« The magic of a kaolin bouquet » Julien-Nicolas Rivart’s porcelain marquetry by Galerie Marc Maison

« The magic of a kaolin bouquet »

Julien-Nicolas Rivart’s

porcelain marquetry

Preface After the publication in 2012 of the opus Masterpieces of Marquetry in the 19th Century. Patents. Ri-

vart, Cremer, Fourdinois, Kayser Sohn and Duvinage, Marc Maison has continued his untiring quest,

throughout the world, of Julien-Nicolas Rivart’s works, which unveil the process of porcelain marquetry, patented in 1849.

Thanks to this exhibition and for the first time in the world, twenty-four works by Rivart are gathe-

red in one place, an exceptional opportunity to understand the dazzling technique of this talented cabinetmaker.

In the extraordinary creative context of the Universal Exhibitions, Rivart develops his revolutionary

innovation which will forever change the history of the furniture with porcelain slabs decoration, as it was widely used and appreciated particularly in the 18th century.

The works displayed by the Marc Maison Gallery bear the stamps of renowned manufacturers from

the second half of the 19th century such as Tahan or Giroux, proving - if necessary - Rivart’s fame and the sumptuousness of his porcelain inlays.

Sometimes unsigned, the works are indisputably by his hand for the technique’s paternity is proved

by the patent and Rivart is the only one to have implemented it. Although the exact role of each per-

son involved in the works remains yet to be identified.

The archives have not yet allowed to determine precisely how looked Julien-Nicolas Rivart’s stu-

dio and what personalities composed it. It seems that he collaborated with a very limited number of

craftsmen, probably managing the manufacture of the inlaid panels nearly on his own, from their

genesis to their leaving the workshop. We know from the signatures, on very rare furniture pieces, that he is assisted by the flower painter Pierre-Joseph Guérou in the years 1852-1855, but we do not know exactly when the collaboration ended.

We have also been able to specify the years of association with Paul-Joseph Andrieux, a native of

Limoges, thanks to the publication of corporate documents in the period newspapers (December 1850 to December 1853).

This series of clues and the one-by-one discoveries of furniture pieces and charming toiletry boxes,

enabled to sense Rivart’s work more distinctively day after day, as well as the revolution he was for the Decorative Arts of the Second Empire and for the history of furniture.

This exhibition is an opportunity for the Marc Maison Gallery to present you our latest discoveries

and offer to your eyes the freshness, the luminosity and ‘the magic of a kaolin bouquet’...

Porcelain-decorated furniture, a quest of sophistication in the Age of Enlightenment

Porcelain, originate from China, was the subject of long and tireless research in Europe to crack its

manufacture secret. Discoveries, often accidental, enabled to produce soft-paste porcelain in the 17th

century, then hard-paste since the 18th century. A sophisticated product of which one admires the

whiteness and delicacy, porcelain painting has the advantage of being light, subtle, and of keeping an unrivaled glare through the ages.

Fig.1 : « Plateau Courteille » Tray from Sèvres Manufactory, circa 1761. J. Paul Getty Museum, Los Angeles

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Eager for beauty and refinement, the 18th cen-

tury explores without delay the decorative possibilities of porcelain for furnishing. The Courteille tray (ill. 1) is hence produced without handles

by Sèvres Manufactory, and then placed as an

elegant shelf for a table en cabaret (Fig.2). Simon-Philippe Poirier, a dealer based in the Faubourg Saint-Honoré, became the specialist in the

new trend of furniture decorated with soft porce-

lain, associating with the cabinetmakers Bernard II van Riesenburgh and Roger Vandercruse. In

1760, he delivered to the Prince of Condé, Joseph de Bourbon, an impressive chest of drawers Fig.2 : Roger Vandercruse, « Table en cabaret » with Courteille tray, circa 1760. Museum of Decorative Arts, Paris.

by van Riesenburgh decorated with ninety slabs

of Sèvres set in bronze mounts (Fig.3). This innovation earned him numerous commissions, in

particular from Madame de Pompadour and the Countess du Barry.

Martin Carlin (1730 - 1785) is the other fa-

mous name of porcelain-ornated furniture. Following the same method, he made numerous

pedestal tables, «Bonheur-du-jour» writing desks,

and jewelery boxes for Marie-Antoinette, the Countess du Barry, the Grand Duchess Marie Féodorovna or the Duchess of Mazarin.

Marie-Antoinette’s jewel case was hence de-

livered to her in 1770, as she was Dauphine of

Fig.3 : Bernard II van Riesenburgh, The Prince of Condé’s chest of drawers, 1760. Rothschild Collection

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France, adorned with thirteen flowered Sèvres

porcelain slabs, framed in bronze (Fig.4). The delicately painted flowers stand out on the im-

maculate white of the porcelain plaque. To make

good use of the entire plaque’s surface, Martin Carlin also imagined using them as real pain-

tings for Madame du Barry’s chest of drawers in 1772 (Fig.5).

Fig.4 : Martin Carlin, Marie-Antoinette’s Jewel Case, 1770. Versailles Palace.

Fig.5 : Martin Carlin, Madame du Barry’s Chest of Drawers, 1772. Louvre Museum.

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In 1778, Poirier’s business is taken over by Dominique

Daguerre, who extends it to England. He collaborates then

with Wedgwood, the British specialist of Antique-like decorations in biscuit porcelain.

The Empire will somewhat forsake porcelain, which was

too much linked to the Ancien Régime, while not abso-

lutely excluding its use; hence, Napoleon I commissioned

a table to Philippe Thomire in 1806, to the Battle of Aus-

terlitz‘s glory, where the precision of the Empire marshal’s portraits required the use of this material (Fig.6).

Fig.6 : Philippe Thomire, Austerlitz Table. 1806-1811. Museum of the Malmaison and Bois-Préau Castles.

Under the Restoration, the legacy of the

Ancien Régime is conversely on trend. Thus,

the commemorative work for the Duke of Orléans’s wedding is made of Sèvres por-

celain, partly used as paintings, partly as plaques decorated on a white background, and finally in small sculptures in the round or high relief (Fig.7).

Porcelain furniture remains in vogue in

the middle of 19th century, especially during the Second Empire of Napoleon III, an

admirer of the Age of Enlightenment. At the 1851 Universal Exhibition, Eugénie de Fig.7 : Jean-Charles Develly,

Commemorative work for the Duke of Orléans’s wedding, 1838. Château of Fontainebleau.

Montijo acquired a Jules Fossey jewel case, made of gilded wood and painted lands-

capes on porcelain (Fig.8), while in 1855 Queen Victoria commissioned, for Prince Albert’s 37th birthday, a cabinet adorned with porcelain by Édouard Kreisser (Fig.9).

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Fig.8 : Jules Fossey,

Fig.9 : Édouard Kreisser,

Impress Eugénie’s Jewel Case, 1851.

Chest commissionned by Queen Victoria in 1855.

Château of Compiègne.

The Royal Collection, Osbourne House.

In this context, Julien-Nicolas Rivart’s technique, finalized on the eve of the Universal Exhibi-

tions, marks a real revolution, precisely enabling to dispense with porcelain plaques that force one to imagine the insertion of ‘paintings’ in the furniture. Until then, one used to see the bouquets

of flowers standing out on a white background, unless it was pietra dura, whose refined effect did not however have the freshness and accuracy of the painting. In a letter of March 30, 1857 to Julien-Nicolas Rivart, the Count of Nieuwerkerke compares precisely his technique of marquetry to

pietra dura, which allows precise motives to be detached on a dark background, exactly as Rivart sought.

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Most of Rivart’s porcelains represent flowers, in bouquets or crowns, and very rarely human figures.

These decorations show the undeniable advantage of his process, the flowers being detached directly

on the dark support and thus appearing all the more fresh. The writer Auguste Luchet also says : ‘You could not know, if you did not see, the magic that results from a bouquet in kaolin on black background framed with gilding, detaching its fresh and lively colors from the darker places of rosewood, amaranth or violet wood.’

The technique of furniture decoration with porcelain slabs, which appeared around 1760, remained

thus unchanged until the revolutionary invention of Julien-Nicolas Rivart in 1849. Martin Carlin who

handles the marquetry of hard stones, an exquisite technique of the Renaissance, would undoubtedly have been interested in porcelain inlay, but he only used it in plaques. The task was therefore difficult,

in particular because of the different stages of cooking and the multiple handling of the small inlays,

making its implementation laborious and delicate. Rivart was the only one to have ever realized these inlays of porcelain, the only examples of furniture and accessories with this technique being unde-

niably of his paternity.

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Porcelain Marquetry, the Rivart Process

Fig.16 : Julien-Nicolas Rivart, detail of marquetry on jardiniĂ¨re. Private collection. ÂŠ Gallery Marc Maison.

JULIEN-NICOLAS RIVART (1802-1867) 1802:

1 July Born in Paris.

1830:

18 September Married Eugenie.

1835:

76, Rue du Faubourg Saint-Martin, Paris.

1837:

6, Rue Sanson, Paris.

1845-1846:

Mentioned as gilder on porcelain at 16, rue de la Folie-Méricourt.

1847-1850:

Mentioned as creator of bronzes at 16, rue de la Folie-Méricourt.

In 1847 and 1848, he was associated with Dumont.

1849:

18 September Patent for a “mode of incrustation that can be carried out on wood,

whether veneered or not, copper, marble, and any other stone, as well as on velvet,

cardboard, etc.”1.

24 September First certificate of addition.

29 December Second certificate of addition.

1850:

18 September Third certificate of addition.

Moves into 1, rue de Normandie.

1851-1859:

Mentioned as creator of bronzes and porcelains at 1, rue de Normandie.

From 1851 to 1855, he is associated with Andrieux.

1851:

Universal Exposition in London. Rivart exhibits a bookcase-cupboard in ebony and

mahogony 2 (Fig.17) and is awarded a Prize medal.

1852:

Silver medal from the Horticultural Society.

1854:

14 August Fourth certificate of addition.

1855:

Universal Exposition in Paris. He presents rosewood furniture, decorated with painted porcelain

and gilded bronze and a table in black marble incrusted with porcelain flowers3. First class medal.

The Empress Eugenie acquires a serre-bijoux decorated according to the Rivart process (Fig.24).

1857:

March-April: Exchange of letters between Rivart and the Count of Nieuwerkerke, relating to

an order for the Emperor4.

1860:

26, Boulevard Beaumarchais, Paris.

1862:

Universal Exposition in London. Participates in the furnishing of the hotel of the French

imperial commission. Prize medal attributed for novelty of invention 5.

1867:

16 or 61, Rue Sedaine, Paris.

He requests a stand at the Universal Exposition in Paris to present marble panels incrusted

with porcelain6. 17 February Death in Paris.

At the Universal Exposition, Frederic Roux presents on behalf of Rivart the panels he had prepared.

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Fig.17 : Julien-Nicolas Rivart (1802-1867) and Victor Paillard (1805-1886), cabinet, about 1851, mahogany, ebony, porcelain, gilded bronze, H. 227 cm x L. 249 cm x Pr. 48.5cm. Private collection. © Courtesy of Gallery Historismus, Brussels. Presented at the Universal Exposition of 1851 where it obtained the prize medal, this piece was bought by the Duke of Caumont de la Force, who had his coat of arms added on it.

The 1849 Patent Having first appeared in the 1760s, furniture incrusted with porcelain was still appreciated under

the Second Empire, the Empress Eugenie, an admirer of the Louis XVI style, having contributed the fashion being revived. Works published on the occasion of the Universal Expositions largely bore

witness to this. It was recorded in 1855 that “the Exposition of furniture is of the most remarkable

and includes more than one object rising to the status of art. […] We cannot leave this room without remarking on a three-panelled cabinet with incrustations of paint on porcelain, of a most beautiful artistic effect” 7. At this same exposition, the French and English sovereigns especially appreciated the

furniture decorated with porcelain: Napoleon III acquired for the Empress Eugenie a serre-bijoux by Jules-Auguste Fossey8 decorated with plaques of porcelain depicting landscapes; the Empress herself

bought a bonheur-du-jour by Alphonse Giroux9. As for Queen Victoria, she ordered for Prince Albert

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a cabinet by Edouard Kreisser, adorned with plaques of porcelain decorated with portraits in the taste of the 18th century.

However, porcelain was present in these items of furniture only in the form of geometrical plaques,

fixed with the aid of a bronze frame. Rivart, with the patent he deposited on 18 September 1849 for “a

mode of incrustation that can be carried out on wood, whether veneered or not, copper, marble, and any other

stone, as well as on velvet, cardboard, etc.”10, totally renewed the use of this material, by proposing to use

it as true marquetry: “A highly ingenious innovation has been brought by Rivart to the incrustation

of furniture: it consists of the application of porcelain that is painted and cut so as to form tableaux of

flowers, in certain cases replacing to advantage the ordinary mosaic of wood, by allowing the decora-

tion of the furniture to be conferred upon distinguished artists.”11 A letter of April 1857 from Rivart

and addressed to the Count of Nieuwerkerke, General Director of the imperial museums, gives some

suggestion of the long research that had gone into developing this technique: I was happy to think that the sacrifices of all sorts that I had imposed on myself and that my perseverance over 20 years would at last be

rewarded12 , from which it can be inferred that he had started his experimentations some time around

1837.

Fig.18 : Julien-Nicolas Rivart (1802-1867), a drawing accompanying the descriptive document, patent no 8860 of 18 September 1849: certificate of addition of 29 December 1849. Paris, Archives of the National Institute of Intellectual Property. ©

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The descriptive dissertation accompanying the patent, albeit not much developed, insists on the

originality of the invention: “All research so far carried out into this kind of industry has remained fruitless

and […] I am the first to have made this discovery that will provide such great advantages to the commerce of luxury.” 13 Rivart goes on to explain the types of paste used – “a paste of soft porcelain, called Old Sevres,

from Tournay or Saint Amand” 14 – which is moulded before being fired a first time at very high tem-

perature to make it equal to the mould. This done, it is enamelled, fired a second time, then painted and reheated to fix the colours. It can be supposed that this third firing was carried out in several steps depending on the colours used, as is the practice with porcelain, but Rivart does not specify this. It

is also interesting to note the manifest concern that he had for the sale of his furniture: a few lines further, he mentions the various types of decoration that he can apply to his furniture, at the will of the consumer.15

Fig.19 : Julien-Nicolas Rivart (1802-1867), table, H. 77 cm x L. 138 cm x Pr. 85 cm. Private collection. © Gallery Marc Maison. The porcelain motif is here placed in the centre of the top, distinguishing it from other tables by Rivart where the decoration runs all around the edge (see (Fig.31)).

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This patent was accompanied by four certificates of addition, two of which in the final quarter of

1849. It seems that Rivart was really concerned about ensuring he got the paternity of his invention, without seeing himself overtaken by others carrying out similar research. These four additions can be

divided into two categories. The first relates to the type of paste employed, the second to the means of using it.

The first addition was made on 24 September 1849, only six days after the request for patent. This

addition, as well as the second one, of 29 December 1849 (Fig.18), further developed the technique explained in the descriptive dissertation of the patent, extending the type of porcelain used “to English

porcelain and other porcelains, as well as enamels”, and then to “all porcelains in general” 16 , the process

followed being exactly the same. This use of English porcelain is to be linked to the fact that he ex-

ported 50 % of his production in 1862: it can be seen as a desire to turn towards the cross-Channel clientele17 (Fig.32).

The two other additions proposed a variant of the technique described in the patent. The descrip-

tive dissertation accompanying the certificate of addition of 18 September 1850 describes the use of plaques of biscuit, into which would be cut the patterns of the marquetry; the rest of the process was

the same – enamelling, first firing, painting, second firing, use of the grinder. The last certificate of

addition, dating from 14 August 1854, strangely relates to the same improvement, that is, the cutting

of the patterns into a plaque rather than moulding; but this time, the items are cut in a single piece, and include parts with an openwork design.

The represented patterns were quite recurrent for Rivart, often being of flowers (lilies, poppies, lilacs, roses,

irises, dahlias, peonies, etc.) (Fig.19); some fruits could also be found and, quite exceptionally, human figures (Fig.20). He mentioned the possibility of accompanying his incrustations with copper, ivory, alabaster or mother-of-pearl but, in the absence of subsisting decors of this type, this cannot be confirmed.

Fig.20 : Julien-Nicolas Rivart (1802-1867),

detail of the marquetry of the commode (see

(Fig.29)), mahogany, satinwood, porcelain. Private collection. ©

Gallery Marc Maison. Human figures are rare

in works by Rivart, who most often used vegetal ornamentation.

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Fig.21 : Julien-Nicolas Rivart (1802-1867), document holder, cardboard, velvet, porcelain, H. 33 cm x L. 23 cm. Private collection, © Gallery Marc Maison.

Known to critics, examples of incrustation on velvet are nowadays extremely rare.

As regards supports, Rivart

mentioned several types in

the descriptive dissertations. Generally, these were usually

in wood, often exotic species

such as rosewood, mahogany, kingwood or ebony. In 1855,

La Revue des deux mondes mentions the existence of incrustations on velvet. This type

of support enabled the contrast effect of the porcelain to be ac-

centuated: “Sometimes these

incrustations are heightened by

a background of black velvet or

Fig.22 : Julien-Nicolas Rivart (1802-1867), detail of marquetry on a table top. Private collection. © Gallery Marc Maison.

pansy, which gives them splendid relief and shine.18 ” Only one example is known of to date, a document holder adorned with a branch of lilacs incrusted in mauve velvet (Fig.21).

From the archives, it is known that Rivart exploited his technique on marble: in 1857, he wrote

to the Count of Nieuwerkerke to obtain an order for this type of decor on behalf of the Emperor, pointing out that incrusted wood can find its place in several classes of society. But incrusted marble requires

palaces19. At the Universal Expositions of 1851 and 1855 he presented incrusted marble panels: these

were especially appreciated during the second exposition, where commentators noticed an improvement in the quality of work. He was still dedicating himself to this until just before his death: the

national archives contain his application for inscription at the Universal Exposition of 1867, where he planned to show several panels. Only one example of incrustation of this type is known of today, an onyx panel conserved in the Victoria and Albert Museum in London 20.

Observation of the furniture and objects created by Rivart enable light to be shed on some of the

more obscure points of his description. The wood was no doubt scooped out like a sort of stencil, or cut out according to the shapes that were to be taken by the pieces of porcelain, and then tinted. Indeed,

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in the case of a side cabinet in darkened pear decorated with panels by Rivart, slight discolouring of

the wood can be discerned around the porcelain. It is impossible to tint the wood after inclusion of

the porcelain, because this would risk staining it. The parts in wood clearly must therefore have been prepared beforehand.

The finest decorative borders, such as those made up of flower stems, are sometimes in dyed resin,

easier to use (Fig.23). On some panels the use of wood from various species can be discerned, notably

for the representation of the stems certain flowers, especially roses. These incrustations, which were directly inspired by examples of Florentine marquetry in hard stone, have the merit of reinforcing the

highly naturalistic character of the patterns, while creating an eye-catching effect of shadows (Fig.20). In resin or in wood, these elements ensure elegant liaison between the different pieces of porcelain.

Finally, as regards the technique of fixation, the use of a brownish paste can be seen (Fig.24), serving

both as a filler and glue for attaching the pieces of porcelain. This was no doubt shellac, or else wax

and vegetal tar. The pieces of porcelain are flat on one side and slightly bevelled on the other, making it easier to insert them into the wood, without crossing from one side to the other.

Fig.23 : Julien-Nicolas Rivart (1802-

1867), detail of marquetry on a table top.

Private collection. ÂŠ Yannick Chastang Ltd. The wood was cut out and filled by means of putty that enabled the porcelain to be attached.

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Fig.24 : Julien-Nicolas Rivart (1802-1867), Charon brothers, Pierre-Joseph Guérou,

detail of one of the lateral panels of a serre-bijoux, about 1855, mahogany, kingwood, gilded bronze, porcelain,

H. 115 cm x L. 103 cm x Pr. 50 cm. Compiègne, National Museum of the Chateau, inv. C.2002-005. © RMN / Franck Raux.

Collaborators

Although the way the incrustations were composed can be understood, thanks to the various dis-

sertations, this does not explain how the work was shared out. There is indeed very little information

available on Rivart’s way of working, though it is known that he collaborated at some times with Guérou, a painter from the Sevres workshop, and with some cabinetmakers such as Tahan and Roux. At

the Universal Exposition of 1851, it was mentioned in the catalogue that he had worked with someone called Andrieux (Fig.25). In 1867, a certain Godin, who had taken over the company of Jeanselme, presented an entre-deux piece of furniture with Rivart applications21. The Caumont de la Force ca-

binet (Fig.17) bears bronzes by Victor Paillard, and was probably created on the basis of drawings by Michel Lienard, given how much decorative vocabulary matches his. However, it is difficult to mea-

sure the extent of the intervention of each of them. The artist himself very rarely signed his creations.

Today, only two signed pieces are known of: a table at the national museum of ceramics in Sevres, where a plaque fixed in the lock of the drawer bears the mention Rivart, Bté, Bard Beaumarchais, 26 (Fig.26) and another, sold at Christie’s in 2007 and marked Rivart under the top (Fig.25).

Fig.25 : Julien-Nicolas Rivart’s

Fig.26 : Julien-Nicolas Rivart, metallic plaque on the drawer signed “Rivart Bté”,

trademark. Private collection.

1861. National Museum of Ceramics, Sèvres, inv. MNC24600.

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Fig.27 : Julien-Nicolas Rivart and Joseph Guérou,1854, pair of side cabinets, darkened pear, mahogany, bronze, brass, marble, porcelain, H. 113 x L. 90 cm x Pr. 44 cm. Private collection. © Gallery Marc Maison.

The question of the distribution of work especially arises on observing the serre-bijoux of the Em-

press Eugenie conserved at the Chateau of Compiegne. Indeed, this bears several signatures: Charron brothers on the surrounding strip, Fichet on the lock, Guérou on the painted porcelain, whereas Ri-

vart did not sign. The latter, who presented himself in directories of commerce as painter and gilder on porcelain and creator of bronzes, did not a priori possess the required skills to create such a piece of furniture by himself. The porcelain being signed Guérou, it would seem that he was not the author

of the painted decor either. As for the panels, they are composed as follows (taking as example one of

the sides of the piece): a first layer of wood, visible only from the inside, and onto which are fixed two other species, mahogany – overlaid with a rectangular frame in gilded bronze – and kingwood, in an

oval medallion (Fig.27). The porcelain crosses through the entire width of the three woods used and,

when the drawers are removed, the back of the porcelain decor can be seen from within. Is it to be supposed that Rivart delivered six large panels (one for the rear, two for the sides, two for the doors and one for the top) and that the Charron brothers had only to assemble them?

Given that the process was not carried over after the lapse of the patent (in 1864) and disappeared

upon the death of Rivart, it can be supposed he alone knew how to create this type of panel, and that he sold them to other producers. It can however be asserted that he collaborated in a privileged way with a very small number of producers.

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Pierre-Joseph Guérou

Pierre-Joseph Guérou (born in Paris in 1818) was a painter at the Sevres porcelain workshop. On 16

February 1843, he married Marie-Délie Thierry. He is mentioned in the workshop registers of 1847 and 1848. Between 1836 and 1865, he participated several times in the Salon, where he exhibited paintings of flowers in porcelain, as well as watercolours. In 1836, he presented a Study of Carnation and a Pink Hollyhock, both of which were refused 22 .

He worked for producers of luxury furniture. Although his style is easily recognisable, on the other

hand, his signature appears on only very few pieces of furniture, among which the serre-bijoux of Compiegne and a pair of side cabinets in darkened pear (Fig.27). The latter, highly characteristic of

the Rivart’s production, is exceptional because it is dated precisely, Guérou having indicated 1854 next

to his signature (Fig.28). The bronze decor of these pieces, in the taste of the 18th century, is emphasised by the use of darkened pear. The appliques on the sides and a vase overflowing with flowers echo

the central motif painted by Guérou, a natural-looking bouquet of flowers that stands out through the delicacy of its colours in contrast with the background of the panel.

Fig.28 : Julien-Nicolas Rivart and Joseph Guérou, detail of marquetry: signature of Guérou on a side cabinet (one of a pair), 1854, darkened pear, mahogany, bronze, brass, marble, porcelain. Private collection. © Gallery Marc Maison.

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Frédéric Roux

“M. Roux is among other things the producer who has most applied to the decoration of wooden

furniture the ingenious and delicious process imagined by the now deceased Rivart.23”

Frédéric Roux, Parisian cabinetmaker, joined up with his brother, who founded a company in New

York. Subsequently, he returned to Paris where he considerably developed his enterprise. Established at 5, rue du Harlay, he presented Rivart furniture in 1862 and marble panels incrusted with porcelain in 1867. The official catalogue of the 1862 Exposition indicates that Frédéric Roux had the exclusivity

of the Rivart process. This claim is however contradicted by numerous sources of the time, testifying to the association of Rivart with Alexandre Tahan.

Alexandre Tahan

Coming from a family in the region of Spa 24 in Belgium, he inherited the company founded by his

father and developed it considerably. He installed himself successively at 10 rue Basse-du-Rempart,

161 rue Saint-Martin, 34 rue de la Paix and from 1845 at 11 Boulevard des Italiens. Supplier to the Emperor, he notably provided a bookcase for the Emperor’s apartments and whist boxes for the visit

of Queen Victoria at Saint-Cloud in 1855. He became the specialist of luxury treenware and high society rushed to his shops over the New Year gift season. He was in addition given several awards at the Universal Expositions.

It was customary for Tahan to collaborate with designers, cabinetmakers or marquetry artists in the

development of his projects. Thus he conferred upon Joseph Crèmer the creation of some of the pa-

nels for the Emperor’s bookcase. He also worked on numerous occasions with Rivart, whose process went well with the gracious character that Tahan privileged in his production. During the Universal

Exposition of 1851, he exhibited a wardrobe in ebony. Certain pieces of furniture, such as the table sold at Christie’s in 2007, were in fact co-signed between Rivart and Tahan. The association of the two artists was mentioned by many authors of the period: “M. Tahan strikes us as really modest when,

for one of the examples of these pieces, he gives the largest share of merit to M. Rivart. Without M. Tahan, perhaps M. Rivart would not have found, like today, such general appropriation in the current factory that sponsored both the initiator and the inventor.25 ”

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Fig.29 : Julien-Nicolas Rivart (1802-1867), commode, about 1860, mahogany, satinwood, porcelain, H. 100 cm x L. 138.5cm x Pr. 45 cm. Private collection. © Gallery Marc Maison.

“The Magic that comes from a Bouquet in Kaolin” The examples of porcelain marquetry by Rivart were especially appreciated by critics, whether French

or English, even though England was the main rival of France in the domain of furniture. Such work was exhibited as of 1851, when it drew the attention of the French Commission, which saw in it a fine variant of the Boulle genre26. The technique of Rivart, “most ingenious”27, “delicious process”28 , “one of the most important innovations for the decoration of pieces of furniture”29, met almost unanimous

praise for the charm given off by the marquetry in porcelain and the originality of the process; special attention was paid to the price of these creations, technical inventions in the domain of marquetry often being aimed at lowering production costs.

English critics several times mentioned Rivart’s process, which seemed to be especially appreciated

for the naturalism of the flowers: Rivart is the inventor of the incrustation of flowers in porcelain, etc., cut and painted in imitation of nature, it was written in a report on the Exposition of 185530.

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Fig.30 : Julien-Nicolas Rivart (1802-1867) / Victor Paillard (1805-1886), chairs. Private collection. © Courtesy of Gallery Steinitz.

In the same way, Auguste Luchet, in his work on the Universal Exposition of 1867 commented at

length on what he called “the Rivart process” and expressed concern for the future of the technique: “Without seeing it, one could not imagine the magic that comes from a bouquet in kaolin on a black

background framed with gilding, making its bright and fresh colours stand out from the darker por-

tions in rosewood, amaranth or kingwood. […] What he did shall never be done again: the merchant

wants what is quick and cheap. […] The plaques that bear his name will one day be worth a lot of money; would they yesterday have been worth only the brass of a medal or the sheet of paper of a mention?31”

Rivart’s production was especially appreciated by amateurs of the time. Thus, in 1855, Digby Wyatt,

jury spokesman, mentioned that he had seen in a private Parisian residency Rivart incrustations on ebony pilasters32 .

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Fig.31 : Julien-Nicolas Rivart (1802-

1867), table, about 1861, bronze, copper, rosewood, porcelain,

H. 77 cm x L. 144 cm.

National Museum of Ceramics, Sèvres, inv. MNC24600. © RMN (National

Museum of Ceramics, Sèvres) / Jean-Claude Routhier.

From a model that was quite common in the production of Rivart, this table was bought by the Count of Manneville, who had his coat of arms added, as well as those of his wife.

Rivart counted among his clientele some prestigious buyers: did he not himself point out in his letter

to the Count of Nieuwerkerke that he had not seen without great interest [his] incrustations of soft porcelain in wood taking their place in several forms in the Palace of the Tuileries33? The Emperor the heartily congratulated him at the 1855 Exposition and the same year, the Empress purchased the serre-bijoux by the Charon brothers, decorated with the Rivart process. Two years later, Tahan provided for the Tuileries a

sitting room table adorned with incrustations in porcelain34 and the Count of Nieuwerkerke explained

to the artist that his process had come to compete with Florentine mosaics in hard stone35.

Others owned furniture decorated according to the Rivart process. This was the case of the ninth

Duke of Caumont de la Force, who bought the bookcase exhibited in 1851 and had his coat of arms stamped on it (Fig.31). In the same way, Count Charles-André de Manneville, no doubt on the occasion of his wedding in 1861, had a table ordered, today conserved in the collections of the national museum of ceramics in Sevres (Fig.35).

It seems that the disappearance of the process was linked to the length of the work involved and the

great attention to detail it required, whereas what was sought was the «quick and cheap» 36. It can only be noted that the process disappeared upon the death of its son inventor, as Luchet had feared. The delicacy of its implementation was perhaps the reason, as explained in the Guide de l’amateur de faïences

and de porcelains by Auguste Demmin: “As the delicacy of this work demands perfect taste, long experience and an entirely individual know-how, Rivart did not find any emulators despite the lapse of the patent.37 ” The furniture of Rivart did not however fall into oblivion: a table adorned with marquetry in

porcelain was presented in the Napoleon III salon of the centennial museum of furniture at the Uni-

versal Exposition of 190038.

Other than the cabinet of Compiegne, a table – signed – is conserved at the national museum of ce-

ramics in Sevres (Fig.35), as well as a small writing desk, known as a bonheur-du-jour, in the Queen’s apartments in the Pitti Palace, plus the onyx panel in the Victoria and Albert Museum. panneau en onyx du Victoria and Albert Museum.

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Literal transcription of the patent and correspondance Patent of 18 September 1849 – descriptive document

(Fig.37) Cette incrustation consiste en une Pâte de Porce-

porcelaine excessivement droite qui lui donne la vertu d’être

laine Tendre, dite Vieux Sèvres, de Tournay ou de Saint

employée dans tous les ameublements possibles, et toutes les

Amand. Elle est moulée puis cuite au grand feu de porcelaine,

matières désignées ci-dessus.

sans être émaillée, ce qui produit une Porcelaine (Biscuit).

Comme toutes les recherches qui ont été faites jusqu’à ce jour

Pour employer cette porcelaine, je la redresse à la meule, lui

dans ce genre d’industrie sont restées infructueuses et que j’ai

donne l’uni que je désire, l’émaille ensuite au feu de Mouffte

le premier fait cette découverte qui offrira de si grands avan-

[sic], la peint et la fait recuire de nouveau au feu de Mouffte

tages au commerce de luxe, je viens Monsieur le Ministre ré-

[sic], ce qui me donne le résultat que je désire c’est à dire une

clamer la Priorité pour ce nouveau genre d’incrustation non entouré maintenue que par un cercle de Bronze et comme [illisible] mais qui se trouvera bien au niveau de la surface des objets ou des meubles incrustés. L’on peud [sic] produire avec ces porcelaines tous les dessins possibles, tant les fleurs que fruits, enfants amours toutes sortes de personnages et ornements. Les branches des fleurs ou arbustes seront également en porcelaine ou à la volonté du consommateur, en cuivre émaillé ou non émaillé, de bois en couleur, d’ivoire, d’albâtre ou en nacre, etc. etc. Fig.32 : Julien-Nicolas Rivart, a drawing accompanying the descriptive document,

patent for 15 years no 8860 of 18 September 1849 for a “mode of incrustation that can

be carried out on wood, whether veneer or

not, copper, marble, and any other stone, as

well as on velvet, cardboard, etc.”: certificate of addition of 18 September 1850. Paris,

Archives of the National Institute of Intellectual Property. ©

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Certificate of addition of 24 September 1849 – descriptive document

Indépendamment de toutes les clauses relatées dans le dit Mémoire descriptif déposé le 18 septembre courant j’ai depuis l’époque où le dépôt en fut fait trouvé le moyen d’employer pour toutes les incrustations possibles non seulement la porcelaine [illisible] comme elle est désignée au Mémoire descrip-

Fig.33 : Julien-Nicolas Rivart, jewellery box. Private collection. © Gallery Marc Maison.

tif de la prise de brevet mais pour toutes les porcelaines anglaises et françaises en général avec

encore toutes les Porcelaines en général.

lesquelles je puis également produire tous les sujets désignées

Je prends toutes les porcelaines à l’état de biscuit, je les dresse

au Mémoire descriptif primitif et tous les émaux également.

à la meule pour leur donner un niveau égal à la surface, en-

Je réclame donc de Monsieur le Ministre la priorité de l’addi-

suite je l’émaille légèrement, je la cuis, lorsqu’elle est cuite je la

tion portée à mon brevet pris le dix-huit septembre courant.

peints et repasse une seconde couche d’émail sur les peintures

Certificate of addition of 29 December 1849 – descriptive document

et je la fais cuire de nouveau ce qui produit un brillant nécessaire à la porcelaine. Après avoir redressé les porcelaines à la meule pour leur don-

Indépendemment [sic] de toutes les clauses relatées dans le

ner le niveau nécessaire à la surface, comme il y a des éléments

mémoire descriptif déposé le 18 septembre j’ai depuis cette

et des ornements en assemblage, c’est également à la meule que

époque trouvé les moyens d’employer pour toutes les incrusta-

je fais ces assemblages ; pour donner à la porcelaine une plus

tions possibles non seulement les Porcelaines pâte tendre mais

grande solidité lorsqu’elle a reçu toutes les préparations, qu’elle est prête à prendre son emplacement dans les objets désignés au milieu du contour de la porcelaine je fais égaleFig.34 : Julien-Nicolas Rivart (1802-

1867), patent for 15 years n o 8860 of 18

September 1849 for a “mode of incrustation that can be carried out on wood, whether

veneer or not, copper, marble, and any other stone, as well as on velvet, cardboard, etc.”,

1849. Paris, Archives of the National Institute of Intellectual Property. ©

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ment à la meule une incrustation qui par ce moyen fait corps

sujets dont j’ai besoin et je me sers pour les finir des moyens

avec l’objet ; dans les pièces présentant une grande surface je

décrit [sic] dans le brevet et addition. Je me serviré [sic] éga-

perce des trous sur les côtés de la porcelaine et j’emploie des

lement des dit [sic] plaques qui auront été émaillées et cuite

fraises qui lient les objets d’une manière [illisible].

[sic] au grand feu de four sans être redressé [sic] à l’avance.

La porcelaine mise à l’état de pâte pourra être moulée ou bien

Je me serviré [sic] également de plaque [sic] qui auront été

découpée avec des emporte pièces qui représentent tous les ob-

dressé [sic] et émaillée [sic], dont je retire de l’intérieur les

jets qui seront nécessaires.

porcelaines.

La présente addition est faite pour le même temps que la du-

Cette addition est également pour quinze années.

rée de mon brevet.

Je réclame donc de Monsieur le Ministre la priorité de l’addition faite à mon Brevet pris le 18 septembre courant.

Certificate of addition of 14 August 1854 – descriptive document

Cette addition nouvelle consiste à faire découper sans mouler mes plaques de porcelaine, qui doivent représenter de [sic] groupes de fleurs, des figures, des ornements de toutes grandeurs en un seul morceau, quelquefois ces plaques auront des à-jours [sic] dans l’intérieur, qui se trouvent remplis par les matières où elles sont incrustées. Ces plaques de porcelaine subiront le Fig.35 : Julien-Nicolas Rivart detail of marquetry on a table. Private collection. © Gallery Marc Maison.

Certificate of addition of 18 September 1850 – descriptive document Indépendemment [sic] de toutes les clauses relatées dans le mémoire descriptif déposé le 18 septembre 1849 et d’une addition 24 [sic] septembre même année et d’une autre addition du 29 décembre de la même année.

Cet [sic] addition nouvelle consiste à faire découpés [sic] toutes les porcelaines dont j’ai besoin pour faire mon incrustation dans l’intérieur des plaques de toutes formes et toutes dimention [sic] ; ces plaques de porcelaines sont en pâte tendre ou autre. Ces plaques je les prend [sic] à l’état de Biscuit, je les fais redressé [sic] et ensuite je fais découper dans l’intérieur tous les

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même travail pour être employées, que celui décrit dans le Mémoire descriptif du 18 septembre 1849 et des additions. Ces plaques comme toutes mes autres porcelaines peuvent être peintes sur biscuit sans être émaillées. Cette addition est pour la durée du brévêt [sic].

Fig.36 :

Julien-Nicolas

Rivart, a drawing accompanying

the descriptive

document, patent, Paris, Archives of

the National Institute of Intellectual Property. ©

Fig.37 : Julien-Nicolas Rivart, a drawing accompanying the descriptive document, patent for 15 years no 8860 of 18 September 1849 for a “mode of incrustation that can be carried out on wood, whether veneer or not, copper, marble, and any other stone, as well as on velvet, cardboard, etc. ”: certificate of addition of 14 August 1854. Paris, Archives of the National Institute of Intellectual Property. ©

Written note: “This drawing represents a plaque of porcelain cut out, straightened, enamelled, painted, and ready to be incrusted with any of the materials mentioned in the patent. Paris, 12 August 1854”.

Letter to the Counte of Nieuwerkerke in April 1857 Monsieur le Comte Votre lettre vient de renverser en un instant tout le bonheur que l’accueil bienveillant que j’avais reçu de vous, monsieur le Comte, lorsque je fus assez heureux pour vous remettre mes incrustations de porcelaine dans le marbre, avait fait naître en moi. J’étais orgueilleux des paroles que vous m’aviez adressées et fier de recevoir de la bouche même du Directeur des Beaux-Arts, que mon œuvre était appelée à venir faire concurrence aux mosaïques de Florence ! Je vis dans cette prédiction se réaliser les rêves de bonheur que je m’étais plu à former sur mon œuvre d’art et j’étais heureux de penser que les sacrifices de toutes sortes que je m’étais imposé et ma perseverance [sic] de 20 ans alaient [sic] enfin recevoir leur recompense [sic]. Lors de l’exposition universelle, j’avais été assez heureux pour recevoir de vive voix de S. Majesté l’Empereur, un encouragement flatteur, et je n’avais pas vu sans un grand interet [sic] mes incrustations de porcelaine tendres dans le bois, prendre place sous plusieurs formes dans le Palais des Tuileries. - Les marbres étaient encore dans l’enfance ; depuis lors je suis parvenu à surmonter toute les difficultés, et c’est au moment où je croyais avoir atteint le but, que je reçois votre lettre Monsieur le Comte qui en me renvoyant mes échantillons vient détruire toutes mes illusions. Aulieu [sic] d’une commande que j’osais espérer de Sa Majesté c’est une offre de secours que je reçois. Secours que je ne puis accepter. J’ai encore de la force du courage je lutterai contre l’adversité et a [sic] force de courage je parviendrai peut-être a [sic] doter mon pays d’une decouverte [sic] eminament [sic] artistique et digne d’un meilleur sort.

Qu’il me soit permis d’espérer, Monsieur le Comte que votre bienveillance ne me fera pas défaut que vous continuerez a [sic] m’être favorable que vous parviendrez à faire revenir l’Empereur sur une décision prise peut-etre [sic] un peu à la hâte et bien cruelle pour moi. Laissez moi croire que vous n’abandonnerez pas un artiste qui ne demande que du travail pour subvenir aux impérieux besoins de sa famille.

Le Bois incrusté peut trouver sa place dans plusieurs classes de la société. Mais le Marbre incrusté demande des Palais ! J’ai l’honneur d’être avec respect Monsieur le Comte votre très humble et très obéissant serviteur Rivart fabricant d’incrustations de porcelaine (Bois et marbre)

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Notes

Rivart 1849.

21 : Luchet 1868, p. 145.

The Illustrated London News, 9 août 1851, p. 197.

22 : Archives desMusées nationaux, KK30/2Mi140.

EU 1855 Catalogue.

23 : Luchet 1868, p. 128.

Archives des Musées nationaux, S5/1857/30 mars.

24 : Pour de plus amples informations sur la dynastie Tahan, cf. Le

“Rivart, J.-N.Veneered furniture. For novelty of invention and good design”, EU 1862 Récompenses.

Clanche. 25 : Jules Deville, « Le Palais de l’Industrie : les vitrines de la grande

Archives nationales, F/12/3040/B.

nef. La Vitrine Tahan », Le Mercure parisien, no 6 (3e année), 20

Hunt R., Synopsis ou revue sommaire des produits de l’industrie

août 1855, p. 3.

de l’Exposition universelle de 1851…, Londres, Spicer frères

26 : EU 1851 Commission, p. 38.

&W. Clowes, 1851, p. 90.

27 : Tresca 1855, p. 725.

Fossey, serre-bijoux de style Louis XIV, Compiègne,Musée

28 : Luchet 1868, p. 128-129.

national du château.

29 : EU 1855 jury international, p. 1120-1121.

Cf. Compiègne 2008, fig. 7 p. 149.

30 : Rivart is the originator of the incrustation of porcelain flowers,

10 : Rivart 1849.

etc. cut out and painted in imitation of nature. EU 1855 reports.

11 : Tresca 1855, p. 725.

31 : Luchet, 1868, p. 128-129.

12 : Archives desMusées nationaux, S5/1857/30 mars.

32 : EU 1855 reports, p. 290.

13 : Rivart 1849.

33 : Archives des Musées nationaux, S5/1857/30 mars.

14 : Ibid.

34 : Archives nationales, O/5/1681.

15 : Ibid.

35 : Archives desMusées nationaux, S5/1857/30 mars.

16 : Ibid.

36 : Luchet 1868, p. 129.

17 : EU 1862 catalogue, p. 195.

37 : Demmin A., Guide de l’amateur de faïences et porcelaines, 1867,

18 : Jouve E., Lettres sur l’Exposition universelle de 1855, Lyon, Veuve Mougin Busan, 1855, p. 285.

p. 896. 38 : « 565. Petite table de style Louis XV, de Rivard, à incrustations

19 : Archives des musées nationaux, S5/1857/30 mars.

de porcelaine de Saint-Amand, garnitures de bronze ciselé »,

20 : Victoria & Albert Museum, Londres, département sculpture, inv.

Musée centennal des classes 66, 69, 70, 71, 97, Mobilier et

86-1864. Inventory of the objects in the Art Division of the Mu-

décoration – Rapport de la Commission d’installation, Paris,

seum at South Kensington, arranged according to the Dates of

1900, p. 11

their Acquisition, tome 1, Londres, George E. Eyre & William Spottiswoode, 1868, p. 52.

w w w . m a r c m a i s o n . c o m

a unique collec

with porcelai

by Julien-Ni

ction of objects

in marquetery

icolas Rivart

TAHAN Manufactory, Julien-Nicolas RIVART (1802-1867) and Pierre-Joseph GUEROU

Exceptional Louis XV style violin-shaped desk decorated with porcelain marquetry and gilt bronze espagnolettes

(Ref.10711)

Origin

The porcelain decoration is signed “Guérou 1853”. A plaque engraved “Exécuté en 1856 par Tahan Ébéniste Breveté de l’Empereur”.

Two stamps under the shelf “RIVART & ANDRIEUX Brevetés Sans G du G”

Condition

Rosewood veneer, gilt bronze, porcelain marquetry.. In excellent condition.

Dimensions

Width 159cm ; Height 80cm ; Depth 98cm.

Of exceptional manufacture, this Louis XV

the only ones to fully master this meticulous and

be arranged in the center of a room. It is the

vart achieved here a synthesis between the Flo-

style desk is a " bureau plat de milieu", designed to

fruit of a collaboration between the cabinetmaker

Tahan and the audacious Julien-Nicolas Rivart,

supported by the painter Pierre-Joseph Guérou. Lavishly decorated on all sides and mounted in

a sumptuous decor of gilt bronze, four espagno-

lettes decorate its curved legs, and four beaded shells, enliven by foliage, adorn the four "violin" shaped crosspieces.

The presence of the three signatures allows us

without hesitation to determine the part of each

one in the elaboration of this work of exception. We know that Julien-Nicolas Rivart registered a patent for a porcelain inlay technique in Sep-

tember 1849, and that he joined in 1850 with Paul-Joseph Andrieux, a native of Limoges, under the name "Rivart et Andrieux", being then

w w w . m a r c m a i s o n . c o m

eminently delicate technique of marquetry. Ri-

rentine hard stone marquetry and the decoration of porcelain slabs from 18th century. Rivart's invention enables sophisticated hues to contrast

directly with the wood, and prevents to hide the veins and the cabinetmaker's beautiful work.

w w w . m a r c m a i s o n . c o m

For that reason, at the World's Fairs of 1851,

and dates of 1853. He unfolds here a complete

"a delicious process", "yet more beautiful than

panulas and a yellow tulip for example, that create

1855 and 1867, this technique is described as

beautiful", and receives the Emperor Napoleon III's congratulations.

palette of complementary tints, with purple cam-

a remarkable luminosity.

Presently, very rare furniture pieces bearing

He can hence combine the lightness of marque-

Guérou's signature are known, which makes our

charm of painting on porcelain. The flower crown

Guérou signed as well in 1852 a table preserved

try and its sophisticated contrasts effects, with the

desk all the more rare.

adorning the shelf was thus painted with a great

in the Museum of Murska Sobota (Slovenia) and

ting.

decoration is slightly different, being composed of

range of hues and the freshness of porcelain pain-

Pierre-Joseph Guérou, painter of flowers and

former painter of the Sèvres Manufactory in the

years 1847-1848, realizes here a gorgeous painted

decoration of naturalistic flowers, that he signs

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originating from the Beltinci residence, which four flower bouquets. The table itself proposes a

more simple decoration, the four sides displaying a wood marquetry and the gilt bronze being notably reduced.

Rosewood and porcelain marquetry Table by Julien-Nicolas Rivart,decoration signed by GuĂŠrou in 1852. The Regional Museum of Murska Sobota, Slovenia

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Once the shelf of our desk was realized, one of

rue de la Paix. A year later, he is already reported

stage, the renowned Tahan. Signing and dating

bears the title of "Supplier of the Emperor", a re-

the privileged collaborators of Rivart entered on

as "Supplier of the King and Princes". In 1855, he

1856 on the drawer's lock, the "Patented Cabinet-

ference of the highest importance which he takes

tering for the realization of this desk and probably

that time, the Court commissioned him a large

maker of the Emperor" used his exceptional masfor its gilt bronze decoration. The desk presented

here is hence a fine witness of Tahan's favorable disposition towards the "Rivart process".

Pierre Lambert Tahan, a Belgian cabinetmaker,

settled in Paris shortly before 1806, in the dis-

trict of the Temple. In 1844, he ceased all activity and left the direction of his shop to his son, Jean-

Pierre Tahan. The latter will then completely revolutionize the organization of the company by

separating manufactory and store, installed at 32

w w w . m a r c m a i s o n . c o m

care to recall on our table the following year. At range of furniture pieces, libraries, tables, pedestals and toiletry cases. Then, Tahan will participate in the great World's Fairs of his time. On the occasion of the World's Fair of 1855 in Paris, he

presents an extraordinary aviary in walnut carved with foliage and flying birds.

Executed by Tahan, our desk is a true luxurious

work, suitable to the decoration of a princely interior.

The comparison can easily be established with

Julien-Nicolas Rivart, Shelf of the Earl de Manneville’s table, circa 1861. Cité de la Céramique of Sèvres.

the table bought by the Count of Manneville on

the occasion of his marriage in 1861 and now preserved in the Sèvres Museum of the Cité de

la Céramique. On this table we observe a very

similar crown of flowers, knotted with four skyblue ribbons, although the colors are paler. There is no mention of Guérou for the painting of these

flowers, which is hardly surprising given the late date of realization for this table, almost ten years after the realization of our desk.

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Julien-Nicolas RIVART (1802-1867) and Pierre-Joseph GUEROU

Pair of Side Cabinets decorated of bouquets in porcelain marquetry (Ref.17255)

Origin

Signed « Guérou 1854 ».

Condition

Blackened pearwood, mahogany, brass, gilt bronze, porcelain marquetry. In excellent condition.

Dimensions

Width 90cm ; Height 113cm ; Depth 44cm.

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Richly decorated in porcelain marquetry and gilt

up of neo-classical water leaves that run all along the

colas Rivart , demonstrates the high level of perfec-

the upper cornice and lower base, just above a gilt

bronze, this pair of side cabinets, made by Julien-Ni-

tion attained by its creator, and may be considered as a master piece of his production. The center of

the front panel is decorated with a bouquet of na-

central panels as well as egg-and-dart molding on

bronze mount in the form of a shell, that is inspired by 18th century examples.

Both these side cabinets are signed by Pierre-Jo-

turalistic flowers contrasting with its delicate colors

seph Guérou on the inlaid porcelain and are dated

niture pieces to works of great originality. Finding

hin the context of their manufacture. A painter at

against the dark background, and raises these fur-

inspiration in the technique of porcelain plaques set

into wood panels, and in Florentine mosaics in hard stone, Rivart totally renewed the use of porcelain by

inlaying it like real marquetry where each element

was independent. As early as 1849, he registered a patent on this process, thus securing the exclusive rights on this type of decoration.

At the various World's Fairs of the time, Rivart

displayed his creations which were hailed as a success by both the press and the public. His technique was

described by contemporary observers as being "one of the most important innovations in furniture de-

coration" and opinion was unanimous regarding the charm of these naturalistic flowers. Each of the two

side cabinets is decorated in a different way, proof

of Rivart 's concern for attaining rich ornamental

1854, which allows us to place them accurately witthe Sèvres factory, in 1847 and 1848, Guérou worked with Rivart on several occasions, for the painting of different elements the latter wanted to inlay

in his furniture. A specialist in flowers painting on porcelain, he participated several times in the Sa-

lon between 1836 and 1865. Although his style is easily recognizable, his signature is however only

rarely seen. A very few other works signed by him are known today, most notably the jewel cabinet

made for the Empress Eugénie, decorated using Rivart 's technique, which is presently conserved at

the Chateau of Compiègne, a table preserved in the Murska Sobota Museum in Slovenia, and at last a

sumptuous "violin" style desk that the Marc Maison Gallery holds in its collections as well.

This pair of side cabinets is hence one of the only

decoration: purple lilacs, tulips, roses and morning

known works bearing Pierre-Joseph Guérou 's si-

lilacs, peonies, St. John's wort and poppies. Each

scores the exceptional character of these pieces and

glory on one cabinet, while the other contains white

bouquet ornamenting the central panel is of a rare

quality of execution and makes a striking contrast

against the black color of the wood. Echoing the motifs used on the doors, the side panels are deco-

rated with gilt bronze vases filled with flowers. The style of the bronze, in the taste of the 18th century,

becomes part of this play of color: among the ornaments, one's attention is drawn to the frieze made

gnature. Its presence, an extremely rare fact, underattests to the virtuoso production that attained "per-

fection in the execution of cut and inlaid porcelain plaques" (Report of the jury of the Universal Exhibition of 1855). Bibliography: Masterpieces of Marquetry in the 19th century. Patents. Rivart, Cremer, Fourdinois, Kayser Sohn et Duvinage, Marc Maison et Emmanuelle Arnauld, Ed. Faton, 2012, p. 39 et 40.

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Julien-Nicolas RIVART (1802-1867)

Louis XV style table in ebonized pear wood inlaid with porcelain marquetry (Ref.17313)

Origin

Between 1850 and 1867.

Condition

Pear wood, copper, gilt-bronze, porcelain marquetry. In very good condition.

Dimensions

Width 138cm ; Height 77cm ; Depth 85cm.

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Julien-Nicolas RIVART (1802-1867)

Exceptional Jewel Case decorated with porcelain marquetry from Elsa Schiaparelli’s collection (Ref.10712)

Origin

Between 1860 and 1867. Engraved : “Rivart, breveté 26 Boulevard Baumarchais” .

Originating from Elsa Schiaparelli’s collection.

Condition

Blackened pearwood, gilt bronze, brass, porcelain marquetry. In excellent condition.

Dimensions

Width 76cm ; Height 40cm ; Depth 55cm.

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This large jewel case, which sophisticated deco-

ration of porcelain inlay contrasts with blackened

wood, bears the signature of Julien-Nicolas Ri-

vart , inventor of the porcelain marquetry process. The latter patented his innovative technique he

was the only one to master in 1849, which opened the doors of the most prestigious commissions to him, including those of the Imperial couple, Napoleon III and Eugenie. The sobriety of the case,

bordered with black and gold laces, is only broken by small gilt bronze mounts depicting shells and

Fredrich Baker, Elsa Shiaparelli Photograph, 1940. CondĂŠ Nast Collection.

The decoration of flowers, blue and white cam-

foliage borrowed from the Louis XV style vo-

panulas, yellow daisies, roses and jasmines, here

warm tone of the rosewood veneer.

lain, and painted resin for the thinnest foliage, a

cabulary. The interior, just as beautiful, has the

The delicacy and rarity of this object were re-

cognized by the woman of taste that Elsa Schia-

parelli was, since it was in the possession of this major personality of fashion and of 1930's Paris, who made it her jewelry case. Elsa Schiaparelli, born in 1890 at the Corsini Palace in Rome, was

a figurehead of haute couture between 1930 and 1950. Friend of the Surrealists in the 1920's, she always promoted avant-garde and creativity, but

this case is the witness of her personal sensitivity to other aesthetics and her receptivity to the poe-

try of things. Perhaps she had also recognized her fetish color in the roses on the lid, the "Rose Shoking".

is of extreme finesse. These are inlays of porcetechnique arrived at its perfection in the last years

of Rivart 's career. The address engraved on the

inside, 26 Boulevard Baumarchais, is indeed that

of his last workshop, from 1860 to his death in 1867. His reputation was established largely for

the competition that represents his new technique

of inlay with that of the Florentine hard stones mosaic. The Count de Nieuwerkerke compares

indeed his technique to the pietra dura in a letter of 30 March 1857. He uses here the full force of

this comparison, bringing out his luminous porcelain on a deep black background. Porcelain has

the advantage of enabling a more detailed cut-out,

and therefore very fine details whose colors appear

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beautifully. But above all, it is a painted decoration that the wood panels are receiving, allowing magnificent hues and lights effects.

The box lid is decorated with roses and jas-

mines, the ultimate flowers of romance, while

the sides are dotted with wild flowers, bellflowers and daisies, which evoke innocence and coquetry.

Contrasting colors accentuate the luminosity of these floral compositions, so the deep pink makes

all the more vibrant the leaves of jasmine's aqua green, and the orange of the daisies revives the

campanulas' blue. The precision of the floral de-

corations of Rivart had already owed him in 1852

a medal awarded by the National Society of Hor-

ticulture. Here, we can indeed admire the work

of an illusionist brush that has kept the freshness and lightness of its subject. These flowers immor-

talized in the kaolin could not find more suitable

support than porcelain for this luxurious beauty accessory. w w w . m a r c m a i s o n . c o m

Julien-Nicolas RIVART (1802-1867)

Louis XV style Rosewood Table with decor of porcelain marquetry

(Ref.10718)

Origin

Between 1850 and 1867.

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 126cm ; Height 74cm ; Depth 36cm.

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Alphonse GIROUX et cie and Julien-Nicolas RIVART (1802-1867)

Gorgeous writing desk with espagnolettes and decoration of roses in porcelain inlays (Ref.10721)

Origin

Between 1850 and 1867. Engraved « ALPH. GIROUX ET Cie / Paris ».

Condition

Rosewood, burl wood, gilt bronze, leather and porcelain marquetry. In excellent condition.

Dimensions

Width 76cm ; Height 91cm ; Depth 45cm.

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A rare example of Rivart 's collaboration with

lippe and Charles X to the "Children of France".

factory, this piece of furniture stands out for its

took over the business in 1838, which then be-

the prestigious Alphonse Giroux et Cie manu-

sophistication. The hues of brown obtained by various woods give this precious work a great luminosity. The feet are

The sons Alphonse-Gustave and André Giroux came "Alphonse Giroux et Cie" until its absorption by Duvinage in 1867. At the World's Fair of

1855, the Empress

adorned with gilt bronze

Eugénie

espagno-

them a "bonheur

lettes of very fine

du jour" desk. In

manufacture, and

collaboration with

the shelf on top of

Susse Frères, they

it is framed by an

are the exclusive

openwork balcony. Founded

manufacturers

François-Sim o n-A l p h o n s e

bought

the first daguerInvitation d’Alphonse Giroux et Cie, 1857-1867

Giroux in 1799, this shop turned to cabinetma-

reotype cameras as soon as 1839.

Alphonse Giroux and Cie was famous thus un-

king as early as 1834 under the name "Alphonse

der the Restoration and then the Second Empire,

ceive commissions of gifts from Kings Louis-Phi-

Imperial court, especially in the trade of writing

Giroux". He begins under the Restoration to re-

at which time they supplied the members of the

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furniture, as this desk bears witness. Desiring to

broken by the flowers of fresh colors provided by

Giroux collaborated here with Julien-Nicolas Ri-

depicts here a bouquet of roses and buttercups on

remain at the forefront of decorative techniques, vart who had patented his porcelain marquetry

process in 1849. This piece of furniture demonstrates once more the importance of these porce-

Julien-Nicolas Rivart . This beautiful decoration the chest, and a beautiful frieze of morning glories on the shelf.

Opening with a key, the chest of this writing

lain decorations, prized by the most prominent

desk offers a large shelf and three drawers with

interesting for it is the first time that a collabora-

marquetry patterns. The writing shelf, of curved

cabinetmakers. This writing desk is all the more tion between Rivart and Giroux is attested.

The dominant brown and gold tone is only

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handles in gilt bronze, decorated with wooden forms, is lined with a caramel-colored leather blotter.

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Julien-Nicolas RIVART (1802-1867)

Chiffonier Secretary desk in wood and porcelain marquetry decorated of blooming roses (Ref.10701)

Origin

Between 1850 and 1867.

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 73cm ; Height 122cm ; Depth 35cm.

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Julien-Nicolas RIVART (1802-1867)

Curved writing desk with lozenges marquetry and flowers bouquet in porcelain inlay (Ref.10704)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, rosewood, brass, gilt bronze, leather, marble-like painted gelatin,

porcelain marquetry. In very good condition.

Dimensions

Width 70cm ; Height 106cm ; Depth 45cm.

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Julien-Nicolas RIVART (1802-1867)

Writing desk with gilt bronze espagnolettes and porcelain marquetry decoration (Ref.10703)

Origin

Between 1850 and 1867.

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 89cm ; Height 106cm ; Depth 48cm.

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TAHAN Manufactory and Julien-Nicolas RIVART (1802-1867)

Graceful tip-up pedestal table decorated of morning glories in porcelain marquetry (Ref.10719)

Origin

Between 1850 and 1867. Label « TAHAN / manufacturier / rue de la paix /

Au coin du Boulevard »

Condition

Rosewood veneer, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 59cm ; Height 76cm ; Depth 59cm.

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TAHAN Manufactory and Julien-Nicolas RIVART (1802-1867)

Sewing table with flowers bouquet In porcelain marquetry and gilt bronze ornaments (Ref.10698)

Origin

Between 1850 and 1867. Engraved « TAHAN / PARIS »

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 63cm ; Height 75cm ; Depth 44cm.

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Julien-Nicolas RIVART (1802-1867)

Sewing table decorated of white and purple campanulas in porcelain marquetry

(Ref.10697)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, ambonia burl, gilt bronze, brass, porcelain marquetry. In very good condition.

Dimensions

Width 61cm ; Height 76cm ; Depth 45cm.

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Julien-Nicolas RIVART (1802-1867)

Sewing table in blackened pearwood decorated of wild flowers in porcelain marquetry (Ref.10696)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, brass, porcelain marquetry. In very good condition.

Dimensions

Width 44cm ; Height 74cm ; Depth 39cm.

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Julien-Nicolas RIVART (1802-1867)

Elegant emblazoned sewing table with decoration of porcelain marquetry

(Ref.10720)

Origin

Between 1850 and 1860. Engraved « RIVART Bte / Rue de Normandie / n°1 à Paris ».

Condition

Rosewood, gilt bronze, brass, porcelain marquetry. In very good condition.

Dimensions

Width 55cm ; Height 76cm ; Depth 40cm.

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Julien-Nicolas RIVART (1802-1867)

Small occasional table with doors decorated of porcelain marquetry

(Ref.10693)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, rosewoods, burl wood, brass, porcelain marquetry. In very good condition.

Dimensions

Width 46cm ; Height 74cm ; Depth 30cm.

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Julien-Nicolas RIVART (1802-1867)

Small occasional table with shelves decorated of porcelain marquetry

(Ref.10694)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, rosewoods, burl wood, brass, porcelain marquetry. In very good condition.

Dimensions

Width 46cm ; Height 75cm ; Depth 30cm.

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Julien-Nicolas RIVART (1802-1867)

Small occasional table with shelves decorated of porcelain marquetry roses

(Ref.10695)

Origin

Between 1850 and 1867.

Condition

Blackened pearwood, rosewoods, burl wood, brass, porcelain marquetry. In very good condition.

Dimensions

Width 47cm ; Height 77cm ; Depth 32cm.

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Maison TAHAN and Julien-Nicolas RIVART (1802-1867)

Perfume box decorated with porcelain marquetry (Ref.16684)

Origin

Between 1850 and 1867. Signed: “Tahan” on the lock

Condition

Rosewood, gilt-bronze, porcelain marquetry, crystal flowers, cushion. In very good condition.

Dimensions

Width 43cm ; Height 24cm ; Depth 33cm.

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TAHAN Manufactory and Julien-Nicolas RIVART (1802-1867)

Jewelry box with a decoration in porcelain marquetry (Ref.10700)

Origin

Between 1850 and 1867. Engraved « TAHAN »

Condition

Rosewoods, brass, porcelain marquetry. In very good condition.

Dimensions

Width 34cm ; Height 16cm ; Depth 28cm.

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Julien-Nicolas RIVART (1802-1867)

Pair of planters with flowers bouquets decoration in porcelain marquetry

(Ref.10691)

Origin

Between 1850 and 1867.

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 59cm ; Height 29cm ; Depth 30cm.

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Julien-Nicolas RIVART (1802-1867)

Leather sheathed jewelry box decorated of porcelain marquetry

(Ref.10708)

Origin

Between 1850 and 1867.

Condition

Leather, brass, porcelain marquetry. In very good condition.

Dimensions

Width 25cm ; Height 13cm ; Depth 20cm.

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Julien-Nicolas RIVART (1802-1867)

Elegant planter with a decor of porcelain marquetry

(Ref.10717)

Origin

Between 1850 and 1867.

Condition

Rosewood, gilt bronze, porcelain marquetry. In very good condition.

Dimensions

Width 50cm ; Height 25cm ; Depth 31cm.

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Julien-Nicolas RIVART (1802-1867)

Two velvet folders decorated with flowers in porcelain marquetry (Ref.10722 & 10716)

Origin

Between 1850 and 1867.

Condition

Brown velvet, porcelain marquetry. In good condition.

Dimensions

Width 24cm ; Height 33cm ; Depth 3cm.

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We would like to thank, Our team : Anaïs, Andrei, Cécile, Christophe, Corinne, David, Eric, Mélissa, Michel-Janulz, Michaël, Mika, Romain, Tchin, Pierre-Yves and Richard Picquenot, Agnès and Didier Travers for their encouragements and their friendship. Our sons Félix and Mathurin, In particular, Emmanuelle Arnauld who studied Rivart and his work since 2010 as part of her Master’s Thesis at the Ecole du Louvre, and who carried on her study during our collaboration on the occasion of the redaction of «Marqueteries virtuoses au XIXe siècle. Brevets d’inventions», published by Faton editions in 2012. The additional documentary researches in this catalog were taken care of by Anaïs Faverie assisted by Mélissa Perianez. The exhibition staging was entrusted to Michael Coorengel / Coorengel-Calvagrac. Graphics and conception of the digital brochure by Michaël Delongeas. Webmaster : Raphaële Giordan @CakeFolio Musical accompaniment: The WeekEnd, Julien Doré and RadioHead We dedicate this catalog to the rue des Rosiers and to Saint-Ouen-sur-Seine. Marc et Daisy Maison

Galerie Marc Maison Cambo Le MarchĂŠ 75 rue des Rosiers, Paris Flea Market, Saint-Ouen-Sur-Seine (93400) Phone : +33 (0)6 60 62 61 90