Elkington Co. Desk Accessories

Faithful copy of the writing service by the silversmith Pietro Rubini, Milan c.1775 The inkstand is composed of a shaped tray supported by 4 rocailles feet, modeled along the entire profile by finely embossed and chiselled volutes, leaves and shells. Above the tray are two ink holders and two pen holders with spiral workmanship and highly embossed vegetable decorations. A bell in the center of the object rests on a FASTIGIO pierced with flowering vines. By Fiorentini, Argenterie di Milano - Italy for ARVAL ARGENTI VALENZA Italian silverware...

Antique Victorian era cut glass inkwell with sterling silver lid and insert by Mappin Brothers of Birmingham, England, circa late 19th century. The inkwell is in great condition with...

This Louis-Philippe period table lectern in cherrywood resting on four turned legs, has three positions for three different reading angles. France, circa 1840.

Set of old books dating from the 19th century. From an old protestant library near Le Havre in France. These books are entitled "Histoire du protestantisme français" (History of Fren...

French Art Nouveau Inkwell by Pierre-Adrien Dalpayrat, France, circa 1890. A rare and exquisite Art Nouveau inkwell by renowned French ceramist Pierre-Adrien Dalpayrat (1844–1910). This finely crafted piece showcases Dalpayrat’s signature red copper-glazed stoneware, especially rich and luminous near the base. Elegantly mounted in pewter, the design exemplifies the organic flow and refined detail of the Art Nouveau period. Dimensions: Height: 3.54 in. (9 cm) Diameter: 5.12 in. (13 cm) Materials: Stoneware with pewter mount Condition: Excellent+++++, museum-quality preservation Markings: Incised signature "Dalpayrat 1500" under the base (see photo) This inkwell is a collectible example of French ceramic art at the turn of the century—perfect for collectors of Art Nouveau, 19th-century French ceramics, or the works of Dalpayrat. Adrien Dalpayrat (1844–1910): A Pioneer of French Ceramic Innovation Adrien Dalpayrat was a French ceramicist and researcher who played a key role in the revival of stoneware at the end of the 19th century. Born in 1844 in Limoges, Dalpayrat studied drawing and porcelain painting in his hometown before beginning his professional career at the Jules Vieillard faience factory in Bordeaux. There, he met his wife, Marie Tallerie, with whom he had two sons—Albert and Adolphe—who would later become his primary collaborators. Throughout his early career, Dalpayrat worked for several major ceramic manufacturers, including Ashwin (Valentine), Fouquet (Toulouse), François Blanc (Monaco), and Léon Sazerat (Limoges). In 1889, seeking greater independence, he moved to the Paris region and established his own studio in Bourg-la-Reine. Collaborations and Artistic Evolution Dalpayrat’s creative vision expanded through his collaboration with sculptor Alphonse Voisin-Delacroix. Together, they explored neo-Gothic and Palissy-inspired motifs, creating a remarkable ceramic bestiary. Following Voisin-Delacroix’s death in 1893, Dalpayrat partnered with Adèle Lesbros, which marked a shift in his work toward simpler, more refined vase forms influenced by Japonism. Japanese art had been introduced to France during the 1867 Universal Exhibition, but it wasn’t until the 1878 Exhibition, particularly through the ceremonial stoneware used in the Japanese tea ceremony, that Japonism truly captivated French artists. This influence led Dalpayrat to create vessels with organic, vegetal, and animal-inspired forms. Technical Mastery: The Secrets of Copper Red Among all the ceramists of his time who sought to replicate the elusive Chinese “sang de boeuf” (oxblood) glaze, Adrien Dalpayrat was arguably the most successful. He didn’t simply reproduce the legendary copper red—he transformed it. By manipulating glaze thickness, firing temperature, atmosphere, and copper oxide content, he developed a unique palette of flamed and mottled red glazes that became his signature: the renowned Dalpayrat red. He further enriched his pieces by introducing streaks and inclusions of turquoise, blue, green, and yellow—freeing the red glaze from monochromy and turning it into an expressive, living surface. His work pushed stoneware beyond function into expressive art, merging form and glaze in bold, sculptural harmony. Beyond Ceramics: Bronze Mounts and Architectural Works Dalpayrat also collaborated with renowned jewelers such as Ernest Cardeilhac and Keller to produce pieces mounted in gilt bronze, blending ceramics with decorative arts at the highest level. In an effort to make his work more accessible, he opened a second faience workshop focused on simpler, more affordable pieces inspired by Nevers and Rouen ware. However, this venture faced financial difficulties and closed by 1900. The main family studio followed in 1906 as the popularity of Art Nouveau declined. Dalpayrat then returned to Limoges, devoting his final years to painting and drawing until his death in 1910. Legacy and Recognition Despite financial struggles during his lifetime, Dalpayrat’s ceramics were widely acclaimed at major international exhibitions: Bronze medal, World's Columbian Exposition, Chicago (1893) Silver medal, Antwerp International Exhibition (1894) Gold medal, Exposition Universelle, Paris (1900) Today, his work is part of prestigious museum collections. In 2020, the Petit Palais in Paris acquired a large bird motif vase created in collaboration with Voisin-Delacroix, now on view in Room...

Very unusual 19th century silvered bronze tobacco cigar table lighter. The finely cast and chiseled features of a bronze man with a top hat and a large beared. The beared can be us...

A bronze sculpture of a hand with an open palm. Resting on the palm is a bronze object that resembles a traditional spinning top. The hand appears to be life-sized (Small Children s...

A charming later 19th century Lit De Presentation - Presentation Bed from Venice, Italy. Such a wonderful piece was used to formally "present" the infant at his baptism. This bed wil...

Classic early 1890s Black Forest Brienz wood carved inkwell in form of a walnut on a leaf. Nice addition to your room or just for use it on your desk. Made of hand carved wood and gl...

Set of old books dating from the 19th century. From an old protestant library near Le Havre in France. These books are called  « Memoirs of the bourge...

A Gothic Revival reliquary. Circa late 19th / early 20th century. Made of solid oak with fine carving. Reliquaries have been used to store relics since the Middle Ages. In sacred architecture they are often located behind the main altar in the chancel. In addition to classical, often church-like caskets, anthropomorphic, so-called "speaking" reliquaries were also made, which already inform the viewer about their contents through their own design. Mostly they were made of precious metals and decorated with rich sculptural ornaments or precious stones. One of the most famous examples of reliquaries is the Epiphany shrine of Nicholas of Verdun from the late 12th or early 13th century in Cologne Cathedral. The reliquary offered here has an architectural structure with a rectangular ground plan. The three-sided glazed box with a dormer roof rests on a plinth. A total of 8 columns of Corinthian order form the arcades which are crowned on both long sides by 3 lancets each and enclose the lancet windows...

An Antique Sienna marble inkwell / inkstand Very well shaped and decorative Made Of yellow and black / grey veined marble on gilt bronze toupie feet Style George III / Louis XVI Cond...