Alfred Daguet Furniture

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Cabochons include semi-precious moonstones. Signed Alfred Daguet 02 & Les Courves Bing Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the fir...

"Box of Madness" contains seven moonstones. If you look closely, you can see the pupils of eyes of the two subjects through the moonstones. Alfred Louis Achille DAGUET (1875 - 1942)...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Box contains moonstones in addition to the glass cabochons. Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His...

Box contains moonstones in addition to the glass cabochons. Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His...

A modern letter box in the hands of Alfred Daguet was not simply a functionally designed repository of mail but a conveyor of messages as well, messages of life-and- death importance...

Alfred Louis Achille DAGUET (1875 - 1942) was a metalsmith active in Paris during the first part of the 20th century. His metalwork created prior to the outbreak of World War I, note...

Alfred Daguet explored the subject of stylized birds multiple times in his studio. He was more than capable of rendering his zoomorphic subject matter naturalisticly; however he chos...

Daguet’s beautifully patinated cash box is a rich textural and colorful tour de force. So much more than an adaptation of Japanese wood block print sources to his metalwork craft, Daguet created a veritable 3-dimensional metal aquarium to charm the Paris market. And in typical fashion, Daguet’s marine-themed box not only provided a visual delight, it furnished an artful oceanic context from which the prevailing schools of social thought could swim.The top of Daguet’s box...

Like armored shields, Alfred Daguet's bold pair of bronze roundels are veritable aesthetic rallying cries for the forward march of Art Modernity. In subject, material, and form Daguet audaciously presents the tough side of Art Nouveau. His masterful metalwork in repoussé creates spiky fins and rays in hard relief whose rigid, horizontal lines dramatically contrast wth their protruding, undulating spines to lend his venomous Lionfish a quality of powerfulness and propulsion. Having worked closely with Sigfried Bing in his Paris workshop set up above Bing's famed Maison l'Art Nouveau until 1905, Daguet had ready access to raw materials such as glass cabochons, wall papers, and silk fabrics from adjoining studios which he often included in his metal craft. In this milieu of artistic exchange, Daguet also made use of the available books and other source material for both visual and philosophical inspiration, such as Anton Seder's wildly popular Das Thier, from which there can be no doubt that these roundels were divined. Seder, the director of the Ecole Supérieure des Arts Décoratifs (College of Decorative Arts) in Strasbourg and co-editor of the journal, Das Kunstgewerbe in Elsass-Lothringen (The Arts and Crafts in Alsace-Lorraine), made a huge impact on the art world with his publication of Das Thier in Der Decorative Kunst Serie 1-2 (Animals in Decorative Art) released between 1896 and 1909. It contained striking chromolithographic images of animals and mythical dragons presented as decorative motifs. As an educator and disseminator of a modernist aesthetic doctrine, it was Seder's illustrations more so than his pedagogy which reached the widest audience to truly further his Modernist beliefs. Much like Bing, who espoused the Modernist conviction that elevated the Applied Arts to the same level plane as the Fine Arts and thereby integrating his retail and studio enterprise under the same roof, Seder included art workshops in his school and also championed the belief that the Applied Arts are equal to the Fine Arts. Both Seder and Bing wrote about the revolutionary role Applied Arts should play in paving the way for a Modern Art where an analysis of the past goes hand in hand with the observation of Nature and where lessons from craft in particular have a special ability to reach the greatest number and stir interest and love of art. Daguet's two Lionfish unmistakably draw from Seder's Das Thier Art Nouveau illustrations. Despite the hard and spiky quality of his metalwork, Daguet leans heavily on the stylistic qualities of Art Nouveau. Propulsive movement is suggested by the graceful back motion of the whisker fins and by the way the attenuated ends of the spiky fins twist and undulate around the fish like marine plant life. Daguet plays with texture, enhanced by chasing and stippling, to achieve a quality of contrast in light and dark on the fish's bodies. These qualities reference naturally occurring camouflage such as counter-shading found on fish where the dorsal surface is dark and the belly light in order to evade detection. While directly referencing nature, Daguet uses these superimposed forms found on the fish to create an abstract and stylized pattern. Another effective naturalistic detail Daguet works into his design motif is disruptive coloration in which the stripes on a fish blend into the background of the sea environment to break up the fish's outline against plant stems, reeds and other sea vegetation. In this case, however, Daguet superimposes his fish against a golden orange background, like an aureole, which is framed by a convex border resembling a Medieval battle...

VIPER BOX, by Alfred Daguet (French, 1875-1942), dated 1907; an iron footed box whose prominent square nail heads lining the sides and its locking mechanism make up a Medieval design aesthetic, fitted with brass panels decorated in repoussé, painted to simulate patination and inset with multi-colored glass in cabochon settings, the panels depict serpents and newts; the interior is lined with original Lincrusta wallpaper in the monkey chinoiserie pattern painted gold, black and oxblood; incised on the underside in bloc lettering: “ALFRED DAGUET/PARIS/1907”; measuring H: 5.75” x W: 9.25” x D: 9”. Condition: Good; includes key Daguet’s masterpiece in metalwork reveals a continuing fascination with Medieval art. The portable square strongbox is formidably constructed from iron, and it’s riveted square nail heads securing the panels evoke monastic simplicity; whereas the imaginatively striking panels are anything but laconic. Daguet has created the brass version of creatures familiarly found on the pages of illuminated bestiary manuscripts, some of the most popular texts dating from the Middle Ages. A coiled snake, ready to strike, safeguards the box’s top panel. Its open mouth baring a venomous fang provides a sentient warning reinforced by its all-seeing single moonstone eye in profile. Aesthetically stunning, there is brilliant coherence to Daguet’s design elements. Blue, green and turquoise glass beads punctuate the stylized swirls of snakeskin and echo the circularity of the snake’s pose. Viewed from a distance, these glass beads set off by the green painted circular ground glow bewitchingly luminescent. Swirls and acute triangles are also repeating motifs in Daguet’s metier, and the stylized star shapes found throughout the panels on this box are ubiquitous iconic signatures. These stars are also attributes of the newts depicted on the box’s flanking panels. The shining spots on the backs of these lizards resemble stars and account for their medieval latin nomenclature, stellio. Like manuscripts, intended to be read and heard, to be informative and moving, Daguet drops subtle scholarly references while heightening the sensory impact to his visually striking creatures. Indeed, the snakes mirroring...