares riding snails

Tom Frantzen Belgium sculptor



Briony Lawson abstract garden sculptures

Briony Lawson




Diane in the fog-from Ted Glasgow-at-Fans-of Biltmore House

Diana, the Roman goddess of the hunt – Biltmore House. USA



Emma Stothard---Sculptor--Willow-Sculpture-and-Wire-Sculpture---North-Yorkshire,-UK

Emma Stothard – Willow and Wire Sculpture






The courtyard of the Isabella Stewart Gardner Boston museum, which opened in 1903 and was modeled on the Renaissance palaces of Venice.

Among the artists represented in the galleries are Titian, Rembrandt, Michelangelo, Raphael, Botticelli, Manet, Degas, Whistler and Sargent.





Peryton at the fountain of Linlithgow Palace, Scotland





The English Garden’s Burnett Fountain depicting Dickon and Mary from Francis Hodgson Burnett’s book “The Secret Garden”

Conservatory Garden, Central Park, NY –  opened 1937




 Monument in Right Feet Major---Todi Kurtzman large sculpture in park

 ‘Monument in Right Feet Major’ — Todji Kurtzman

Benson Sculpture Park, Colorado




 Italian Figure Sculpture in York House Garden, Twickenham by Oscar Spalmach



French landscape architects Claude Pasquer & Corinne Julhiet Detroyat-Lake Como 2014-Orticolaria,-a-horticultural-fair-on-Lake-Como

Orticolaria –  Lake Como, Italy 2014

A biodiversity sculpture for a garden ! A topiaire including insects hotel…for the first time at Villa Erba, Italy, during ORTICOLARIO, international Gardens Festival

French landscape architects Claude Pasquer & Corinne Julhiet Detroyat




H.R Gigir surrealist Swiss sculptor

H.R Giger




 Monumental ceramic sculpture – Jun Kaneko



Jiménez Deredia_-sculptures Abstract sculpture of two seated women

Jiménez Deredia



Légende de Saint Grat'-Pierre Castillou, 2007---Oloron Sainte Marie

‘Légende de Saint Grat’ – Pierre Castillou,

2007, Oloron Sainte Marie





 Van de Bergh Hanneke




 Kuan Yin  – Kuan means earth, Yin means feminine essence





 Sculpture in Loughcrew Gardens, County Meath, Irelqnd





Standing Nude – Nelli Bar ( American, born Cologne Germany )

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1966




Oiseaux-des-Tuileries-by-pierrepaul43-on-Flickr-(cc) abstrct sculpture in the park

‘Oiseaux des Tuileries’

pierrepaul43 on flickr




Garden dedicated to George Harrison

 Chelsea Flower Show




sculpture_artwork_Anon of the Orient_Nude with urn Standing nude lady carrying urn

Anon of the Orient – ‘Nude with urn’



sculpture_artwork Edwin Russell - Leaping Dolphins__bronze_resin_fish_sculptures

Edwin Russell – ‘Leaping Dolphins’


Statue-by-Fernando Silveira

Fernando Silveira




Henry Moore The Goslar Warrior'-(1975)-Sculpture-Goslar-Germany

 Henry Moore  – The Goslar Warrior’

Goslar, Germany

photo Peter Downes




 Sea shell sculpture by artist Vera Viglina titled: ‘The Snail’





 “Serenissima” – Phillip Jackson – “maschera nobile” venecianas.




yinka-shoni bare-MBE

Outdoor sculpture by African artist Yinka Shonibare

Yorkshire Sculpture Park, UK


Blue Birds by the Babbling Brook-with-rose-petals by Sarah Cox

 Blue Birds Babbling Brook Fountain – Sarah Cox, UK





‘The Congo I presume’  – Tom Frantzen

1997, Tervuren Africa museum, Belgium



Jens-Ingvard-Hansen.-Otolith abstract garden sculpture

 Jens Ingvard Hansen – ‘Otolih’

Artpark Sculpture



Marino Marini,-Cavaliere-(Horseman) circa-1949 - Minneapolis Gardens

Marino Marini, Cavaliere (Horseman)   circa 1949

Minneapolis Sculpture Gardens



Moon stone

Located near Penzance in the west Cornish moors is the unique and enigmatic Men-an-Tol stone




Acquiring a fine teacup



Vintage-Shelley-Art Deco cup - apple green, black and white

 Shelly Art Deco saucer and cup




Seeking a new teaset : 


I’m currently in the market for some new teacups. The last one standing is shown below, the set lasting over 15 years. Their durability surprised me, you could barely feel the weight of the fine Japanese translucent porcelain when you lifted the Art Deco cup. It is getting promoted to the cabinet in recognition of its long service. I’ve had to avoid inviting anyone for a cuppa, as it would be slightly awkward having to share the same cup, or I could, shock horror, resort to using mugs. Mock elitist indignation aside, the occasional indulgence of tea from a teacup is a worthy act of reverence for the great beverage.

Serving tea or coffee is usually the final act of any dinner so its only appropriate to use a fine tea set to round off the occasion in style. Despite coffee having more caffeine and being more addictive, I think tea drinkers are probably more fanatical, having a rich tradition of serving rituals and having a much greater variety to choose from that offer an enticing array of captivating flavors… Ok, I’m slightly biased being a devoted tea drinker. The elaborate tea drinking ceremonies, especially in Japan, are particularly detailed down to how the tea is stirred.

My choice for a new set is basically fine porcelain, no floral decoration or gold trim, only two colours and a wide diameter rim so the tea cools more rapidly. I’m showing some of the cups I saw while searching, with full admiration for their fine craftsmanship.




Japanese porcelain translucent cup and saucer - orange and pink on white Art Deco styling

Japanese Art Deco cup





Footed cup with abstract decoration –  John Maltby




1930s Art Deco Coffee Set Soho Pottery Ambassador Ware England - Palm Tree Pattern


1930s Art Deco Coffee/Tea Set with Palm Tree Pattern

Pottery Ambassador Ware England

Wicksteads Etsy (sold)





 Art Deco teapot and sugar bowl – Nora Gulbrandsen for Porsgrund Porselen, Norway



Gisela-Francisco flickr stack of purple cups

Purple cups  – Gisela Francisco



Shiro Hagi Chawan by Shibuya Deishi




 Small Art Nouveau tea cup




 Victorian Foley Wileman Tea cup and Saucer




Art Deco Geometric Trio,-Handpainted Grosvenor China Kelly Green, Mint and Cream-Cup-Saucer-Teaplate-1933

Geometric Art Deco  Trio – handpainted Grosvenor China cup, saucer and teaplate.




Art-Deco-teapot orange,black,yellow and blue

 Art Deco teapot



Russian Lomonosov Balley-Coffee-Cup-and-Saucer

Lomonosov ‘Balley’ cup and saucer




Bertozzi e Casoni, Imolarte, Cup set - footed contemporary styled cup

Footed contemporary styled cup- ‘Imolarte’ –  Bertozzi e Casoni



Butterfly-Conical-Teapot,-Clarice-Cliff - art deco

 Art Deco Conical Butterfly Teapot, Clarice Cliff




Carved  Capodimonte cup and saucer.

Italy, Circa 1750





 Chinese porcelain faceted teapot




Cup flared on a pedestal-and-saucer-octagonal-white-porcelain-decorated-with-blue-flowers-accented-with-gold-1925

 Porcelain flared cup with a gold handle and pedestal – Louis Sue and Andre Mare



Art deco-noritake sugar bowl in green-sllver and gold

 Noritake Art Deco sugar bowl




Function-Dk-blue-optical-Jonathan Middlemiss black and white tea set

Black and white coffee/tea set – Jonathan Middlemiss





Contemporary cup and plate – Paul Scott & Ann Linnemann collaboration

 The porcelain forms are hand thrown and glazed by Ann in her studio in Copenhagen, Denmark. Paul creates the graphic then screen-prints in-glaze ceramic decals in his studio in Blencogo, Cumbria, England.

Anne Linnemann Studio Gallery



Hans Vangso_yunomi

 Hans Vangso



Helene-Morbu contemporary cups in blue

 Helene Morbu




Crackle glaze tea cup –  Somayaki Somaware, Japan



Karin Bjorquist tea set for Gustavsberg - black and white diamond pattern

 Karin Bjorquist tea set for Gustavsberg




Blue Lapis-Lazuli-Teapot from the Miseroni lapidary workshops.

 Antonis Minor tea pot in lapis lazuli with gold trimmings, by Dionysio, grandson of Ottavio Miseroni.

Miseroni lapidary workshops, Milan





 Laurel Birch




Green-retro-coffee-set Stavangerflint, made in Norway

 Mid Century incised green retro tea set  – Stavangerflint, made in Norway

Old & Cold etsy



Crimson Laurel Gallery-Andrew Gilliatt-Mug

Andrew Gilliatt

 Crimson Laurel Gallery, Bakersville, NC.



White Lenox Belleek deco sterling overlay demitasse cups and saucer

Art deco sterling overlay demitasse cups and saucer – Belleek Pottery



Japanese Lithophane-Tea-Set-by-ProsperiTea

 Japanese Satsuma Lithophane porcelain Tea Set

Prosperi Tea



Lomonosov Russian teacup and saucer - blue, white and gold

Russian Lomonosov  teacup and saucer




Ben Owen-III by American Museum of Ceramic Art,-via-Flickr

Tea set by Ben Owen III

American Museum of Ceramic Art, via Flickr




Tea Bowl by Robin Welch

 Robin Welch tea bowl
 Handpainted in a rich Cubist colourful pattern

Susie Cooper-  Hand painted rich Art Deco Cubist pattern coffee/tea set; c. 1928.




Geometric Mondrian Tea-Pot

 Mondrian Tea Pot





China Tea Cup & Saucer –  Paragon





 Contemporary tea set – Paul Eshelman, Elizabeth, Illinois





 Pink Lusterware Gold Pedestal China Japan Tea Cup Reticulated Saucer Set





Rare Royal Doulton Art Deco Trio-in Tango Pattern

Tango Pattern Art Deco trio tea set –  Royal Doulton, UK




Rick Rudd NZ contemporary red ceramic tea pot

 Red ceramic abstract teapot – Rick Rudd, NZ




Rosenthal-Versace gold wing and white teacup

 Rosenthal Versace teacup and saucer




Royal Halsey Teacup and Saucer-Layla Blackshear-fkickr Turquoise with gold highlights

 Royal Halsey Teacup and Saucer

Layla Blackshear-fkickr




Nippon demitasse cup and saucer

Nippon Art Nouveau demitasse cup and saucer




Black and white Royal-Doulton-Art-Deco-TANGO-tea-set-tea-for-two

 Royal Doulton Art Deco Tango pattern tea set




Royal-Paragon art deco teacup amd saucer

 Art Deco teacup and saucer – Royal Paragon




Roy Lichtenstein dinnerware set in black and white

 Dinnerware Objects  Roy Lichtenstein






 RW-Bavaria, Germany




Contemporary Sucabaruca tea set by Luca Nichetto

 Sucabaruca tea set  by Luca Nichetto





 Tennis set for tea and a biscuit

Muchos Tesoros – Etsy





The  Miito by Nils Chudy

MIITO is an innovative product that heats liquids directly in the vessel to be used, hence eliminating the heating of excess water. Simply fill your cup with water, place it onto the induction base and immerse the rod in the liquid.





 Dame Edna’s tea drinking etiquette – “when in doubt, pinky out”.




Tuscan teacup and saucer





Rometti Art Deco Futurist tea/saki set

Umbertide, Italy




Shelly Art Deco moth wing cup and saucer




Japan Kato-Kogei-Memphis-Era-Set

Japanese Kato Kogei neo Art Deco teaset




teapot-by-maa Teapot with wooden handle and tea bowls

Teapot with wooden handle and tea bowls by Maa



ItalyTeaset Pucci-Umbertide---1930

Pucci, Rometti futurist teaset, Italy





Lomonosov Teapot-'Legend Return'---Contemporary- Porcelain

‘Legend Return’ – Lomonosov Contemporary Porcelain Teapot




aLba-dociLia--Albisola 1930

Albisola teaset, Italy




CARRARESI-&-LUCCA---Sesto Fiorentino---CERAMIC-airbrushed-YEARS-'30---'40

Airbrushed teacup – Carraressi & Lucca

Sesto Fiorentino, Italy




Early-cup-by-Ken Price-on-artnet

Ken Price




Art Deco Bubbles Royal Worcester coffee set -look of clarice cliff susie cooper

Art Deco Bubbles Royal Worcester coffee set





Tea bowl – Peter Voulkos




Black Oriental Glaze Handbuilt Porcelain Teapot Kathy Riggs

Oriental Glaze Handbuilt Porcelain Teapot by Kathy Riggs





Crown Ducal Art Deco Teacup



Limoges-art-deco-tea set with futurist patterns

French Art Deco tea set – Limoges





Royal Sealy tea cup



Vintage-purple on white-tea-cup

Detailed purple lace pattern on white cup and saucer



sandoz-service-complete in white, orange and black art deco

Birdy tea set – Sandoz




Lemon tea cup and saucer – Shelly



Young girl drinking from a Ochamori-'Big-Tea'-at-Saidaiji-temple-in-Nara

 Ochamori ‘Big Tea’ at Saidaiji Temple in Nara, Japan



Jeroen-Bechtold white contemporary ceramic tes set

Jeroen Bechtold contemporary tea set




Morning tea in feathered hat  – Dorothea shot by William Klein





Octagonal Geometric Tea Service with Kandinsky inspired motif

French Limoges Art deco

c 1925




Deep orange and gold teacup – Coalport



Carstens Uffrecht-ModeloRio-1935

 ‘Rio’ tea service – Carstens Uffrecht




Two blue and white-teacups with drip glaze

Ombre Drip Ceramic Cup and Saucer Set in Blues and White

Artmika Etsy




Rosenthal lavender and gold teacup with violets motif




Turquoise and Gold Scalloped Footed Tea Cup – Alka Kunst Kronach





French Designer Jean Dunand


  The French Art Deco of Jean Dunand



1925 vividly colored geometric patterning Jazz Age style vase

Jazz Age Art Deco lacquered metal vase – Jean Dunand, 1925

Met, NY


Jean Dunand was born in Switzerland in 1877. He trained as a sculptor at the École des Arts Industriels de Genève from 1891-1896. This was followed in 1897 by an apprenticeship at the studio of the Burgundian Art Nouveau sculptor, Jean-Auguste Dampt, who introduced him to the notion of design production for interior decoration and furnishing. In 1904/1905, Dunand shifted his focus from sculpture to the ancient craft of dinanderie, a late medieval metal craft using copper, brass and bronze, which originated in Belgium.

Around 1912 Dunand began his creative foray into lacquer work, sharing his intimate knowledge of the art of dinanderie with Japanese artist Seizo Sugawara, who in return taught him the closely-guarded secrets of the traditional Japanese technique of urushi – surface lacquering.
During 1925, Jean Dunand began to experiment with the technique of incorporating minute bits of eggshell fragments, from hen, duck and partridge eggs, to tremendous effect, into his lacquered designs. He championed the revival of the ancient oriental craft of coquille d’oeuf, the applying of eggshell to lacquered works. His original technique was utilized in the manufacture of enameled vases, trays, multi-paneled side screens and wall panels.
Dunand skillfully combined the artistry of Oriental lacquer work with European decorative designs and his approach to lacquering metal and wood was ideal for presenting the clean angles and sharp geometric lines of the streamlined Art Deco, along with creating the vivid colours and intense contrasts essential in the Cubist/Deco styles.



 Art Deco ovoid vase with eggshell shards and lacquer decoration – Jean Dunand


 Dunand often collaborated with other designers and artists, including Wiener Werkstatte and Séraphin Soudbinine. Other notable French painters, sculptors, and illustrators who supplied pictorial programs for screens and decorative panels that Dunand rendered in lacquer were Georges Barbier, Jean Goulden, Paul Jouve, Jean Lambert-Rucki, Gustav Miklos, and François-Louis Schmied.

During his lifetime his artistic achievements were recognized and he exhibited regularly at the Salons de la Société Nationale des Beaux-Arts as well as at the Salon d’Automne. From 1904 the Museé des Arts Décoratifs in Paris purchased his work and is now found in museums worldwide. Jean Dunand became an influential designer and visionary for French Art Deco, and his artistic virtuosity and craftsmanship was exquisite. He successfully embraced the shift from traditional ornamental styles to modernist designs that were bold and less complex, while integrating Africanist, Futurist, Cubist details and innovative materials.


Reddy Brown-and-silver-lacquer-on-a-black-lacquer-back ground

 Lacquered Art Deco vase with geometric lines – Jean Dunand




DUNAND-RADIO-CABINET-IN-1930 with abstract decoration

 French Art Deco lacquered radio cabinet with abstract decoration – Jean Dunand


Loft Concept





 Ovoid lacquered vase by Jean Dunand

Kelly Gallery




Jean-dunand Egyptian revival laquered vase

 Oblong Egyptian Revival checkered red lacquered brassware and black mother of pearl, with a bronze tripod base.

Jean Dunand




Pair of Art Deco lacquered metal vases in black, red and gold geometric patterns

 Pair of enamel lacquered Art Deco vases – Jean Dunand




Art Deco multi panel screen

 Art Deco Paravent “Lac Bleu” by Jean Dunand 1928




Deux-Vases-Monumentaux-1925 large art dec vase

 Deux Vases Monumentaux- Jean Dunand





Jean Dunand vase_circa_1926 red sliver and black enamel

 Lacquered metal Jazz Age vase – Jean Dunand





Black ovoid lacquered vase with fish decoration

 Handpainted sea life decoration on a black lacquer vase – Jean Dunand

 Anne Hauck Art Deco




 Pianissimo and Fortissimo – black lacquer screen with eggshell, gold and mother of pearl inlay

Séraphin Soudbinine & Jean Dunand – 1925 /1926




Ovoid lacquered metal vase Jazz Age geometric design

  French Art Deco lacquered metal vase – Jean Dunand





Black lacquered cabinet with eggshell highlights $534250.

 Black lacquer drum table, eggshell highlights – Jean Dunand





 Geometric patterned vase – Jean Dunand

circa 1925




Black lacquer metal vase, eggshell patterns – Jean Dunand




jean_dunand_a_vase_circa_1925 red on black enamel

 Red/black lacquer vase – Jean Dunand






 Félix Marcilhac’s Paris apartment

  Jean Dunand cabinet (1921) and Ozzip Zadkine´s ‘Jeune Fille á la Colombe’ (1928) gold plated statue. Painting by Gustave Miklos ‘Figures et Chien’ (1921).

Photograph by Jerome Galland




jean_dunand_a_vase_circa_1925 red lacquer gold highlights

 Red lacquer metal vase by Jean Dunand





jean-duand-screen with flying ducks

Screen of Jean Dunand, and a toad piano by Poul Henningsen





Art Deco black, red, gilt and eggshell lacquer book binding by Jean Dunand

France, circa 1923




Jean-Dunand-(1877-1942),-lacquered metal footed vase with eggshell highlights

Art Deco footed vase with eggshell highlights – Jean Dunand



Jean Dunand Panel Africanist decoration

 Africanist panel – Jean Dunand




Jean Dunand---Psyché, for Madame Agnès, Paris,-1926

Illuminated triptych psyché designed for Madame Agnès-  Jean Dunand

Lacquered wood inlaid with ivory, mother of pearl and eggshell, mirrored glass, brass, painted wood




Jean Dunard gold vase with red and black

 Gold, black and red Art Deco vase – Jean Dunand




Lacquered-copper footed vase

  Small footed vase, Jean Dunand

circa 1920




Laquered Wood Panel-(1929)-by MsBlueSky on Flickr1929

Gazelles –  Laquered Wood Panel by Jean Dunand


MsBlueSky on Flickr





 Jean Dunand – Large vase with Art Deco geometric lines

Galerie Michel Giraud – Phillips




Jean-Dunand-Deco ovoid form vase with red,black lacquer and eggshell decorations

Art Deco vase with eggshell and red and black lacquer

Jean Dunand




‘Prière’, a unique lacquered and carved wood and eggshell sculpture by Jean Dunand and Jean Lambert-Rucki representing a kneeling woman, praying




Lacquered sideboard---cabinet - art deco

 Art deco cabinet – Jean Dunand




Tortoise shell-pattern-lacquered-bronze-with-silvered-rim vessel

 Lacquered bronze vessel with tortoise shell pattern – Jean Dunand




two monumental Jean Dunand vases

 YSL’s Art Deco style room from the 1970s displaying the monumental vases by Jean Dunand




pair of black lacquer vases by Jean Dunand

 Vase pair – Jean Dunand




Jean-Dunand---Les-sports giant wall panel featuring sporting figures

 Jean Dunand — ‘Les Sports’ wall panel

 Vase ‘Laqué à Motifs Géométriques’  by Jean Dunand

Lacquered porcelain vase, 1915




 Yves Saint Laurent in his Art Deco room