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J.B. Hirsch Lamp From the Collection Francaise Metal Lamp, 1937

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Art Deco2724 of 37751930's Glass and Metal Box1934 Art Deco Lawson Cyclometer, Model #77
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Posted 4 years ago

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rlwindle
(381 items)

I was mistakenly told by a member of Collectors Weekly that this lamp was a reproduction from the 70's or so, so I took it off line and emailed the Vendor that sold me the lamp, he said there were reproductions of this lamp and said those reproductions had plastic faces on the figures. This one has Ivorine faces and it is original from the original French molds that were bought to the States after WWI.

He went further to say the shade was white frosted glass in shape of an inverted flower blossom.

Comments

  1. bratjdd bratjdd, 4 years ago
    Love it!!!!
  2. PhilDMorris PhilDMorris, 2 months ago
    All the books say is after the ww 2 not ww one. "They never left to go to france until about 1946 and it took up to more than 15 trips over 20 years to bring back all the moulds and several thousand parts of the moulds to their francais collection." Just look at the newer cord on your piece and you will see that you are mistaken and the piece is not WW1. Also when they did finish bringing back the moulds in 1966 they had a large exhibition in New York with excellent press and reportage. This info was well documented by Stanley Hirsch who spent many days with the author of the encyclopedia of bronzes. Vendors of these lamps were all surmising their info at the time when you got it. Just because they were made later does not detriment their value or the facts that they were not made painstakingly, because they put many hours and years of labour into making their collection. Most of the pieces in the encyclopedia are of the early dates such as yours 1937 but they used the first dates these were made and not the dates of actual production by Hirsch. The actual encyclopedia shows many statues in their books last dated early eighties of pieces that were in production and also pieces that were about to go into production. This knowledge is from the Hirsch foundry itself and not guessed by collectors.
  3. rlwindle rlwindle, 2 months ago
    That is so interesting Phil, I find it amazing that you are such a wealth of knowledge, explain to me why the Beethoven bookends et al are marked with Hirsch's mark and a Copyright date of 32 on them the Beethoven items were also a part of the Collection Francaise, and were quite popular with the cellist which also bears the same Hirsch mark and copyright date.
    Here is one of my Beethoven items look at the last picture now either they back dated the copyright date to 32, or you do not know what you're talking about. I go with the later.
    http://www.collectorsweekly.com/stories/104266-beethoven-at-piano-lamp-with-original-sh
    Go troll someone else, you have become a bore.
  4. rlwindle rlwindle, 2 months ago
    Other 1932 Hirsch items.

    Monkey sitting on books 1932
    The Librarian 1932
    Man Reading 1932
  5. rlwindle rlwindle, 2 months ago
    "To see what is in front of one's nose needs a constant struggle"
    — George Orwell
  6. rlwindle rlwindle, 2 months ago
    I called Heritage Auctions here in Dallas about your claim of non-production until after WWII, they called it preposterous. Said Hirsch was producing up until the US entered WWII, and resumed after the war. During the war they produced chalk-ware items to replace the metal ones. They also remarked using the Abage Encyclopedia Bronzes Sculptors and Founders 1800-1930 Volumes 1-4 was not a good idea as they are riddled with errors. They also stated that Harold Berman had no formal art training his work with bronzes etc. was an expanded hobby only and his work should NOT be consider as anything but a hobby. I discussed this with Nicholas Dawes (you may have seen him on Antiques Roadshow) and
    Marianne Berardi PhD Art - Fine & Decorative here is her bio.

    Art historian Dr. Marianne Berardi serves as Heritage Auctions' Senior Expert in American Art and Director of Old Master Paintings. Her dual expertise in American 20th-Century Art and Dutch 17th Century Painting was the combination which first brought her to Heritage in 2006 to research and write the book-length auction catalogue for the Walsh Family Collection of American and European Painting sold through Heritage in the Fall of 2006. Since that time she was responsible for bringing to Heritage the following collections and estates, as well as researching and writing their accompanying catalogues: the Hon. Judge Paul H. Buchanan Collection of American Painting (November 11, 2009);Lucille Ball Memorabilia from the Collection of Susie Morton and Gary Morton (Lucille Ball’s second husband) (November 14, 2010); The Collection of Paul Gregory and Janet Gaynor (March 20, 2011); Contemporary Art from the Estate of Dr. Edmund P. Pillsbury (October 26, 2011); Selections from the American Painting Collection of the Jean and Graham Devoe Williford Charitable Trust (May 15, 2012; May 11, 2013; and May 2014 forthcoming).

    Marianne holds both a M.A. in 20th Century American Art and a Ph.D. in Dutch 17th-Century Art from the University of Pittsburgh. She held a Kress Fellowship; a Theodore Rousseau Fellowship in connoisseurship studies at the Metropolitan Museum of Art, New York; and two consecutive Andrew W. Mellon fellowships. During her five-year tenure as Director of the Albrecht-Kemper Museum of American Art in St. Joseph, Missouri, she published widely on Benton and the Regionalists. In 1993, she curated a comprehensive exhibition of the work of Thomas Hart Benton and many of his pupils whom she tracked down from many regions of the United States. The exhibition, Under the Influence: The Students of Thomas Hart Benton (1993), was accompanied by her book-length catalogue of the same title. In 2010, her book on Benton pupil Margot Peet (Discovering Margot Peet) was published by Posterity Press. Following her move to Cleveland, Ohio, Marianne served as Director of the Cleveland Artists Foundation. She has taught art history at the University of Pittsburgh, the Kansas City Art Institute, Case Western Reserve University, and John Carroll University. She has a reading knowledge of French, Dutch, German, and Italian. She is currently completing a monograph and catalogue raisonne on the celebrated Dutch flower painter, Rachel Ruysch (1664-1750), on whom she is the recognized authority.

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