Object of the Day: A Rare Souvenir of the Silver Jubilee of King George V and Queen Mary, 1935

I have never seen souvenir medals until recently. This medal from 1935 is a souvenir of the Silver Jubilee of King George V and his consort, Queen Mary. Suspended from a ribbon of red, white and blue, the face of the spelter medal shows the visages of the King and Queen in profile with the words, “H.M. King George V, H.M. Queen Mary, 1910-1035.” The reverse of the medeal bears the inscription, “To commemorate the Silver Jubilee of our beloved King and Queen, 6th May, 1935.” The reverse is adorned with a laurel wreath pattern.


I’m not quite sure to whom these medals were given. My guess is that they were gifts to those who helped prepare of the Jubilee festivities. I’m quite fond of it. Now, it’s displayed on a red ribbon, adorning a lampshade. Illuminated from behind, it continues to serve its original purpose—to remind us of a remarkable reign.

Object of the Day: An Antique Spelter Statue

This spelter figure is something of a mystery to me.  Attractively cast and finely detailed, the sculpture has no signature and seems to be missing her base.  Similar figures of reclining females in classical garb were a popular subject matter for Nineteenth Century French and English sculptors.  Very often, sculptures of this size were cast to be mounted on clocks.  Could it be that this lovely lady once graced the top of a mantel clock?  I suspect so.  Since she lacks the wooden base which usually supports spelter statues, I have the feeling that somewhere out there exists a clock which his missing its lady.  Or, perhaps not.  Perhaps she was always meant to be exactly what she is—an elegant figure unto herself.  Regardless, she seems quite content—forever in repose, and quite comfortable. 

Object of the Day: “Voix Celeste” by Rancoulet

Voix Celeste (The Celestial Voice) was sculpted by French artist Ernest Rancoulet in 1880. Once again, Rancoulet shows his enormous talent in depicting the female form. The figure is a woman in flowing robes (one of Rancoulet’s specialties) who leans upon a crescent moon, her feet comfortably resting on an undulating cloud. She is the voice of the heavens as she extends her hand outward toward the earth. Her face—just about to speak—is peaceful with wide eyes and a hopeful countenance. We’ll never know what glorious message she’s bringing, but in bringing it, she reminds us that something lovely always exists, often within reach.

Signed by Rancoulet on the front of the moon-shape, this sculpture was painted white—covering its original bronzed finish. As tastes changed, many spelter sculptures such as this one were painted. In the 1920’s and 1930’s when bronze-finishes were considered “old fashioned,” these objects were frequently altered. In this case, the attempt was to make the piece resemble marble or parian. I’ve long debated whether to strip her of her coating of white paint. My conclusion is that doing so might damage the piece. I think she’s lovely as she is.

Object of the Day: A Statue by Rancoulet

French Sculptor Ernest Rancoulet (1870-1915) was known for his great skill in sculpting delicate female figures. His busts and full-figure sculptures were celebrated for their exquisite detail.


Here, we see a statuette signed by Rancoulet on the reverse. A young woman in flowing robes strums her lyre as she stands on a mound of flowers. Rancoulet has depicted the figure in a bucolic pose. Her face is peaceful as she looks out hopefully, enjoying her music.

This figure is cast in spelter and sports its original bronze-tone finish, aged to a lovely patina. She reminds us to pause and enjoy those brief peaceful moments that life affords us.

Object of the Day: A French Sculpture of Terpsichore

In Greek mythology, the muses were three in number. These beings were responsible for inspiring mortals to create great works of art and literature. Considered goddesses, the three muses were made nine in Classical interpretations.


In order to denote their Heavenly status, French artists often depicted the muses as having wings. Such is the case of this mid-Nineteenth Century French sculpture of Terpsichore—the Goddess of Dance. Terpsichore, artistically, is always depicted with the attribute of a lyre. Usually, Terpsichore holds the lyre in her lap as she would in playing music to accompany the dancers in which she takes such delight. She usually wears a laurel wreath in her hair. This sculpture takes a more active approach in its depiction of the muse. Here, Terpsichore herself is shown dancing—lightly balancing on the lyre and holding her wreath aloft in celebration.

With her wings outspread, she lithely extends a leg behind her as she gracefully rises in dance. This fluidity and motion were the hallmarks of French sculpture of the period. Though the work is not signed, the sculpture’s features remind us of the works of Emile Bruchon. In keeping with her spirit, this sculpture is displayed with an antique zither. The workmanship is so fine that if you’re not looking directly at her, she does appear to be moving.

Such objects were reminders that each of us has an innate creative ability. Artworks such as this sculpture were intended to encourage everyday people to listen to their muse.

Object of the Day: Danse Des Escarpes by August Moreau

Everything about the idea of a “Dance of the Scarves” would have appealed to a Nineteenth Century French sculptor with Auguste Moreau’s sensibilities. The fluidity of the veils, the implication of motion, the opportunity to render a figure of a robust young woman and the blending of ethereal and terrestrial beauty would have been an appealing subject indeed.

It’s no wonder, then, that Auguste Moreau chose this subject. Sculptors of the era were often inspired to create more naturalistic representations of classical or, even, biblical themes. The figure presented by Moreau in this sculpture reminds us of Salome and her lethal “Dance of the Seven Veils,” however, this is a more bucolic interpretation. Here, the figure is elevated in joy, a large rose tucked behind her ear. She immediately speaks to us of grace and elegance. These were the hallmarks of French sculpture, and, undoubtedly Auguste Moreau’s calling card.

Cast in spelter and signed on the reverse by the artist, this piece features its original rosewood base. She is a spirited reminder that the simplest of moments can be the most breathtaking.

Object of the Day: “Doux Retour” by Émile Bruchon, 1890

In many ways, along with the Moreau brothers, the work of Émile Bruchon epitomizes the French Belle Époque sculptural style. Seeming weightlessness, flowing garments, delicately rendered vegetation and beatific expressions define the spirit of the era.


Doux Retour (Sweet Return) is another allegory of Spring—a favorite theme of Nineteenth Century French artists. Here we see a female figure—young and lithe—who appears to be landing with gentle grace to the earth. She wears a diadem reminiscent of Diana, the Goddess of the Hunt. As she alights, her gown catches the breeze. She bears a bouquet of newly blossomed flowers in her right hand and cradles a branch, heavy with ripe apples—in her left.

The replication of motion was one of the hallmarks of Bruchon’s work. From the movement of her garments to the power in her limbs, this sculpture speaks of energy. Even her face appears to be captured mid-expression as if she’s about to smile broadly.

Artists of this period were interested in capturing a single moment in time. Bruchon has achieved just that with this solid snapshot of the changing of the seasons.

Object of the Day: Revéil de Mai by Auguste Moreau, 1863

Another great French artistic family, the Moreau family was renowned for their magnificent sculptures. Jean-Baptiste Moreau had three sons: Auguste, Mathurin, and Hippolyte. Auguste Moreau (1834-1917) was one of the more prolific of the three. Auguste studied with his father and also under Aimé Millet, Augustin Drumont and Jean Thomas. He made his debut at the Salon in 1861 and became known for his sculptures of mischievous maidens in diaphanous robes and his reliance on natural scenes and subject matter.

Revéil de Mai is a perfect representation of Auguste Moreau’s work. This “French bronze” piece, standing at nearly twenty-inches in height is signed by Moreau on the reverse of the sculpture. She balances lithely on a swelling of rocks and flowers—one leg extended behind her as she holds aloft a sprig of flowers. Her gown and her hair blow freely in the first breezes of Springtime. A smile creeps across her cherubic face as she basks in the break of May. This work of pure revelry and joy sums up Moreau’s artistic style. She also serves to encourage us to appreciate each moment because joy, like the seasons, is fleeting.

Object of the Day: A Sculpture by Émile Guillemin

Last week, I spotlighted one of my favorite paintings, Gypsy Woman with a Parrot by Alexandre Marie Guillemin—a piece which has become representative of our mission here at “Stalking the Belle Époque.” Another of my favorite objects is a sculpture by Émile Coriolan Hippolyte Guillemin—his son. Émile (1841-1907) achieved huge fame and success as a sculptor—commissioned to create bronzes of historical figures and the bucolic, allegorical scenes that were the height of popularity in the French art world of the mid to late Nineteenth Century.

This sculpture, Dans Le Roseaux, (Dance of the Reeds) is representative of Guillemin’s fantastic delicacy and fluidity as an artist. A young man, lithe and willowy, stands upon a field of reeds. His arm held aloft, he once held a bouquet of reeds which has been lost over time. Cast in “French Bronze,” the figure is defined by Guillemin’s characteristic crisp facial features and elongated limbs.

I’m proud to have reunited the works of two brilliant artists from the same family. They are displayed near each other, and I like to think that this somehow is a comfortable and fitting reunion for them both. We’re reminded that creativity and a sense for beauty can cross generational lines. In that, there’s much hope for our future.

Object of the Day: Art Nouveau Bas Relief Plaque

She appears to be emerging from a mist, the drapery of her robes clinging to her—almost holding her back. This cast spelter bas relief Art Nouveau plaque represents its time period well. Borrowing heavily from the Rococo, with its arced edges and volutes, the plaque depicts a favorite subject of the Art Nouveau—the female form in its most voluptuous. This style defined itself by reimagining the female body in a series of curves and tendrils, playing with tension and weight to depict the body as a fluid, natural entity. The figure appears to be alive, gently writhing to escape the background.

I suspect that this plaque was initially part of a larger piece or grouping of similar objects. However, she is the only one that remains. Mysterious and energetic, this sculpture seems to have a life of its own.

Term for the Day: Spelter

Also known as “French Bronze,” spelter is a white alloy largely comprised of zinc and copper. Spelter was used as a substitute for heavier bronze in casting artifacts of the Nineteenth and early Twentieth Centuries. Whereas with the casting of works of art in bronze utilizing sand or lost-wax casting, moulds for spelter casting were able to be permanently preserved. Spelter was used in the casting of a variety of ornaments from sculpture to works of the decorative arts including teapots and desk sets.

Objects of the Day: A Pair of Sculptures by Emile Bruchon

Emile Bruchon was considered one of the greatest French Belle Époque sculptors. He worked from 1880-1910, creating works known for their fluidity and seeming weightlessness. This pair of sculptures demonstrate Bruchon’s signature balance and naturalism. Both signed by the artist, the male figure is entitled, L’Agriculture and the female is called, La Navigation.

He rests, precariously mounted on a stack of grain, his leg supported by a scythe and hold a stalk of wheat aloft. She is supported by the clouds, snatching a star from the sky. Cast in spelter, these two figures both seem to breathe in their clinging wraps and show expressions that are at once determined and benign. On their matching rosewood bases, they were obviously meant to be displayed together, and, so they remain, one hundred thirty years later—forever friends unified in their personification of two of the concepts that defined their country of origin.