Murrle Bennett Gold, Peridot and Mother-of-Pearl Bracelet*
Bracelet from Murrle Bennett crafted in 9 ct. gold, so very typical of the style of jewellery supplied by them to Liberty’s during the early 1900’s. Openwork in design with alternate rectangular and square sections,…
Archibald Knox Gold Pendant for Liberty
Gold pendant with an openwork entrelac design from the drawing board of Archibald Knox and dating from circa 1905. Set with a central blister pearl drop and with a turquoise matrix lower drop, this pendant…
‘Lady on The Seine’ by Dietz Edzard*
Ornately framed oil on canvas by the German born artist Dietz Edzard (1893-1963). This is an atmospheric half length portrait of an elegantly dressed young woman taking refreshment whilst seated on a verandah raised above…
Loetz ‘Candia’ Vase with Silver Overlay
Little cabinet vase from Loetz in opaque ‘Candia’ glass with a trefoil rim, further decorated with an applied Art Nouveau ‘Silberiris’ design in pure silver. Loetz collaborated with a company in the US known as…
WMF Flower Dish
Pewter flower dish from WMF with the original green cut glass removable liner. So Art Nouveau, with its flowing outline, featuring an openwork whiplash design framing leaves and berries of ivy. Originally electro-plated but most…
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‘One Hour of the Night’
Item Description
Mid-sized version of the much admired sculpture ‘Une Heure de la Nuit’ by Joseph Pollet (1814-1870). Also known by the title ‘L’éveil’ (The Awakening) it is sometimes said to represent the goddess Aurora.
She is seen gracefully floating in the night sky, hands clasped behind her head with both feet independent of the ground.
Originally exhibited in plaster at the Paris Salon in 1848, it created such an impression that it was subsequently produced in various sizes in both bronze and marble.
This is a gorgeously elegant bronze with a rich patination and still looks as impressive today as when it was first unveiled.
Signed Pollet on the base and around 46 cm in height. With just a small mark to the patina at the back of her right forearm.
Lit: Berman Vol. 3 – p. 544 where it is incorrectly attributed to Edouard-Louis Collet. However, this error is corrected in the master index.