Decorative Arts 1830-1900 by Philippe Zoï

19th Century Fine Art

DECORATIVE ARTS 1830-1900 2016 Issue

Finest Selection 

Authenticity 

Quality

Vases,

Centerpieces ď &#x2022;

A. Giroux

Ref: 0702/20

Designer & Art objects Editor (active from 1799 until 1885) attributed to

A Napoleon III Display Cup France Circa 1870 Height: 17 cm (6 2/3 in.); Width: 28 x 20 cm (11 x 7 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

A fine tazza made in gilded bronze, decorated with oriental style "champlevĂŠ" enamel with a lattice motif, flanked by bird-shaped handles and reposing on three hoof feet.

L’Escalier de Cristal

Ref: 0210/6

Designer and Art Objects Editor attributed to

A Large Crystal and Bronze Display Case France Circa 1880 Height: 27 cm (10 2/3 in.); Width: 45 cm (17 3/4 in); Depth: 33 cm (13 in.)

Important display case, made in engraved gilded bronze, with bent and beveled glazed panels and mirror background plaques. The top and the sides can be completely and widely opened.

VASES, CENTERPIECES ORIENTALISM

Bibliography Catalogue de l'Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I: l'Art moderne, Paris, 1878. Catalogue de l'Exposition Universelle, les Beaux-Arts et les Arts décoratifs, Paris, 1889. Les créations de l'Escalier de Cristal, Philippe Thiébaut, Revue de l'Art, 1989, n° 85.

Zimberg

Ref: 2112/07

Cabinet- & Liquour caskets-maker (The Zimberg Company was active in the 19th century, at Passage des Panoramas, Paris)

A Very Fine Napoleon III Period Jewels Casket Signed Zimberg France Circa 1860 Height: 13 cm (5 in.); Width: 21 x 21 cm (8 1/4 x 8 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

Charming jewels casket made in ebony and walnut burl, finely framed with mother-of-pearl floral motifs, highlighted with gilded brass friezes. Resting on four small pad feet. The cover inserting a squared bevelled glass panel, opening onto a padded blue silk fitted case.

L.C. Sévin

Ref: 0702/121

Ornemanist (1821-1888)

F. Barbedienne Bronze-caster (1810-1892)

A Pair of Louis XVI Style "Porte-Fleurs" Signed F. Barbedienne France Circa 1880 Height: 18 cm (7 in.); Diameter: 21 cm (8 1/4 in.)

VASES, CENTERPIECES

A lovely Louis XVI style pair of "porte fleurs", each consisting of a vase on his tray, made of pierced and gilded bronze, decorated with four medallions alternating putti and trophies of musical instruments, fruits and doves. A garland of fruits and foliage completes that decoration. The vase is lined with a red crystal goblet.

This vase is a creation by Constant Sévin, renowned for his "exquisite compositions", made for the Barbedienne cast company. It demonstrates the Louis XVI style developped in France in the second half of the 19th century, enhanced by the enthusiasm of Empress Eugénie for Queen Marie-Antoinette. Our model is similar to a two handled vase reproduced in the Journal of Decorative Arts in 1888.

A Very Fine "Paris" Porcelain Set

Ref: 0702/84

France Circa 1880 Centerpiece â&#x20AC;&#x201C; Height: 29 cm (11 1/2 in.); Width: 47 cm (18 1/2 in.); Depth: 28 cm (11 in.) Vases â&#x20AC;&#x201C; Height: 34 cm (13 1/3 in.); Width: 26 x 22 cm (10 1/4 x 8 2/3 in.)

VASES, CENTERPIECES

An exquisite polychrom and parcel-gilt porcelain three pieces set, composed of a large centerpiece with its matching pair of vases. Each decorated on celest blue background with banded polychrom scenes depicting playing and fishing cherubs. Resting on gilded bronze mounts ornated with lion heads and floral garlands.

Gien

Ref: 0803/3

Earthenware Manufacture

Jardinière Signed on the reverse, with the making mark of the manufacture Gien France Circa 1880

VASES, CENTERPIECES ORIENTALISM

Jardiniere – Height : 36 cm (14 in.) ; Larg. : 66 x 47 cm (26 x 18 1/2 in.) Stand – Height. : 101 cm (39 3/4 in.) ; Diam. : 60 cm (23 2/3 in.) Total height : 137 cm (54 in.)

A very fine two handled flower-pot, made in cream colored background faience. With an exquisite decor of white and gold painted iris. Superb ornamentation made of springing out mask fountains and blue and green motifs. Standing on its original natural walnut Renaissance style stand, delicately carved with large leafy volutes forming the feet and scrolls on the pierced stretcher.

L.-C. Sévin Sculptor-ornemanist

Ref: 0702/13

(1821-1888)

F. Barbedienne Bronze-caster (1810-1892) attributed to

A Renaissance Style Planter France Circa 1870

VASES, CENTERPIECES

Height: 29 cm (11 1/2 in.); Diameter: 20 cm (7 3/4 in.)

Lovely gilded bronze flower planter, the amounts in the form of winged female busts and mounted with a pierced acanthus motif collar. The Champlevé enamelled body decorated with blue cameo stylized foliage on dark blue background. Standing on a circular onyx base, enamelled with blue flowers. Champlevé is an enamelling technique in which troughs or cells are carved or cast into the bronze surface and filled with enamel. The piece is then fired until the enamel melts, and when cooled the surface of the object is polished. This technique derived from the Cloisonné enamelling technique produces a finer effect. Bibliography "L'Exposition universelle de 1889: l'exemple de Barbedienne", Catherine Chevillot, in Revue de l'Art, 1992, n°95. Catalogue de l'exposition: "L'art en France sous le Second Empire", Grand-Palais, Paris 1979. Catalogue de l'Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I: l'Art moderne, Paris, 1878.

A. Giroux

Ref: 2007/36

Designer & Art objects Editor (active from 1799 until 1885) attributed to

A Fine "Cloisonné" Enamel Table Mirror France Circa 1880 Height: 23 cm (9 in.); Diameter: 15 cm (6 in.)

VASES, CENTERPIECES ORIENTALISM

A lovely oval gilded bronze table mirror, ornated with a polychrom "cloisonné" enamel decor made of stylized flowers and beautiful gilded bronze mounts with birds, garlands of flowers and a shield at the top. Bibliography Archives de la Documentation, Musée d’Orsay, Paris. Les ébénistes du XIXe siècle, D. Ledoux-Lebard, Ed. de l’amateur, 1984, p° 228. Le mobilier Français, Napoléon III, années 1880, par Odile Nouvel-Kammerer, Ed. Massin, 1996, p° 39. Japonisme, Japanese Influence on French Art 1854-1910, G. Weisberg, The Cleveland Museum of Art, 1975, p° 148. "Maison Giroux and its ‘Oriental ‘ marquetry technique", The Journal of the Furniture History Society, D. Kisluk-Grosheide, 1999, vol. 35, p° 147-172.

A Fine Pair of "Cloisonné" Enamel Dishes

Ref: 0702/86

Japanese "cloisonné" enamel French gilt-bronze mounts Circa 1880 Width: 43,5 x 39 cm (17 x 15 1/3 in.)

VASES, CENTERPIECES ORIENTALISM

Beautiful pair of polychrom "cloisonné" enamel display dishes decorated with birds flying over rushes and flowers on a sky blue background, bordered with a stylized foliate motif frieze. Finely mounted with gilded bronze ornaments such bamboos, masks and scrolls.

Baccarat

Ref: 2007/21

Crystal Manufacture attributed to

Pair of Crystal Covered Vases France Circa 1900 Height: 50 cm (19 2/3 in.); Diameter: 21 cm (8 1/4 in.)

A beautiful pair of paunchy shaped vases, surmounted by their assorted covers and raised on square feet, made in fine cut-crystal, allover decorated with checkerwork and diamond motifs.

VASES, CENTERPIECES ORIENTALISM

Bibliography Dany Sautot, Baccarat, une histoire, éd. Baccarat, 1993. L'Art en France sous le Second Empire, Exposition Grand-Palais, Paris, 1979, p. 238-239. Exposition Universelle de 1867, Rapport adressé à la commission d'encouragement, classe 16 et 17, p.24- 25.

Baccarat

Ref:2007/35

Crystal Manufacture attributed to

Pair of Crystal Vases France Circa 1920 Height: 35,5 cm (14 in.); Diameter: 13 cm (5 in.)

A beautiful pair of baluster shaped vases made in fine cut-crystal, allover decorated with star and diamond motifs. Mounted at the mouth with a large sterling silver ring.

VASES, CENTERPIECES ORIENTALISM

C. Rudhardt

Ref: 3110/18

Ceramist (1829-1895)

Pair of Vases Signed Rudhardt and numbered 35 France Circa 1885 Height: 23 cm (9 in.); Diameter: 9 cm (3 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

A very fine pair of vases of slight curved form, made in fine blue-turquoise glazed earthenware. Ornated with beautiful pierced gilt-bronze mounts finely chiseled with arabesque motifs.

Baccarat

Crystal manufacture

Ref 2805/51

A Beautiful Pair of Louis XVI Style Covered Crystal Vases France circa 1880 Height : 60 cm (23.6 in.) ; Diameter : 24 cm (9 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

A very fine pair of faceted ovoid cut-crystal vases, adorned with a bronze mount of exceptional quality. Each topped with a pierced cover surmounted by a finial ; flanked by scrolled handles forming the shape of an amphora, and joining blossoming floral garlands. Raised on a circular foliate-cast base.

V. Paillard

Réf.: 1307/11

Bronze-caster (1805-1886)

A Pair of Cupids Holding Trumpet Vases Signed V. Paillard France Circa 1860 Height: 75 cm (29 1/2 in.); Base diameter: 24 cm (9 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

A fine pair of figural vases; each in the form of a patinated and gilded bronze cherub holding a cut-crystal trumpet vase. Raised on circular red Griotte marble bases. Museology Many of Paillard’s bronze pieces are now displayed in private collections as well as in renowned fine arts museums, such in the Dahesh Museum of Art in New York, exhibiting its last purchase: Sappho (1851). In Paris, the "Quai d’Orsay" (French Foreign Office) still presents since the 1860’s some great pieces by Paillard (clocks, candelabra and torcheres) in the Main Hall, the Congress Hall and the Salon of the Ambassadors. As for its Clock Room, Paillard made the clock which gave its name to the Room. Bibliography Les bronzes du XIXe siècle, P. Kjellberg, Les Ed. de l’amateur, 1989, p° 662. Masterpieces of Industrial Art and Sculpture, John Burney Waring, 1862, Plate 92.

Ch. Louchet

Réf.: 2110/17

Sculptor & Bronze-Caster (Active in the late 19th – beginning 20th C.)

Pair of “Egyptian Dancers” Vases Signed Ch. Louchet Ed. France Circa 1895 Height : 43,5 cm (17 in.) ; Width : 16 cm (6 1/3 in.) ; Depth : 11 cm (4 1/3 in.)

VASES, CENTERPIECES ORIENTALISM

A beautiful pair of two patina bronze vases, of narrow gourd shape, decorated on each side, with lowrelief Egyptian dancers holding a flower whose corolla shapes the neck of the vase, and accompanied by incised hieroglyphs. Heads of bird-dogs wearing a nemes form the handles.

Samson & Cie

Ref: 0702/87

Porcelain-maker (19th century) attributed to

Impressive Pair of Vases And Covers Bearing the mark: "AR" interlaced (Samson Manufacture) France Circa 1890 Height: 59 cm (23 1/4 in.); Diameter: 35 cm (13 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

A pair of large Chinese style white porcelain baluster shaped vases and covers. Each finely painted with polychrom 18th century style gallant scenes and flower garlands. The neck decorated with the famous gilded "caillouttis" created in the Sèvres Manufacture and the conforming domed cover with gilded finial. Bibliography F. Slitine, Samson, génie de l'imitation, Massin, Paris, 2002. Faënce et porcelaine de Paris, XVIIIe-XIXe siècles, Régine de Plinval de Guillebon, Editions Faton, Paris, 1995, p° 406 & 407.

Samson & Cie

Ref: 1508/6

Porcelain-maker (19th century) attributed to

Pair of Vases And Covers France Circa 1890 Height : 45 cm (17 3/4 in.) ; Width : 21 x 15 cm (8 1/4 x 6 in.)

VASES, CENTERPIECES ORIENTALISM

Pair of Louis XVI style baluster shaped covered vases, made in porcelain with green background and gold dots, flanked by two applied handles made of white and gold double-coiled snakes. The bodies are finely painted with polychrome medallions, representing mythological scenes such as “Diana bathing caught naked by Actaeon” and “Meleager presenting the Calydon boar’s head to Atalanta”. Beautiful ormolu ornaments mounting the cover with a finial, the rim of the neck as well as the pedestal resting on a square base. Bibliography F. Slitine, Samson, génie de l'imitation, Massin, Paris, 2002. Faënce et porcelaine de Paris, XVIIIe-XIXe siècles, Régine de Plinval de Guillebon, Editions Faton, Paris, 1995, p° 406 & 407.

P.-L. Dagoty

Ref: 2110/16

Painter on porcelain (1771-1840) attributed to

Rare Pair of ‘Tortoiseshell’ Background Vases France Circa 1820

VASES, CENTERPIECES ORIENTALISM

Height : 41,5 cm (16 1/3 in.) ; Width. : 22 cm (8 2/3 in.) ; Depth : 19 cm (7 1/2 in.

Rare pair of “krater with volutes” shaped porcelain vases painted with a brown ‘tortoiseshell’ background, called “fond écaille”. Each, painted on the neck with a banded lush polychrome decor made of garlands of fruit. This decoration is complemented by an important fine gilded decor representing vine branches, palm leaves and lotus flowers. The vases are based on gilded bronze bases decorated with wreaths of laurel and waterleaves. The originality and prowess of the ‘tortoiseshell’ background adding an exotic note to the vases, and the preciousness of gilded ornaments reflect the high quality of execution of them. Bibliography Un Âge d’or des Arts décoratifs 1814-1848, Paris, 1991, p. 102-104. La porcelaine française, C. Dauguet, D. Guilleme-Brulon, Ed. Ch. Massin, Paris, p. 62.

One “Cordelier” vase with the ‘tortoiseshell’ background, delivered to the Apollo Gallery at the Palace of Saint-Cloud in 1802 (preserved in the Louvre Museum, Inv. LP3272-73).

One “Clodion” vase with the ‘tortoiseshell’ background, acquired by King Louis XVIII at the Exhibition of Products Manufactures of 1818 (preserved in the Louvre Museum, Inv. OA11340-41). 42

F. Duvinage

(1823-1876)

Ref: 2911/9

A. Giroux

(active from 1799 to 1885)

Designers & Art Objects Editors

Plant Pot France Circa 1875 Signed FD Bté and ALPH. GIROUX PARIS Height : 14,5 cm (5 ¾ in); Width. : 10,5 cm (4 1/8 in); Depth. : 10 cm (4 in)

VASES, CENTERPIECES

Rare trapezoid plant pot made of gilded bronze and tinted fruitwood, copper and ivory marquetry. It is made of four slabs decorated with branches, flowers and berries are tightly held within gilt bronze mounts which comprise an openwork frieze and a beaded frieze, and rests on doe hoofs. The presence of Ferdinand Duvinage’s signature (FD Bté for « Ferdinand Duvinage Breveté ») allows us to precisely date our plant pot between 1874, the year of the patent, and 1876, the year of his death.

F. Duvinage

(1823-1876)

Ref: 0702/106

A. Giroux

(Active from 1799-1885)

Designer and Art Objects Editor

"Fan" Signed FD Bté and Alph. Giroux Paris France, circa 1875

Other Decorative Objects

Height: 30 cm (11 3/4 in.) ; Width : 55 cm (21 2/3 in.)

Rare table mirror in the shape of an open fan ornamented with a naturalistic decoration in the Japanese style. It is made of tinted fruitwood marquetry on a cloisonné ivory background according to the technique invented and patented by Ferdinand Duvinage in 1874. The mirror rests on a gilt-bronze easel foot. The shape and the decoration of this mirror remind of extreme-oriental influences. The frame is ornamented with a plant decoration with inlaid branches and flowers on a cloisonné ivory background. At the bottom of the mirror, a centering bird, spreading its wings, stands on a rock, ready to catch an insect. The marquetry work and the wood varieties subtly reproduce the shades of foliage and feathers as a real painting. The copper cloisonné is a part of the decoration since it constitutes branches. Duvinage’s Marquetery The marquetry technique used to adorn this writing case is a technique specific to Ferdinand Duvinage. On 6th May 1874, Ferdinand Duvinage filed a first patent for “a kind of mosaic inlaying made of partitioned metal to be used on furniture and art objects”. The process he invented is “the combined meeting of ivory as background, stained or exotic woods used for ornaments, and copper or other metal to partition ivory”. The ivory is intended to form the bottom and is hollowed to “insert the wooden mosaic” and the son of copper. The first patent is complemented by two additions. In February 1876, Duvinage imagined replacing ivory by imitating wood, such as boxwood. In November 1876, he offered further to enrich the decoration by adding “applied metal or other material (...) inlaid with pearls and precious stones”. This latter type of ornamentation was however little used by Duvinage. The Japanese style decors were always associated with nature, birds and plants. In 1876, Rosalie Duvinage named “the Duvinage widow” took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese inspiration, adding pearl decoration to the previous patent. We do not, until now, know any furniture, object or panel with pearl decoration. The presence of the Ferdinand Duvinage’s signature (FD Bté for « Ferdinand Duvinage Breveté ») allows us to precisely date our writing case, between 1874, the year of the patent, and 1876, the year of his

Pannel with a bird, Metropolitan Museum of Art, New York.

Tazza with a bird, Victoria and Albert Museum, London.

A Pair of Oriental Style Porcelain Vases

Ref: 0912/15

France Circa 1850 Height: 45 cm (173/4 in.); Diameter: 25 cm (9 3/4 in.) x 22 cm (8 2/3 in.)

VASES, CENTERPIECES

A lovely pair of baluster form vases made of white porcelain, richly decorated with a polychrome floral bouquet painted on the front cartridge, bordered by a pierced and gold frieze on a â&#x20AC;&#x153;Valentine Blueâ&#x20AC;? background. A fine gilded oriental style stylized foliate decor adorns the whole vase, while a more sober decor of blue and gold adorns his back.

F. Barbedienne Bronze-caster (1810-1892)

ref.

0303/34

Elegant Renaissance Revival Display Bowl Signed F. Barbedienne France Circa 1870 Height : 42 cm (16 1/2 in.) ; Width : 48 cm (19 in.) ; Depth : 34 cm (13 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

A very fine display bowl made in gadrooned Belgian black fine marble, mounted with Renaissance style gilded and silvered bronze ornaments such as scalloped cartouches and acanthuses, lion muzzles, satyr heads and winged putti at the foot.

Saint-Louis Crystal manufacture

ref.

0303/32

attributed to

The Ship “ Le Saint-Louis ” A Model Of Greater Dimensions Probably Exposed At The Universal Exhibition Of 1889 Height : 55 cm (21 ¾ in.) ; Width : 45 cm (17 3/4 in.) ; Depth : 15,5 cm (6 in.)

VASES, CENTERPIECES ORIENTALISM

Saint-Louis Crystal manufacture

Ref: 2110/23

attributed to

The Ship “ Le Saint-Louis ” Probably Exposed At The Universal Exhibition Of 1889 Height : 64 cm (25in.); Width : 60 cm (23 2/3 in.); Depth : 20 cm (7 ¾ in.) With base – Height : 71 cm (28 in.); Width : 60 cm (23 ¾); Depth : 31 cm (12 ¼)

VASES, CENTERPIECES ORIENTALISM

A rare boat-like center table made of crystal and gilt bronze, whose chasing imitates wood grain on the hull. Equipped with its oars, its mobile rudder, its ropes and with a mast on which the flag “Le StLouis”. In the middle of the hull is embedded a nice cut-crystal bowl, finely engraved with Greek motifs and, and with a crystal bell at the stern of the vessel which can ring. That set is presented on a display base covered with red velvet and lined with three thin strips of gilded brass.

A Fine Pair of Louis XVI Style "Sèvres Gros Bleu" Porcelain Vases

Ref: 3110/13

France Circa 1880 Height: 40 cm (15 3/4 in.); Diameter: 30 cm (15 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Pair of "Campana" shaped dark blue "Sèvres gros bleu" porcelain vases. Beautifully mounted with Louis XVI style gilded bronze ornaments forming the rim, the water faun heads and foliate garlands forming the handles and the spreading gadrooned foot raised on a plain square base.

Neoclassical Pair of Vases

Ref: 0812/62

France Circa 1880

VASES, CENTERPIECES ORIENTALISM

Vases: Height: 78 cm (30.70 in.) ; Diam. : 48 cm (18.89 in.) Columns : Height: 71 cm (27.95 in.) ; Diam. : 39 cm (15.35 in.) Vases and columns: Height: 148 cm 1(58.26 in.); Diam. : 48 cm (18.89 in.)

Beautiful pair of tight neck belly vases in ribbed stoneware, embellished with a neoclassical décor of ram heads, scrolls and acanthus leaves. They present a rich polychrome décor with nuanced tones of white cream, pale green, black and Pompeian red, distinctive of the Villeroy & Boch manufacture’s works. Rests on assorted neoclassical columns. Signed GL&SL - 1819

VASES, CENTERPIECES ORIENTALISM

Important

pair of Neo-Greek vases ď &#x2022; by

F. Levillain Sculptor

(1837-1905)

F. Barbedienne Bronze-caster (1810-1892)

F. Levillain Sculptor

Ref: 1307/22

(1837-1905)

F. Barbedienne

Bronze-caster (1810-1892)

Important Pair of Néo-grec Amphora-Shaped Vases Signed F. Levillain and F. Barbedienne France 1878

VASES, CENTERPIECES ORIENTALISM

Height.: 146 cm (57 1/2 in.) ; Diam.: 43 cm (17 in.)

Each with a waisted neck raised with bearded satyr masks supporting foliate and fruit swags, the tapering body with upper band cast with birds, wild animals and vases of fruit, above central bands, on one side depicting a seated youth supporting a basket of ducks and a rabbit, conversing with a maiden carrying a fruit-laden basket; the reverse side depicting a peacock, goat and altars supporting baskets of fruit, applied with loop handles with anthemion terminals, seated sphinxes among scrolling foliage, with fluted lower section. Supported on a triple anthemion-cast lion-paw monopodiae, on tri-form acanthus-cast base. Reposing on moulded green marble bases. Bibliography Catalogue sommaire illustré des arts décoratifs, Musée d’Orsay, RMN, Paris, 1988. The illustrated catalogue of the Paris International Exhibition 1878, Virtue & Co., p°153. « L’Art décoratif », La médaille française contemporaine, Ch. Saunier, 1901, p° 65 et 67. Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p°260. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p° 26.

The model of these Etruscan Amphoras had been exposed at the 1878 Paris Universal Exhibition. Related Work: A similar pair of vases is now displayed at the Paris Decorative Arts Museum (inv. 997.117.2 et 997.117.3). 66

Royal Porcelaine Manufacture of Berlin

Ref: 2110/18

Porcelain Manufacture attributed to

Pair of Ormolu PorcelainVases Germany 2nd half of the 19th century Height : 52,5 cm (20 2/3 in.) ; Width : 24 cm (9 1/2 in.) ; Depth : 19 cm (7 1/2 in.)

Magnificent pair of amphora shape vases, made of fine porcelain, richly decorated with painted panels on Prussian blue background, also called Berlin blue. The decorations that are painted on one side represent allegories of Day and Night, female figures draped in antique style and holding censers, inspired from the paintings made by Raphael in the early sixteenth century in the Borgia apartments in the Vatican Apostolic Palace.

VASES, CENTERPIECES ORIENTALISM

“The Third Hour of the Day” by Raphaël, engraving preserved at the British Museum in London (inv. 0710.2956).

“The Fourth Hour of the Night” by Raphaël, engraving preserved at the British Museum in London (inv. 0710.2963).

On the other side, polychrome portraits of important figures of the Renaissance are framed with luxurious white and gold jewellery ornaments and angels overcoming. On the neck, elegant gray monochrome panels with putti and various musical instruments. They are completed with beautiful chiseled and gilded bronze mounts, such the foliate handles and the molded bases decorated with a torus of laurel leaves.

Baccarat

Crystal manufacture

Ref 2110/1

attributed to

Important Pair of Opaline Crystal Vases France Circa 1850 Height : 60,5 cm (23 7/8 in.) ; Diam. : 23,5 cm (9 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

Important and rare pair of “baluster” shaped opal crystal vases. Executed in white opal crystal, they are adorned with a sumptuous painted decoration composed of flower garlands with bouquets finely painted with a wide range of colours. This decoration is completed with gold on the feet and the neck of the vase enriching these remarkable pieces of opal crystal. That elegant decoration was probably painted by Jean-François Robert (1778-1870), who was a painter at the Sèvres porcelain Manufacture and who worked for the Baccarat Manufacture between 1845 and 1860. The first painted decorations on opal crystal were baked at low-temperature and were easily damaged. The creation of a painted and vitrified decoration allowed stabilizing durably on the opaline an abundant and vivid decoration often composed of flowers and enhanced with gold. The technic of opal glass, obtained by addition of tin oxide, was known in Venice as soon as the 16th century. However it was only in 1810 that this technic was adapted to crystal in France. The first opal crystal pieces were adorned with a cutwork and gilt bronze mounts, but short after the painted and baked decoration then developed adorned opal crystal pieces with polychrom and refined ornaments, creating real paintings on opal crystal. Bibliography Dany Sautot, Baccarat, une histoire, éd. Baccarat, 1993. L’Art en France sous le Second Empire, Exposition Grand-Palais, Paris, 1979, p. 238-239. Exposition Universelle de 1867, Rapport adressé à la commission d’encouragement, classe 16 et 17, p. 24 -25.

The Victoria and Albert Museum (London) preserves an opal crystal vase which is similar to ours and showing a flower and gold decoration attributed to Jean-François Robert (Inv. 4622-1901).

Baccarat

Crystal manufacture

Ref 2110/9

attributed to

Beautiful Pair of Opaline Crystal Vases France Circa 1850 Height : 51 cm (20 1/8 in.) ; Diam. : 21 cm (8 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

Pair of opal crystal “baluster” shaped vases. Executed in white opal crystal, they are adorned with a sumptuous painted decoration composed of flower garlands with bouquets finely painted with a wide range of colours. This decoration is completed with gold scrolls enriching these remarkable pieces of opal crystal. That elegant decoration was probably painted by Jean-François Robert (1778-1870), who was a painter at the Sèvres porcelain Manufacture and who worked for the Baccarat Manufacture between 1845 and 1860. The first painted decorations on opal crystal were baked at low-temperature and were easily damaged. The creation of a painted and vitrified decoration allowed stabilising durably on the opaline an abundant and vivid decoration often composed of flowers and enhanced with gold. The technic of opal glass, obtained by addition of tin oxide, was known in Venice as soon as the 16th century. However it was only in 1810 that this technic was adapted to crystal in France. The first opal crystal pieces were adorned with a cutwork and gilt bronze mounts, but short after the painted and baked decoration then developed adorned opal crystal pieces with polychrom and refined ornaments, creating real paintings on opal crystal. Bibliography Dany Sautot, Baccarat, une histoire, éd. Baccarat, 1993. L’Art en France sous le Second Empire, Exposition Grand-Palais, Paris, 1979, p. 238-239. Exposition Universelle de 1867, Rapport adressé à la commission d’encouragement, classe 16 et 17, p. 24 -25.

The Victoria and Albert Museum (London) preserves an opal crystal vase which is similar to ours and showing a flower and gold decoration attributed to Jean-François Robert (Inv. 4622-1901).

Baccarat

Crystal manufacture

Ref 2110/2

attributed to

Beautiful Pair of Opal Crystal Vases France Circa 1850 Height : 51 cm (20 1/8 in.) ; Diam. : 21 cm (8 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

Baccarat

Crystal manufacture

Ref 2110/10

attributed to

Beautiful Pair of Opal Crystal Vases France Circa 1850 Height : 35 cm (13 3/4 in.) ; Diam. : 17 cm (6 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Pair of opal crystal « trumpet» shaped vases executed in white opal crystal. They are adorned with a sumptuous painted decoration composed of flowers finely painted with a wide range of coulours. This decoration is completed with a gold net on the feet and the neck of the vases

That elegant decoration was probably painted by Jean-François Robert (1778-1870), who was a painter at the Sèvres porcelain Manufacture and who worked for the Baccarat Manufacture between 1845 and 1860. The first painted decorations on opal crystal were baked at low-temperature and were easily damaged. The creation of a painted and vitrified decoration allowed stabilising durably on the opaline an abundant and vivid decoration often composed of flowers and enhanced with gold. The technic of opal glass, obtained by addition of tin oxide, was known in Venice as soon as the 16th century. However it was only in 1810 that this technic was adapted to crystal in France. The first opal crystal pieces were adorned with a cutwork and gilt bronze mounts, but short after the painted and baked decoration then developed adorned opal crystal pieces with polychrom and refined ornaments, creating real paintings on opal crystal.

Bibliography Dany Sautot, Baccarat, une histoire, éd. Baccarat, 1993. L’Art en France sous le Second Empire, Exposition Grand-Palais, Paris, 1979, p. 238-239. Exposition Universelle de 1867, Rapport adressé à la commission d’encouragement, classe 16 et 17, p. 24 -25.

Baccarat

Crystal manufacture

Ref 2110/19

attributed to

Pair of Opal Crystal Vases France Circa 1840 Height : 25 cm (9 3/4 in.) ; Diam. : 12 cm (4 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Pair of opal crystal “baluster” shaped vases. Executed in white opal crystal, they are adorned with a painted decoration composed of vine leaves painted with in blue. This decoration is completed with gold scrolls enriching these pieces of opal crystal.

The 1878 Universal Exhibition Vase ď &#x2022; by

SĂ¨vres

Porcelain Manufacture

H.-A. Fourdinois Cabinet-maker (1830-1907)

Sèvres

Ref: 0702/1

Porcelain Manufacture

H.-A. Fourdinois Cabinet-maker (1830-1907)

The 1878 Universal Exhibition Vase Signed Ab. Schilt de Sèvres P. Avisse Inv. and Derichsweiler Pinx. and dated 1878 France Height: 111 cm (43 3/4 in.); Width: 50 cm (19 2/3 in.); Depth: 35 cm (13 3/4 in.)

Designed by Paul-Alexandre Avisse (1824-1886) and executed by Charles-Gérard Derichsweiler (18221890), decorator and Abel Schilt (born in 1820) for the painted medallion; ormolu by Henri-Auguste Fourdinois (1830-1907).

VASES, CENTERPIECES

PROVENANCE : - 1878 Universal Exhibition in Paris - Henri-Auguste Fourdinois coll. - Fourdinois Sale, 24-25 January 1887, sold to Mr. Romeuf. - Private collection, United States. This vase was presented by Fourdinois at the 1878 Paris Universal Exhibition (in Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p°110 & 260)

This baluster form Neo-Renaissance vase is decorated with a composition of plants arabesques in blue and white tones on a yellow background. The painter and ornemaniste Paul Avisse, from the “Manufacture de Sèvres”, has imagined the design and general composition of the decor. On each face, a putto supports a pale pink cartouche framing a painting signed by “Abel Schilt de Sèvres”: “L’Aurore” (Dawn) and “Le Crépuscule” (Dusk). The neck is ornamented of blue flowers garlands on yellow and green background held by pink ribbons. The rich chiseled and chased gilt bronze mount decorating the vase is composed of interlacing circles separating the neck from the belly, female mascaron handles finishing in scrolls and a moulding base supported by four lion claws.

1878 Universal Exhibition

VASES, CENTERPIECES

Born from the collaboration between artists from the Sèvres Manufacture and H.-A. Fourdinois, the vase is exhibited on the famous cabinet-maker’s booth during the 1878 Universal Exhibition. An engraving of the booth is reproduced in l’Art des Industries de tous les peuples à l’Exposition Universelle de 1878, Paris, Librairie Illustrée, p.260. It is worth noting that during this same exhibition, the Sèvres Manufacture has presented the following objects: - La Vendange, vase by M. Derichwalley - Le Triomphe de la Vérité, brilliant composition by M. Abel Schilt - A jewellery box, by M. Avisse.

After the 1878 Universal Exhibition, the vase stayed in Fourdinois’ collection until 1887. It was then sold during Henri-Auguste Fourdinois’s collection sale, on the 24th and 25th of January 1887 at Drouot auction house under the n°175 with the description: « Beau vase de style Renaissance, en pâte tendre, décoré par Paul Avisse, de la manufacture de Sèvres. Il est monté sur un socle à quatre griffes en bronze doré, les anses sont à figures de femmes et se terminent par un ornement en forme de volute. » 84

(“beautiful Neo-Renaissance style vase, soft-paste porcelain, decorated by Paul Avisse from the Manufacture de Sèvres. It stands on a base with four lion claws, handles in shape of feminine figure ending with an ornament in the form of a scroll.”).

It was finally sold for the price of 1505 francs to Mr. Romeuf, collector of ancient porcelain, as

described in the payment discharge of the auctioneer Paul Chevallier. Related Works

* Pair of Louis XV style vases, tulip shaped, in soft-paste porcelain, blue background, embossed gilded and white décor; oval painted medallions by Abel Schilt representing, on one side a scene from the commedia dell’arte on the other a putti crowning a bust and the lion in love after Roqueplan (1855) ; Williamson, Catalogue du musée du Garde-Meuble, 1892. * Two beautiful and important Tournai porcelain vases, soft-paste, embellished with pastoral scenes medallions in Boucher’s style; these paintings by Abel Schilt from the Sèvres Manufacture; gilded bronze mounts ( Vente Monbro, 29 Janvier 1869, Hôtel des ventes Drouot).

* Green background Gubbio trumpet-shaped vase (1883, Cité de la Céramique, Sèvres). Shape imagined by Carrier-Belleuse inspired by the Renaissance, chimeras on the base designed by Paul Avisse, black under green enamel grape-harvest décor by Brunel and gilded by Derichsweiler and Coursaget.

* Vase de la vendange (grape harvest vase) ; Sèvres blue background and gilded characters (1874). Composition by Avisse, executed by Derichsweiler; delivered to the Louvre.

Bibliography - Paul Avisse et Émile Renard, L’Art céramique au XIXe siècle. Recueil de compositions nouvelles, formes et décorations, Paris, A. Lévy, 1876. - L’art et l’industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris, p. 260. - The Illustrated Catatlogue of the Paris International Exhibition 1878, London, Virtue & Co, p. 110. - Jules Brunfaut (dir.), L’Exposition universelle de 1878 illustrée : publication internationale autorisée par la Commission, Paris 1878, p. 432. - Édouard Garnier, « Avisse (Paul) », in La Grande Encyclopédie : inventaire raisonné des sciences, des lettres et des arts, Berthelot (dir.), Paris, H. Lamirault, 1885-1902, p. 923-924. - Comte de Chavagnac et Marquis de Grollier, Histoire des manufactures françaises de porcelaine, précédée d’une lettre de M. le Marquis de Vogüé, Paris, A. Picard et fils, 1906. - Tamara Préaud, « Le « style Renaissance » à Sèvres au XIXe siècle », Revue d’art canadienne, n°6, 1979-1, p. 28-35. - Sabine Lubliner-Mattatia, Les fabricants parisiens de bronzes d’ameublement, 1848 – 1900, thèse de doctorat sous la dir. de Bruno Foucart, Paris, Université Paris-Sorbonne, 2003. - Antoinette Faÿ-Hallé (dir.), Les Vases de Sèvres, XVIII-XXIe siècles. Éloge de la virtuosité, Dijon, Faton, 2014. 85

Centerpieces ď &#x2022; by

Jacob Petit Porcelain maker (19th century)

and

J.-B. Klagmann Sculptor

(1810-1867) attributed to

G. DeniĂ¨re Bronze-caster (1815-1903) attributed to

J.-B. Klagmann

Ref: 0408/4

Sculptor

(1810-1867) attributed to

G. Denière Bronze-caster (1815-1903) attributed to

Jacob Petit Porcelain maker (19th century)

Centerpieces France Circa 1850

VASES, CENTERPIECES

Height: 54/65 cm (21 1/4 in. / 25 1/2 in.); Diameter: 25 cm (9 3/4 in.)

A set of three ormolu and silvered bronze dessert stands, ornated with porcelain plates signed by Jacob Petit (JB). Each stand with molded gilt-edged strapwork reserved on a green ground is decorated with the crests of five ribbon-tied arrows symbolizing the five Rothschild family branches, within a banner inscribed with their Latin motto Concordia Industria Integritas and a gilt S, for Salomon de Rothschild, in an iron-red shield. The graduated tiers are supported on a central flower and fruit decorated stem with monkey shaped loop finial. The domed base is ornated with a lion, a parrot, a griffin and a phoenix. These pieces are to linked to the dessert set bought from G. Denière by the Duke d’Orléans in 1840, whose pieces modeled by J.B. Klagmann were presented at the Industrial Products Exhibition held in Paris in 1844. Three dishes and fruit bowls are now displayed at the Decorative arts Museum of Paris (Inv. 18273 A,B,C).

Provenance:

- Former collection of Baron Salomon de Rothschild (1835-1864), the third born of the four sons of Baron James de Rothschild (17921868), who founded the Paris Rothschild family branch. - Former collection of la Dona, the famous Mexican movie star Maria Felix (1914-2002).

A Louis XVI Style Jardiniere

The "SĂ¨vres" Manufacture

Ref 3110/24

attributed to

France Circa 1880 Height: 29 cm (11 1/2 in.); Width: 40 cm (15 3/4 in.); Depth: 26 cm (10 1/4 in.)

VASES, CENTERPIECES ORIENTALISM

An octogonal jardiniĂ¨re, consisting of a gilded bronze case decorated in the Louis XVI style with aprons, scrolled cartouches, tied ribbons, laurel and flower garlands; inserting celest blue porcelain plaques, ornated with gilded scrolls centering polychrom flower bouquets. In the lower part, a centered medallion with a painted porcelain portrait of Queen Marie-Antoinette. Fitted with its metal insider.

L. Oudry Bronze-caster

Ref 1508/8

(Active since 1854)

Pair of Neoclassical Bronze Urns Signed Oudry & Cie, Pres Editeurs, Déposé France Circa 1860 Height : 28 cm (11 in.) ; Diameter : 22,5 cm (8 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Beautiful pair of Louis XVI style silvered and gilded bronze handled planters, decorated with fine ornaments such acanthuses, ribbons, medallions and laurel leaves. Reposing on a round leafy piedouche.

G. Servant Bronze-caster

Ref 1307/24

(1828-c.1890)

« Vase of Bacchus » France Circa 1867

Model presented at the 1867 Paris Universal Exhibition

(Reproduced and commented in « Merveilles de l’Exposition Universelle de 1867 », Jules Mesnard, p° 167 & 168)

Height : 45 cm (17 3/4 in.) ; Width : 41 cm (16 in.) x 29 cm (11 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

A Neo-Grec ormolu and patinated bronze urn. The vase shaped body flanked to the sides by a scrolling handle with mask terminal, centred to the front and back by a beast mask suspending a ring, on a waisted foot above a quadripartite pierced base decorated to the front and back with figures of Victory cast in low relief, the sides with stylized lotus, on splayed paw feet. Works in Connection A neo-Egyptian garniture made by Georges Servant in collaboration with Emile Hébert, Universal Exhibition of Paris in 1867.

Bibliography: Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167. The Art Journal Catalogue of the Paris Universelle Exposition of 1867, London, 1867, p° 20. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p° 26. “La petite sculpture au XIXe s. Les éditeurs”, Bernard Metman, Archives de l’Art français, 1989, t. XXX, p° 210

Exceptional Jardiniere ď &#x2022; L. MessagĂŠ Designer-Sculptor (1842-1901)

E. Colin Bronze-caster

(2nd half of the 19th century) attributed to

L. Messagé

Ref: 2007/17

Designer-Sculptor (1842-1901)

E. Colin

Bronze-caster

(2nd half of the 19th century) attributed to

Exceptional Jardiniere France Circa 1885 Height: 32 cm (12 1/2 in.); Width: 60 cm (23 2/3 in.); Depth: 31 cm (12 1/4 in.)

VASES, CENTERPIECES

Made of silver plated bronze, finely chased, with decoration of gadroons, cupids, shells and acanthus leaves; standing on four scrolled feet including two dolphins. With this jardinière, showing us the genius of the sculptor in the vigorous style to his motifs, Léon Messagé worked with one of the greatest 19th century French bronze-casters Emile Colin. Bibliography Les bronzes du XIXe siècle, Pierre Kjellberg, Les éditions de l’amateur, Paris, 1989, p° 658. "La petite sculpture au XIXe s. Les éditeurs", Bernard Metman, Archives de l'Art français, 1989, t. XXX, p° 183

102

103

E.M. Falconet

Sculptor (1716-1791)

Ref : 2911/10

in the taste of

Pair of perfume burners with the three graces France Circa 1880 Height. : 39 cm (15 Âź in) ; Diam. :14 cm (5 Â˝ in)

VASES, CENTERPIECES ORIENTALISM

Charming pair of gilded bronze and marble perfume burners representing the three graces playing around a finely wrapped column, in the manner of Etienne Falconet (sculptor, 1716-1791). Each group supports an openwork incense burner with twisted ribs, resting on a scrolling frieze and crowned by a flower bouquet. This piece stands on a fluted base which sits on top of a white marble circular plinth. Several variations of bronze models featuring the three graces and made in the 18th century are known. They were very successful during the 19th century. A probable inspiration for these groups would be the white marble clock by Etienne-Maurice Falconet (1716-1791), circa 1770, which is in the collections of the Louvre Museum (OA6525).

106

L.C. Sevin Ornemanist (1821-1888)

Ref : 0801/1

F. Barbedienne Bronze-Caster (1810-1892)

Japanese Tray Circa 1860 Height.: 13,5 cm (5,3 in.) ; Width.: 68 cm (26,7 in.); Depth.: 43 cm (16,9 in.)

VASES, CENTERPIECES

Rich landscape in cloisonné enamel on blue and brown background imitating Aventurine stone. The décor represents a river surrounded by wisterias, chrysanthemums, peonies, iris and reeds, led by birds and fishes. A frieze with floral pattern frames the set. The email rests on a beautiful bronze frame with four elephants heads feet topped by handles with typical lambrequin from Barbedienne’s production.

108

Important Centerpiece ď &#x2022; by

P. Girola & Cie Sculptor & Bronze-caster (2nd half of the 19th century)

112

P. Girola & Cie

Ref: 2007/16

Sculptor & Bronze-caster (2nd half of the 19th century)

Important Bronze Centerpiece Milano â&#x20AC;&#x201C; Italy Circa 1870 Height : 101 cm (39 3/4 in.) ; Width: 68 cm (26 3/4 in.) ; Depth: 55 cm (32 2/3 in.)

Important gilded bronze table centerpiece ornated with shepherd children and triton-horses, seated on a fine red Griotte marble terrace, surrounded by four large sea-shells. The composition is surmounted by two further gilt-bronze shells, then a cut-crystal polylobed bowl with its assorted trumpet vase.

VASES, CENTERPIECES ORIENTALISM

Bibliography : Gli scultori italiani dal Neoclassicismo al Liberty, Vincenzo Vicario, Il Pomerio, 1994, t. I, pÂ° 147.

114

115

"The Music and The Dance" Centerpiece ď &#x2022; by

Christofle Silversmith (19th century)

M. Moreau Sculptor

(1822-1919)

A. Madroux Ciselor

(Dead in 1870)

Christofle

Ref: 1307/7

Silversmith (19th century)

M. Moreau Sculptor

(1822-1912)

A. Madroux Ciselor

(Dead in 1870)

"The Music and The Dance" Centerpiece Signed Christofle and numbered 1015745 France Circa 1878

VASES, CENTERPIECES

Height: 37cm (14 1/2 in.); Length: 105cm (41 1/2 in.); Width: 53 cm (20 3/4 in.)

A very fine French silver-plated centrepiece, designed by Mathurin Moreau, of oval form cast with the muses Terpsichore and Melpomene representing Dance and Music, the border cast with grapes and acanthus leaves, centered by a medallion cast with pearls, palms and shells, and engraved with a coatof-arms flanked by two lions.

Related work:

According to the Archives Dept. of the Bouilhet-Christofle Museum in Saint-Denis, this table centerpiece is listed under the following description "Dance and Music" and based on a model shown at the international Exhibition in Vienna in 1873. The model was designed by Mathurin Moreau for Christofle, with the Chiseling by Madroux. Another example is preserved in the ElysĂŠe Palace in Paris.

118

122

VASES, DECORATIVE CENTERPIECES ARTS ORIENTALISM

123

Rare Pair of Porphyry Jardinieres ď &#x2022; A. Beurdeley

Cabinet-maker and Bronze-caster (1808-1882) attributed to

A. Beurdeley

Ref: 0702/21

Cabinet-maker and Bronze-caster (1808-1882) attributed to

Rare Pair of Porphyry Bowls France Circa 1865 Height: 30 cm (11 3/4 in.); Diameter: 35 cm (13 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Rare pair of bowls made in beginning 18th century red Porphyry, mounted with beautiful Louis XV style gilded bronze ornaments, such the large scalloped acanthuses and the water cascades around the rim. Porphyry is a variety of igneous rock consisting of feldspar dispersed in a fine-grained feldspathic matrix. The term "porphyry" is from Greek and means "purple", which was the color of royalty, and that deep purple "Imperial Porphyry" was highly prized for various monuments in Imperial Rome under the reign of the DioclĂŠtien (244-311) and later. Pliny's Natural History affirmed that the "Imperial Porphyry" had been discovered at an isolated site in Egypt in AD 18 by Roman legionaries. All the porphyry columns in Rome, vases and fountain basins reused in the Renaissance and much later, all came from the one quarry at Mons Porpyritis ("Porphyry Mountain", the Arabic Jabal Abu Dukhan, in the Eastern Desert of Egypt), which seems to have been worked intermittently between 29 and 335 AD. Refering also the blood of the Eucharist, porphyry was extensively used in Byzantine imperial monuments, for example in Hagia Sophia and in the "Porphyra", the official delivery room for use of pregnant Empresses in the Great Palace of Constantinople. After the 4th century the quarry was lost to sight for many centuries. The scientific members of the French Expedition under Napoleon I sought for it in vain, and it was only when the Eastern Desert was reopened for study under Muhammad Ali that the site was rediscovered in 1823. Until the 18th century, one reused therefore porphyry from ancient monuments, until new quarries were discovered in Russia and Sweden.

126

"The Four Elements" Centerpieces ď &#x2022; by

J. Lopienski Polish bronze-caster (1838-1907)

131

J. Lopienski

Ref: 0702/16

Polish bronze-caster (1838-1907)

"The Four Elements" Centerpieces Signed Lopienski Warszawa Circa 1878 Height: 26 cm (10 1/4 in.); Length: 83 cm (32 2/3 in.); Width: 62 cm (24 1/2 in.)

VASES, CENTERPIECES ORIENTALISM

Exceptional pair of oval red griotte marble centerpieces. Ornated with exceptional gilded bronze mounts representing putti with attributes symbolizing "The Four Elements": Fire, Air, Earth and Water. Reposing on top feet. These cupids are to be linked to those sculpted by Gustave Doré for his mirror with putti, cast in 1877 (museum of the royal monastery of Brou, Bourg-en-Bresse), for his exceptional vase Le Poème de la Vigne presented at the Paris Universal Exhibition of 1878 (de Young museum, San Francisco) or for his clock Le Temps fauchant les Amours, cast in 1879 (Decorative Arts museum, Paris). Bibliography The Polish Biographical Dictionary, Stanley S. Sokol, Sharon F. Mrotek Kissane, Alfred L. Abramowicz, Bolchazy-Carducci Publishers, Wauconda, Illinois, USA, 1992, p°234. Gustave Doré, un peintre-né, Exposition au Musée du monastère royal de Brou, Bourg-en-Bresse, 2012, p°15 & 64.

On the left: Mirror with putti by Gustave Doré, cast in 1877 (museum of the royal monastery of Brou, Bourg-enBresse) On the right: Le Poème de la Vigne by Gustave Doré, vase presented at the Paris Universal Exhibition of 1878 (Young museum, San Francisco)

132

133

134

135

Rare Set of Urns and Pedestals ď &#x2022; by

A.-E. Beurdeley

Cabinet-maker and bronze-caster (1847-1919)

A.-E. Beurdeley

Ref: 1307/12

Cabinet-maker and bronze caster (1847-1919)

Rare Set of Urns and Pedestals Signed « BY » on the back of the bronze mounts France Circa 1890 Urns / Height : 76 cm (30 in.) ; Width : 62 cm (24 1/2 in.) Pedestals / Height : 115 cm (45 1/3 in.) ; Base : 53 x 53 cm (20 3/4 x 20 3/4 in.)

VASES, CENTERPIECES ORIENTALISM

Exceptional pair of gilded bronze and gadrooned very rare « African Brèche » marble covered vases. Beautifully decorated with acanthus leaves, scrolls and lion masks motifs. Magnificent pedestals decorated on three sides with exceptional « Sicily Jasper » plaques framed with water leaves motifs. Gilt-bronze mounts figuring lion masks, scrolls, garlands, acanthus leaves and laurel crowns. Considering the quality of the bronze chiseling, of the mercury gilding as well as the rarety of the marbles such the « African Brèche » and « Sicily Jasper », these presented pieces can be considered as one of the most prestigious works produced by A.-E. Beurdeley.

RELATED WORKS : A similar pair of vases, made in gilded bronze mounted porphyry, was made by Alfred-Emmanuel Beurdeley for the Great Hall of The Breakers, Newport (USA), the luxurious estate of Cornelius II Vanderbilt.

Alfred-Emmanuel Beurdeley took inspiration for his vases from the famous model, made in antique porphyry, mounted with gilt bronzes in the eighteenth century and now part of the collections of the Louvre Museum.

138

Exceptional Pair of Jardinieres ď &#x2022; BY

F. Barbedienne Bronze-caster (1810-1892)

L.-C. SĂŠvin

Sculptor-ornemanist (1821-1888)

F. Barbedienne

Ref: 2106/1

Bronze-caster (1810-1892)

L.-C. Sévin

Sculptor-ornemanist (1821-1888)

Exceptional Pair of Jardinieres Signed F. Barbedienne Model presented at the 1889 Paris Universal Exhibition

(Reproduced and commented in Victor Champier’s book "Les Industries d’Art, Exposition Universelle de 1889")

France

VASES, CENTERPIECES

Height: 61 cm (24 in.); Width: 75 cm (29 1/2 in.); Depth: 35 cm (13 3/4 in.)

A pair of exceptional jardinieres made in a very beautiful red "Griotte" marble. Each of "crater" shape, the centerpiece is sumptuously adorned with Renaissance style gilded bronze mounts cast after a design by Louis-Constant Sévin, such the mask of Medusa beneath a shell and flanked by swirling foliate acanthus with gadrooned rim. The handles cast with seated thinking putti on lion head-cast handles.

Related work:

The model of this jardiniere, designed by Constant Sévin for Ferdinand Barbedienne, was shown at the Universal Exhibition held in Paris in 1889 (reproduced in "Les Industries d’Art, Exposition Universelle de 1889" by Victor Champier) During the 1889 exhibition, Ferdinand Barbedienne was once again successful, as he was awarded the "Grand Prix" as well as 25 cooperator medals for "a whole collection of jardinieres, candelabra,… all of very superior quality; and two beautiful pieces of furniture for which M. Constant Sévin was very talented". Ferdinand Barbedienne’s stand then was also a place dedicated to his famous designer Constant Sévin, where one could admire his complete work.

144

Important Pair of Urns ď &#x2022; Attributed to

E. HAZART Bronze-caster

E.Hazart

Ref: 0501/72

Sculptor & Bronze-caster Attributed to

Important Pair of Urns France Circa 1880 Height : 60 cm (23 in.2/3) ; Width : 57 cm (22 in.1/2) ; Depth : 35 cm (13 in. 2/3) Magnificent pair of Antic green marble and ormolu-mounted urns, « navette » shaped, resting on a splayed foot. The mounts consist in two scrolling foliage handles running down the sides, a Greek frieze and two medallions representing on one side Louis XVI and Marie-Antoinette portraits, on the other side their coats of arms. A pinecone serves as a handle for the marble top with twisted grooves. Each urn is reposing on a gilt bronze square plinth adorned with floral friezes and trophies. The medallions are signed “LB” behind the ribbons, mark of the founder.

VASES, CENTERPIECES

Bibliography: Un âge d’or des Arts décoratifs, exposition Grand-Palais, RMN, 1991, p° 522.

150

Clocks 

F. Barbedienne Bronze Caster

Ref. 0806/53

(1810-1892)

Important Garniture Signed on the base of the clock F. Barbedienne and on the face F. Barbedienne Ă Paris. France Circa 1870

VASES, CENTERPIECES ORIENTALISM

Clock : Height : 93 cm ; Width. : 45 cm ; Depth : 24 cm Candelabras : Height : 117 cm ; Diameter : 50cm

A very beautiful garniture composed of a large Renaissance style clock, and of an imposing pair of tenlight candelabras, all of which in chiselled gilt-bronze. Cut-out decors and scalloped scrolls embellish the architectural half-domed breakfront. The god of oceans and seas, Neptune, sits on rocks on the top of the clock, surrounded by a dolphin and an urn knocked over. The bevelled glass sides of the clock, separated by thin columns, are decorated with bas-reliefs representing warriors asleep and putti riding tritons. The clock rests on a curved plinth. The pair of candelabras is richly decorated with acanthus leaves, arabesques, laurel crowns, urn and pine cone as well as a circular dickey dĂŠcor embellished by tassels. The volutes feet rest on a tripod toupee base.

158

H. Dasson

Cabinet-maker & Bronze-caster

Ref: 2807/57

(1825-1896)

Important «Enfant Guerrier» Mantel Clock Signed and dated Henry Dasson 1877 France 1877 Height: 63 cm (24.3/4 in.); Width: 64 cm (25 in.); Depth: 29 cm (111/3 in.)

CLOCKS

Rare gilt and patinated bronze and marquetry on ebony mantel clock representing an “enfant guerrier”. The upper part is composed of a putto, leaning on the face of the clock, wearing a helmet and holding a gladiator sword. The lower part is constituted of a lovely ebony base embellished by a copper and brown tortoiseshell marquetry in the “Boulle” style and ornamented with a gilt bronze satire head in the middle. Rests on four chiselled and gilded bronze lion feet decorated by a foliage decor.

Another gilded bronze, marble and wood mantel clock, signed Henry Dasson for the clock and Bouchardon 1731 on the marble sculpture.

162

L.C. Sévin Ornamenist

Ref: 0702/115

(1821-1888) attributed to

F. Barbedienne Bronze-caster (1810-1892)

A Renaissance Style Wall-Clock Signed on the dial F. Barbedienne à Paris France Circa 1870 Height: 50 cm (19 2/3 in.); Width: 41 cm (16 in.); Depth: 15 cm (6 in.)

CLOCKS

A gilt-bronze wall-clock decorated with Renaissance style motifs, such as scalloped scrolls, pomegranates, a faun head and putti framing the dial.

In decorative arts, the "cuir découpé" motif (cut leather) recalls a cut leather or metal piece, wound like stylized volutes. This decorative motif is characteristic of the French Renaissance as showed in the inner decoration of the Galerie François I (1535) at the Château de Fontainebleau. Used by artists on tapestry and engravings, this motif was back into fashion in the 19th century.

166

E. Gautier

Ref: 0208/3

Bronze-caster (19th century)

J. Albinet

Bronze-caster and Clockmaker (19th century)

G. Coulon

Bronze-caster and Clockmaker (19th century)

A Renaissance Revival Wall Clock Signed on the dial Ancne Mon F. Gautier, J. Albinet & G. Coulon – 4 rue de Choiseul on the clockwork, signed E. Gautier, J. Albinet à Paris and numbered 5300JL France Circa 1865 Height: 80 cm (31 1/2 in.); Width: 32 cm (12 2/3 in.); Depth: 12 cm (4 3/4 in.)

CLOCKS

A Renaissance style "cartel", executed in two patina bronze. On the upper part, two cupids frame an architectural niche housing a heron, surmounting the dial of the clock and further decorative motifs, such as griffins, a female mask and a fruit garland. Bibliography Le mobilier Français, Napoléon III, années 1880, Odile Nouvel-Kammerer, Ed. Massin, 1996, p.65. La petite sculpture au XIXe s. Les éditeurs, Bernard Metman, Archives de l’Art français, 1989, t. XXX, p.184 & 195. Dictionnaire des horlogers français, Tardy, Paris, 1971, p.4.

168

A Regence Style Cartel Clock

Ref: 1307/36

France Circa 1880 Height: 122 cm (48 in.); Width: 40 cm (15 3/4 in.); Depth: 13 cm (5 in.)

Dial signed M*** Taccard & King Hervelry Co., St. Louis Realised for the american market.

CLOCKS

Executed in Mahogany, with a foliate scrolled, gilt-bronze mounted shaped case, the upper and lower sections fitted with masks and a floral basket. With a raised glazed panel enclosing the gilt-bronze dial.

170

A.-E. Beurdeley

Ref: 2007/26

(1847-1919) attributed to

Important Pair of Barometer, Clock and Thermometers France Circa 1880 Height: 116 cm (45 2/3 in.); Width: 26 cm (10 1/4 in.); Depth: 10 cm (4 in.)

CLOCKS

A large near pair of Louis XVI style thermometers, fitted with a barometer and a clock. Executed in finely chased and gilded bronze. Each decorated with blue Wedgwood medallions presenting classic scenes, and ornated with gilt-bronze motifs such as floral wreaths, griffons, horns of plenty and elegant gadrooned columns supporting Zephyr heads. The all suspended by a long knotted ribbon.

Related work:

Pair of Louis XVI period wall clock, barometer with thermometers Clockwork by Robert Robin, King’s clockmaker Preserved at the Louvre Museum (Decorative arts Dept. – inv. n° OA 5493 et OA 5494)

172

173

G. Fabre

Ref: 0702/83

Clock-maker & Bronze-caster (active around 1900)

A "Geniuses of The Arts" Clock Set Dial signed G. Fabre, 4 rue des Filles du Calvaire, Paris Clockwork signed Samuel Marti – Médaille d’Or 1900 France Circa 1900 Clock / Height: 47 cm (18 1/2 in.); Width: 40 cm (15 3/4 in.); Depth: 13 cm (5 in.) Candlesticks / Height: 50 cm (19 2/3 in.); Width: 26 cm (10 1/4 in.); Depth: 14 cm (5 1/2 in.)

CLOCKS

A beautiful Louis XVI style gilt-bronze and statuary Carrare marble clock set, consisting of a clock and a pair candelabra. The clock is surmounted by two putti, leaning the dial, representing the "Geniuses of the Arts", Poetry and Painting. The base is adorned with neoclassical decorative elements such as scrolls, rows of pearls and foliate feet. The ensuite candelabra, made of ormolu and white marble, are composed of Bacchic children, after 18th century models by Clodion. Each holding two light arms, dressed in leopard skins and vine branches, a wineskin at his feet.candelabras composed with the assorted elements and the figures of Cupid and Venus holding a drape and the three light arms. Bibliography Dictionnaire des horlogers Français, Tardy, 1971, p°219.

This clock set is to be linked to the one made by the famous parisian Baguès company, named "Geniuses of War" set, for which the clock is different, but the pair of candelabra similar (Commented and reproduced in "Vergoldete Bronzen", H. Ottomeyer and alii, Klinkhardt & Biermann, Munich, 1986, T. I, p° 422). 174

175

Beautiful Charles X Period Clock

Ref: 0404/48

France

Circa 1830 Height. : 45 cm (17,72 in) ; Width. : 11 cm ( 4,33 in) ; Depth. 11 cm (4,33 in)

A ravishing Charles X Style clock in patinated and gilded bronze and pearly white Opaline. An antic dĂŠcor of bronze gilded garland surrounded by laurel-leafs circles the face of the clock made in translucent Opaline. Roman numbers indicate hours. A mythological female representation in patinated bronze supports the face of the clock while resting on a cylindrical diamond-carved white Opaline base. The base and top of the cylinder is embellished with gilt bronze acanthus leafs. The contrast born from the combination of those materials is both delicate and elegant.

CLOCKS

The technic of opal glass, obtained by addition of tin oxide, was known in Venice as soon as the 16th century. However it was only in 1810 that this technic was adapted to crystal in France. The first opal crystal pieces were adorned with a cutwork and a bronze mount, such as this clock, but the painted and baked decoration then developed and adorned opal crystal pieces.

176

Dâ&#x20AC;&#x2122;aureville & Chameroy Maison Barbot

Ref: 0702/8

Clock-makers (19th century)

Clock With Cupids Signed Dâ&#x20AC;&#x2122;Aureville et Chameroy, Maison Barbot France Circa 1860 Height : 27 cm (10 2/3 in.) ; Width : 21 cm (8 1/4 in.) ; Depth : 14 cm (5 1/2 in.)

CLOCKS

A very fine Greek style clock made in gilded bronze, standing on four claw feet. Topped with two cherubs readind a floor plan.

178

Cardeilhac

Orfèvres

Ref: 0702/119

(19th century)

The "Titmouses" Clock Signed: Cardeilhac, Paris Orfèvre Bonvallet, Dess. – Aiguier, Sc. – Viat, Cis. France Circa 1900 Height: 42 cm (16 1/2 in.); Width: 20 cm (7 3/4 in.); Depth: 11,5 cm (4 1/2 in.)

A rare clock made in silver and ivory decorated with amber beads. Representing a lyre ornated with seven gilded silver titmouses, boughs of holly with berries of amber and a ribbon tied around the lyre. The ivory base stands on a silver mounted ivory socle with a waterlily motif decor framing the dial surrounded with holly leaves.

CLOCKS

Executed after a model made by Lucien Bonvallet, who exhibited at the 1900 Paris Universal Exposition. Museology Many pieces made by Lucien Bonvallet et Cardeilhac are now displayed in the Orsay museum, in the Paris Decorative Arts museum, as well as in the Bouilhet-Christofle museum.

180

182

CLOCKS

H. Houdebine Bronze-caster

Ref: 2007/14

(Active since 1845)

A Neo-Greek Clock Set Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris Clockwork signed Japy Frères & Cie – Médaille d’Honneur France Circa 1870 Clock / Height : 50 cm (19 2/3 in.) ; Width : 28 cm (11 in.) ; Depth : 17 cm (6 2/6 in.) Candlesticks / Height : 25,5 cm (10 in.) ; Diameter : 11 cm (4 1/3 in.)

CLOCKS

A very fine neo-Greek style clock set made up of a clock and a pair of candlesticks. The clock executed in two patina bronze is surmounted by a covered vase and is decorated with porcelain plaques depicting female faces and Art attributes. The Roman numerals on the dial are framed with laurel wreaths. Raised on console feet and a base, the whole reposing on four claw feet. The ensuite pair of two patina bronze candlesticks is finely chased with small flowers and water leaves.

184

H. Houdebine Bronze-caster

Ref: 1608/5

(Active since 1845)

A Neo-Greek Clock Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris 1867 Exposition Universelle – Médaille d’Argent Clockwork signed Japy Frères & Cie – Médaille d’Honneur France Circa 1867 Height : 41 cm (16 in.) ; Width : 34 cm (13 1/3 in.) ; Depth : 16 cm (6 1/3 in.)

CLOCKS

A Napoleon IIIrd period gilt-bronze and red pompeian backgrounded polychrom porcelain mounted mantel clock. The case executed in the Greek style with cresting of an theater open mask and scrolled foliage, above an arched panel of astrological symbols and muses. The lower case fitted with panels of oval portraits and a panel of cherubs, the case molded in high relief with lion masks, flowerheads, acorns, floral garlands, and elongated anthemion. Resting on a gilded base with red velvet top.

186

G. Servant Bronze-caster

Ref: 04/08/02

(1828 - c.1890)

A Neo-Egyptian Clock Set France Circa 1870 Clock – Height : 56 cm (22 in.) ; Width : 27 cm (10 2/3 in.) ; Depth : 18 cm (7 in.) Candelabra – Height : 67 cm (26 1/3 in.) ; Width : 26 cm (10 1/4 in.) ; Depth : 24 cm (9 1/2 in.)

CLOCKS

Egyptian style clock set, consisting of a black and red marble pyramid shaped clock, surmounted by a patinated bronze figure representing the Egyptian goddess Isis sitting on her throne. Wearing the Hathor hairdress (the solar disc surrounded by the sacred cow horns), she holds in her right hand the Ouadj, the goddesses scepter surmounted by a canopy of papyrus, symbolizing health and eternal youth and in her left hand, the cross of life Ankh, symbol of rebirth and eternity. The ensuite pair of four lights candelabra consists of two patina bronze female figures, representing priestesses of the goddess Isis, dressed with vulture’s wings and holding lotus flowers forming the light arms. That Egyptian style in fashion since Napoleon the First and his military campaigns in Egypt around 1799 was rediscovered in France in the 1830’s and above all in the 1860’s. Some renowned French artists, such the sculptors and bronze-casters Guillaume Denière (1815-1903), Emile Hébert (18281893) et Georges Servant (1828-1890), presented at the 1867 and 1878 Paris Universal Exhibitions, an a-part section dedicated to their Egyptian style production. Their shows drew then considerable attention from the public and the wealthy collectors. During the 1867 Universal Exhibition, one could admire the stand realized by the French silversmith-jeweller Gustave Baugrand (1826-1870), where his

188

Table Easel Clock ď &#x2022; by

Elkington Silversmith

(19th Century)

Elkington Silversmith

Ref: 0702/119

(19th century)

Table Easel Clock Signed Elkington & Co. and dated 6 Nov. 1890 Numbered Rd 92173 England Circa 1880 Height: 51 cm (20 in.); Width: 40 cm (15 3/4 in.); Depth: 36 cm (14 in.)

CLOCKS

A rare rectangular table clock executed in gilded and silvered electroptyped metal, decorated in relief with butterflies, music intruments and theater masks, surmounted by two angels crowning with a wreath a male portrait. Ornated in the lower corners with the muses of theater and music, centering a medallion. Presented in a wood frame, opening by a glazed door, reposing on a gilded easel. As The Art Journal wrote as soon as 1844, "The electrotypes are perfect; the finest lines, the most minute dots are as faithfully copied as the boldest objections". With this new technique, developped in England thanks to Elkington, it became then lucrative market for recreating famous works of art in metal as well as creating some new ones, then cheaper than bronze casts. Elkington's Works To Be Linked To - Victoria & Albert Museum, London: The Milton Shield, executed in silver and damascened iron, designed and realized by Morel Ladeuil for Elkington & Co., displayed at the 1867 Paris Universal Exhibition, awarded the gold medal. Bibliography Victorian Silver and Silver Plate, Patricia Wardle, The Victorian Collector Series, Barrie & Jenkins, London, 1970. L'Orfèvrerie au XIXe siècle, XIes Rencontres de l'École du Louvre, La Documentation Française, Paris, 1994. L'Argenterie, Claude Blart, Flammarion, Paris, 1989.

194

Susse

Ref: 0912/14

Bronze-caster (19th century) attributed to

The â&#x20AC;&#x153;Dovesâ&#x20AC;? Clock France Circa 1890 Height : 50 cm (19 2/3 in.) ; Width : 22 cm (8 2/3 in.) ; Depth : 13 cm (5 in.)

CLOCKS

Rare clock made of Fluorspar (usual term for fluorite), with beautiful light green tone. The rigorous lines of the clock highlight this delicate shimmering stone. Beautiful chiselled and gilded bronze mounts made of two doves at the top, heads of satyrs on the sides and a tied ribbon and a garland of fruits framing the dial.

196

Important "Venus" Clock ď &#x2022; by

J.M. Van der Kemp Sculptor

(active from 2nd part of 19th century)

J.M. Van der Kemp

Ref: 0210/9

Sculptor

(active from 2nd part of 19th century)

Important "Venus" Clock Signed J.M. Van der Kemp (sculptor) on the back of the Venus figure, monogramed VDK on each carved panel, and Van der Kemp, Paris on the clockwork Signed Paillet (miniaturist) on the ivory dial Signed AD Mougin, Deux MĂŠdailles (clock-maker) on the clockwork France Circa 1895

CLOCKS

Height: 93 cm (36 2/3 in.); Width: 41 cm (16 in.); Depth: 21 cm (8 1/4 in.)

An exceptional large carved walnut and boxwood domed architectural mantle clock, with classical detailed moldings on the shaped base and arched top, adorned with fine onyx columns and pilasters headed by gilt-bronze Corinthian capitals. A depiction of The Birth of Venus surmounts the clock as a carved figure standing with billowing drapery in a scallop shell flanked by a pair of dolphins. The front and sided panels made in boxwood are extremely well-carved in low-relief, decorated with further figures of Venus in various poses. For the front one, J.M. Van der Kemp carved another stunning scene of The Birth of Venus, after the famous masterpiece painted by Alexandre Cabanel in 1863. Above this scene, beautiful carved ribbon ties and floral garlands surround the round ivory dial painted by the miniature painter Ferdinand Paillet (1840-1918), whose one of his works is still preserved at the Louvre Museum (inv. RF 22874).

Related work: The Birth of Venus by Cabanel, was first presented at the 1863 Salon of the French Artists and then at the 1867 Paris Universal Exhibition. The painting was bought by Emperor Napoleon III (now exhibited at the Orsay Museum, inv. RF 273).

200

Rare Sculptural "Globe" Clock With Encircling Dials  by

G. Denière Bronze-caster (1815-1903)

202

G. Denière

Ref: 2803/17

Bronze-caster (1815-1903)

Rare Sculptural "Globe" Clock With Encircling Dials Signed Denière à Paris and numbered 4156 on the movement France Circa 1860 Height: 85 cm (33 1/2 in.); Diam.: 40 cm (15 3/4 in.)

CLOCKS

An important Napoleon III period ormolu and patinated bronze sculptural "pendule à cercles tournants". The countwheel bell striking movement with Brocot escapement driving the two enamel chapter rings with Roman hours, applied gilt star half hour marks and snake’s head pointer, fitted in a gilt bronze globe showing the continents and oceans, held aloft by three patinated bronze putti on a rockwork ground, one kneeling by an overturned vase emblematic of the ocean. Resting on a spreading gilded bronze base mounted with large acanthus corbels and applied with foliate cartouches on a relief moulded plinth, and a further moulded red "Griotte" marble base.

Other known models for this clock: - one model was ordered directly from Denière by Lord Hertford for the Bagatelle Castle’s Grand Salon, around 1840-1850 - one model is the Victoria and Albert Museum in London (illustrated in Tardy, La pendule française dans le monde, vol. 2, Paris, 1981, p.101) - one model is in the Calouste Gulbekian Museum in Lisbonne (illustrated in Catalogue Fundaçao Calouste Gulbekian, Lisbonne, 1982, pp. 96 et 283) - one model is in the Malmaison Castle Museum (illustrated in B. Chevallier, La mesure du temps dans les collections du musée de la Malmaison, Paris, 1991, p. 42) Bibliography A House in Town, 22 Arlington Street and its Owners and Builders, Londres, 1984, p. 156 (in L’Arcade Corridor). Catalogue de l’exposition: "L’art en France sous le Second Empire", Grand-Palais, Paris, 1979. Catalogue de l’exposition: "Un âge d’or des Arts Décoratifs 1814-1848", Grand-Palais, Paris, 1991, p. 332. Catalogue Officiel de l’Exposition universelle de 1862 à Londres, Commission Impériale, Paris, 1862, p. 163.

Oeuvre en relation One model was ordered directly from Denière by Lord Hertford for the Bagatelle Castle’s Grand Salon, around 1840.

204

206

VASES, DECORATIVE CENTERPIECES ARTS ORIENTALISM

H. Dasson

Ref: 0702/82

Bronze-caster and Cabinet-maker (1825-1896) attributed to

Louis XVI Style "Venus" Mantel Clock Set Inscribed on the dial Robin, Hger du Roy France Circa 1880 Clock / Height: 54 cm (21 1/4 in.); Width: 53 cm (20 3/4 in.); Depth: 19 cm (7 1/2 in.) Candelabras / Height: 83 cm (32 2/3 in.); Diameter: 30 cm (11 3/4 in.)

CLOCKS

A Louis XVI style clock set, made in patinated bronze and gilded bronze, made up of a mantel clock ornated with the figures of Venus and Cupid, seated on her doves-drawn char; the clouds forming the case of the clock reposing on an ormolu mounted white Carrare marble base. The ensuite pair of candelabras composed with the assorted elements and the figures of Cupid and Venus holding a drape and the three light arms.

208

209

Exceptional Onyx

and Cloisonne Enamel

Clock Set

ď &#x2022; L.C. SĂŠvin Ornemanist (1821-1888)

F. Barbedienne Bronze-caster (1810-1892)

D. Attarge Chaser

(1820-1878) attributed to

L.C. Sévin

Ref: 2803/16

Ornemanist (1821-1888)

F. Barbedienne Bronze-caster (1810-1892)

D. Attarge Chaser

(1820-1878) attributed to

Exceptional Onyx and Cloisonné enamel Clock set Signed F. Barbedienne France Circa 1870

CLOCKS

Clock – Height: 80 cm (31 1/2 in.); Width: 55 cm (21 2/3 in.); Depth: 32 cm (12 1/3 in.) Candelabras – Height: 97 cm (38 in.); Diameter: 36 cm (14 in.) The assembled Neoclassic style ormolu and "cloisonné" enamel onyx set comprises a mantel clock and a pair of candelabra. The clock as a lidded fluted urn with fruiting finial, flanked by gilt-bronze Greek key handles topped with cast butterflies, is sumptuously ornated with blue ribbon and polychrom floral bouquets motif "cloisonné" enamel frieze. The urn stands on four foliate feet and a Louis XVI style rectangular onyx base, forming the clock case with ormolu drapery framing the circular enamelled dial. The all reposing on a rectangular enamelled ormolumounted onyx base. The pair of onyx urn-shaped candelabras en suite, issuing nine foliate-scrolled light branches, decorated with similar gilded cast and enamelled motifs. The style of this amazing clock set characterizes the greatest art pieces made by Ferdinand Barbedienne. His own decorative repertoire mixes in great harmony Neoclassical motifs, such as flowery garlands, acanthuses, amphoras and the urn, with Orientalist decor made of splendid coloured enamelled cartouches and friezes.

214

216

VASES, DECORATIVE CENTERPIECES ARTS ORIENTALISM

217

Neoclassical Ormolu Portico Clock

Ref: 0812/63

France Circa 1835 Height. : 40 cm ( 15.74 in) ; Width. : 17 cm (6.70 in) ; Depth. 10 cm (3.93 in)

CLOCKS

A lovely neoclassical ormolu portico clock, figuring two columns joint together by a floral arch topped by a flower crown. Roman numbers indicate hours. A Greek woman is sitting on a mobile swing suspended under the clock. Rests on an oval base supported by four round feet.

220

Sumptuous Louis XVI Style Clock ď &#x2022; by

A. Beurdeley

Cabinet-maker and Bronze-caster (1808-1882)

A. Beurdeley

Cabinet-maker and Bronze-caster

Ref: 0702/39

(1808-1882)

Sumptuous Louis XVI Style Clock Signed A. Beurdeley on the dial France Circa 1867 Height: 51 cm (20 in.); Width: 60 cm (23 2/3 in.); Depth: 27 cm (10 2/3 in.)

CLOCKS

Sumptuous Louis XVI mantel clock made in red Porphyry, mounted with splendid chiseled and gilded bronze ornaments, such the allegories of Time, represented as an old winged man and Minerva, symbolizing wisdom and good government, both of them seated around an ormolu urn.

Mantel clock with Time and Minerva figures made by Louis Auguste Alfred Beurdeley and presented at the 1867 paris universal exhibition. Commented and reproduced in: L’ameublement d’art français, 18501900, Camille Mestdagh, Les Ed. de l’Amateur, Paris, 2010, p°143.

224

Important Five Pieces Clock Set ď &#x2022;

Important five pieces Clock set

Ref: 2803/13

Marked on the dial Furet & Bon, Hrs du Roy, à Paris France Circa 1880 Clock – Height: 98 cm (38 1/2 in.); Width: 70 cm (27 1/2 in.); Depth: 25 cm (9 3/4 in.) Candelabra – Height: 116 cm (45 2/3 in.) & 92 cm (36 1/4 in.); Diameter: 50 cm (19 2/3 in.)

Important Louis XVI style clock set made up of a clock and two pairs of seven light arms candelabras. Executed in white Carrare marble, with splendid chased and gilded bronze ornaments, such the female allegories representing Euterpe, Muse of Music playing the lyre and Urania, Muse of Astronomy holding a terrestrial sphere and a compass; with further decorations such cupids, ram’s heads and floral garlands for the clock; roses, tulips and lilies composing the candelabra branches. The all finely ornated with playing putti "pâte sur pâte" porcelain medallions.

CLOCKS

A similar clock made around 1780, now displayed in the Royal palace in Madrid, is reproduced in the reference book "Encyclopédie de la pendule française" de Pierre Kjellberg, Ed. de l’amateur, p.258 and in "La pendule française dans le monde", Tardy, vol. 2, Paris, 1981, p.112.

Works to be related: These candelabras are to be linked to those executed by Pierre-Philippe Thomire and François Rémond around 1785 for the King of Spain Charles IV and the Queen Marie-Louise (entered then the collection of Baron Alphonse de Rothschild, at the  Ferrières Castle).

230

ARTS DÉCORATIFS

Lights 

Baccarat

Crystal manufacture

Ref : 3103/47

Magnificient Twenty Lights Chandelier France Circa 1870 Height. : 125 cm (49 Âź in); Diam. : 85 cm (33 Â˝ in)

VASES, CENTERPIECES ORIENTALISM Lights

This magnificent chandelier is made of gilded bronze and crystal and presents twenty lights. The tubular shaft composed by garlands made of crystal octogones is adorned with crystal flower crowns. The lower part is fitted with a multitude of crystal drops and daggers.

238

Exceptional Crystal Chandelier ď &#x2022; by

Baccarat

Crystal Manufacture

Baccarat Crystal manufacture

Ref: 2803/14

attributed to

An Exceptional Crystal Chandelier France Circa 1890 Height : 150 cm (59 in.) ; Diameter : 105 cm (41 1/3 in.)

VASES, CENTERPIECES ORIENTALISM Lights

A very important Louis-Philippe style thirthy-five lights chandelier. The centered stem is made up of baluster-and-bowl-shaped cut-crystal pieces, all of very high-standard quality. With beautiful gilded bronze mounts, such the issuing light-arms decorated with branches and entwined ivy, typical of the 1840â&#x20AC;&#x2122;s Romantic artistic movement. Thirthy-eight bevelled crystal blades form a star underneath. Hung overall with fine faceted Baccarat crystal drops, prisms, hob-nails, diamonds and small bells.

This remarkable crystal chandelier is to be linked to another masterpiece executed by the Baccarat manufacture (Private collection).

244

H. Vian Bronze-caster (1860-1905) attributed to

Ref : 0805/1

Rare “Arabesque with Children Musicians” Chandelier France Circa 1870 Height : 130/150 cm (51/59 in.) ; Diameter : 70 cm (27 1/2 in.)

VASES, CENTERPIECES ORIENTALISM Lights

A very fine Louis XVI style chandelier called “Arabesque with Children Musicians”, made in finely chiselled and gilded bronze. Composed of a torch-form standard with three seated putti playing the pipes, centered by an acanthus-cast pendant suspending berry clusters. Beautiful scrolled branches forming the six light arms. Hung by three linked chains to a foliate corona.

Model by P. Gouthière (1732-1813) Made around 1780 for the “Cabinet intérieur de la Reine”, also named “Cabinet doré” of Queen Marie-Antoinette at Versailles Palace (preserved in situ). (Commented and reproduced in H. Ottomeyer, Vergoldete Bronzen, T. I, Klinkhardt & Biermann, Munich, 1986, p° 238. and in P. Verlet, Les bronzes dorés français du XVIIIeme siècle, p.92 et p.340)

Behind her “Grand Appartement”, the queen had small rooms reserved for private use and service of her maids. When she was at Versailles, it was in her inner cabinet - the largest of the private rooms of the queen – Marie-Antoinette withdrew most often to receive her children and her friends, to play music, or to pose for Madame Vigée-Lebrun, her favorite portraitist. This inner cabinet is also called golden cabinet, because of the profusion of gold on paneling made by the Rousseau brothers, bronzes and furniture executed by Riesener and Jacob.

246

Aesthetic movement chandelier

Ref : 313/45

France Circa 1880 Height. : 67,5 cm (26,57 in) ; Diam. 43 cm (16,93 in)

VASES, CENTERPIECES Lights ORIENTALISM

Rich three lights Aesthetic movement chandelier in patinated, gilded and silvered bronze. The basket is composed of three patinated bronze contorted masks and of three stylised palm leafs each separated by a seahorse, a spider and a dragonfly. Cherry tree branches complete the ornamentation. The chandelier is suspended by three gilded bronze links representing nodded ropes tied by a beautiful nod. JAPONISM From 1853, an the opening of Japan following the intrusion of the US navy, and more precisely from the 1860’s, the enthusiasm of everything coming from Japan or imitating its style conquers numerous occidental countries from France and Britain. This movement, called “Japonism”, will last until the early 20th century. The previous centuries and decades had already had a certain interest for the exoticism such as chinoiseries ou turqueries in the 18th century or the Orientalism of the 19th century. The Japonism movement has been developed by artists looking for new means of expressions. Size, mediums, colours, drawing and perspectives are reinvented. Decorative Arts, as in painting, draw on those new sources of inspiration patterns to renew their repertoire.

248

F. Barbedienne Bronze-caster

Ref: 0806/54

(1810-1892) attributel t

Beautiful Byzantine Style Chandelier France Circa 1880 Height : 80 cm (31,49 in) ; Diam. : 50 cm (19,68 in.)

VASES, CENTERPIECES ORIENTALISM Lights

A beautiful byzantine style chandelier in polychrome paint enamel and gilt bronze. Suspended from a crownâ&#x20AC;&#x201C;shaped ornament with thin gilded baguettes, a circle supports twelve candlearms, surrounding a seated mandarin figure on a pedestal. Decorated with delicates patterns of geometric designs, scrolls and dragons. It finishes with a suspended spinning-top-shaped ornament.

250

Oriental Chandelier

Ref: 0206/52

France Circa 1900 Height: 75 cm (29.52 in.); Diameter: 70 cm (27.55 in.)

VASES, CENTERPIECES ORIENTALISM Lights

Very original oriental chandelier with polychrome dĂŠcor, composed of five lights representing characters from the Commedia dellâ&#x20AC;&#x2122;Arte riding camels. The centrepiece figuring an oriental lantern top the overall.

252

G. Servant

Bronze-Caster (1828-c.1890) Attributed to

Ref: 0702/7

Pair of Neo-Greek Floor Lamps France Circa 1870 Height : 183 cm (72 in.) ; 213 cm (83 3/4 in.) with glass shades Diameter : 43 cm (19 2/3in.)

CLOCKS Lights

Rare pair of Greek style floor lamps made in patinated bronze, each surmounted of a frosted glass globe engraved of stars and a Greek motif frieze. The body of the vase, decorated with Greek style patterns such as palmets, Greek motif frieze and water leaves, stands on a shaft decorated with deer heads. Fine chains are connected to a delicate butterfly. The set is based on tripod legs with lion claw feet alternating large palmets.

254

V. Paillard Bronze-Caster (1805-1886)

Ref: 2007/12

Pair of Neo-Greek Candelabras France Circa 1870 Height : 73 cm (28 3/4 in.) ; Diameter : 29 cm (11 1/2 in.)

CLOCKS Lights

A very fine pair of Greek style patinated and gilded bronze figural candelabras ; each presenting six light arms ornated with ivy leaves and fine chains, supported by a grooved stem and a tripod base decorated with palmets, theater masks, lioness heads and paw feet.

Each candelabra is topped by a bronze figure standing on a capital, representing The Child and the Goose, a recurring theme in ancient statuary. The origin of this subject is a Hellenistic bronze work of the third century BC, reported by Pline (Natural History, Book XXXIV) and due to the Greek sculptor Boethos of Chalcedon. A famous Roman marble copy is now preserved in the Louvre Museum.

256

Maison Millet Bronze-caster

Ref : 0806/55

(Active from 1853 to 1918) (Attributed to)

Important Pair of Candelabras France Circa 1880 Height. : 110 cm (43.30 in.) ; Width. : 51 cm (20.07 in.) ; Depth : 23 cm (9.05 in.)

VASES, CENTERPIECES ORIENTALISM Lights

Beautiful pair of Louis XV style flower bouquet shaped candlearms candelabras. Composed of a vase decorated with, on each side, scrolled handles finishing in rushes. It supports a foliate carnation bouquet of five lights. The vase rests on a square base circled by a beribboned dĂŠcor, mounting of four acanthus leaves staples.

258

H. Vian Bronze-caster (1860-1905)

Ref: 0702/122

Pair of Ormolu Crystal Vases-Candelabras Signed on each base h. Vian France Circa 1880

VASES, CENTERPIECES ORIENTALISM Lights

Height : 66 cm (26 in.) ; Width : 33 x 27 cm (13 x 10 2/3 in.)

A very fine pair of Louis XVI style cut-crystal covered vases forming candelabras. Each beautifully mounted with four gilded bronze carnation flower shaped light arms, and ornaments such the ribbon-hung floral cast wreath joined by floral garlands. Each standing on four double gilt-bronze leafy hoof feet and a finely decorated circular base. Resting on a red griotte marble socle.

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Exceptional Pair of "Putti" Torcheres ď &#x2022; by

V. Paillard Bronze-caster (1805-1886) Attributed to

V. Paillard Bronze-caster (1805-1886) attributed to

Ref: 0805/4

Exceptional Pair of â&#x20AC;&#x153;Puttiâ&#x20AC;? Tocheres France Circa 1870 Total Height : 262 cm (103 in.) ; Height of torcheres : 180 cm (70 3/4 in.) ; Width : 75 cm (29 1/2 in.) Height of base : 82 cm (32 1/4 in.) ; Diameter of base : 52 cm (20 1/2 in.)

CLOCKS Lights

A pair of two patina bronze torcheres. Each modelled as a pair of putti holding aloft a large foliate shaft issuing eleven berried-acanthus scrolled branches terminating in conforming drip-pans and nozzles, on a circular parcel-gilt and ebonised plinth with fluted shaft.

Torcheres inspired by an 18th century model made by Jean-Louis Prieur (born around 1725), now part of the Wallace collection (inventory numbers F138 and F139). Reproduced and commented in H. Ottomeyer, Vergoldete Bronzen, T. I, Klinkhardt & Biermann, Munich, 1986, p. 95 (left picture). Another comparable group of cherubs holding a foliate torchere made in about 1870 by Victor Paillard (right picture).

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CLOCKS Lights

G.DeniÈre Bronze-caster (1815-1903)

Ref: 1508/60

Rare Pair of Oriental style Candelabra France Circa 1862 Height : 102 cm (40 in.) ; Diameter : 30 cm (11 3/4 in.)

CLOCKS Lights

Exceptional pair of Orientalist candelabra, composed of patinated bronze figures representing slaves holding up a five light arm bouquet forming the candelabra. This gilded bronze openwork is adorned with foliage and flowers which hang polychrom enamelled bronze pendants. Resting on Louis XIV style gilded bronze bases.

MODEL PRESENTED AT THE LONDON UNIVERSAL EXHIBITION OF 1862 (Reproduced in J. Meyer’s book, « Great Exhibitions 1851-1900 », Antique Collector’s Club, 2006, p°142, and in Masterpieces of Industrial Art and Sculpture 1862, Waring, Pl.257)

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CLOCKS Lights

L.C. Sevin Ornemanist (1821-1888)

Ref : 1508/61

F. Barbedienne Bronze-Caster (1810-1892)

Pair of Neo-Greek Candelabra Signed F. Barbedienne France Circa 1878 Height : 112 cm (44 in.) ; Diameter : 28 cm (11 in.)

CLOCKS Lights

Pair of eight light-arm candelabra, made in two patina bronze, in the shape of an antique caryatid, after the model of the statues standing in the â&#x20AC;&#x153;Caryatids Roomâ&#x20AC;? in the Louvre Palace, in Paris, built and decorated by Pierre Lescot in the 16th Century.

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278

CLOCKS Lights

E.-M. Falconet Sculptor (1716-1791) (after)

Ref: 0801/2

Pair of Candelabra “Aux Vestales” France Circa 1880 Height.: 90 cm (35,4 in.) ; Diam.: 32 cm (12,5 in.)

CLOCKS Lights

Pair of Louis XVI style seven lights candelabra made of chiselled and gilt bronze, realized after a model by Etienne-Maurice Falconet. Each candelabra is composed of a feminine vestal figure, holding a cornucopia with finely chiselled arm lights, white marble base ornamented with silvered bronze pearls, acanthus leaves and garlands.

RELATED ARTWORK: Falconet style candelabras from the Richard Wallace collection in London. Illustration from: Ottomeyer – Pröschel, Vergoldete Bronzen, Klinkhardt & Biermann, 1986, München, pl. 4. 14-2. A. Guerinet, Bronzes, Pendules, Statuettes, Céramique des collections Richard Wallace, de l’Union Centrale des Arts Décoratifs, Paris, pl. 47

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Other

Decorative Objects ď &#x2022;

Baccarat Crystal Manufacture

Lâ&#x20AC;&#x2122;E

for scalier de Designer & Art objects Editor

Ref: 2602/4

Cristal

attributed to

A Fine Liquor Casket France Circa 1860

VASES, CENTERPIECES Other Decorative Objects

Height : 38 cm (15 in.) ; Width: 37 cm (14 1/2 in.) ; Depth : 27 cm (10 2/3 in.)

A large oval liquor casket made in a very fine Baccarat faceted cut-crystal. Mounted with beautiful chased and gilt-bronze ornaments such elegant acanthus leaves, rams heads and tapestry elements. The liquor casket can be exposed either closed or opened, by blocking the opening of the dome shaped cover. It opens onto a gilt-bronze liquor display tray containing four cut-crystal bottles with their caps and sixteen assorted glasses.

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Jewellery Box ď &#x2022; by

A.V. Geoffroy-Dechaume Designer & Sculptor (1816-1892)

F.J. Rudolphi Silversmith (1808-1872)

A.V. GEOFFROY-DECHAUME Designer & Sculptor (1816-1892)

Ref: 1508/14

F.J. RUDOLPHI Silversmith (1808-1872)

Jewel Casket France Circa 1850

VASES, CENTERPIECES Other Decorative Objects

Height : 24 cm (9 1/2 in.) ; Width : 24,5 cm (9 2/3 in.) ; Depth : 19,5 cm (7 2/3 in.)

A rare parcel-gilt silver, enamel, pearl and gem set jewel casket. With a flat drawer at the lower part, the casket fitted with its original beige silk opens with a flap top decorated with a medallion depicting The Toilet of Venus.

The same scene is to be seen on a casket designed by GeoffroyDechaume, executed by Rudolphi and presented at the Great Exhibition of 1851 held in the Crystal Palace (now preserved at the Victoria and Albert Museum, London, Inv.156-1851).

Our jewel casket is topped with a removable lid, showing like a sculpted scene Judith and Holofernes : Judith, a young widow of extraordinary beauty, wishing to save his city besieged by General Holofernes, decides to decapitate after charmed and intoxicated him. A banded pierced frieze around the lid is decorated with a naturalist scene made of small shrews eating berries and eggs unearthed in the trees.

This figural scene made of pearls and silver is to be linked to the clock which awarded Rudolphi and Geoffroy-Dechaume a gold medal at the Industrial products Exhibition held in Paris in 1849 (now part of the collections of the Louvre Museum, Paris, Inv OA 11909). This clock is topped with the figural scene The Massacre of the Innocents

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Tahan Cabinet & fine boxes maker (1813-1892)

Ref: 2602/3

Enameled Bronze Box Signed Tahan, Boult des Italiens 11 France Circa 1870 Height: 11 cm (4 1/3 in.) ; Width: 27,5 cm (10 3/4 in.) ; Depth: 13 cm (5 in.)

VASES, CENTERPIECES Other Decorative Objects

A lovely rectangular casket made in gilded bronze, entirely decorated with polychrome “champlevé” enamel rosettes and stylized flowers, and embellished on the top with a monogram. It has preserved its original purple silk velvet lining interior.

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F. Barbedienne Bronze-caster (1810-1892)

Ref: 2602/3

L.C. S

evin Sculptor-ornemanist (1821-1888) Attributed to

Pair of Byzantine Covered Cups Signed F. Barbedienne

VASES, CENTERPIECES Other Decorative Objects

France, circa 1880 Height : 13 cm (5 1/8 in) ; Diameter : 22 cm (8 11/16 in)

Precious pair of covered cups in gilt bronze with polychrome cloisonné enamel decoration. They rest on four foliage claw feet with lion heads and are adorned with polychrome cloisonné enamel Byzantine decoration The high quality of the enamel is typical of Barbedienne’s production. It enhances this pair of covered cups especially with the wide range of colours used to create the decoration. The enamel is smooth and shiny and shows many shades to form the Byzantine decoration. The partitioned cloisonné is finely engraved and contributes to the decoration by adopting vegetal and foliage shapes. The Model These two cups are from a well-known model of the Barbedienne Company. Indeed a similar covered-cup was purchased in 1867 – certainly during the Paris Universal Exhibition – by the Österreichisches Museum für angewandte Kunst of Vienna (Inv. –NrEm15/1867). Some years after, during the 1873 Vienna Universal Exhibition, Ferdinand Barbedienne presented on his stand an identical cup reproduced in Kunst und Kunstgewerbe auf der Wiener Weltausstellung, 1873. It shows the same foliage feet and the same enamel decoration with flowered scrolls and Byzantine motifs.

Covered cup of the 1873 Universal Exhibition, (reproduced in Kunst und Kunstgewerbe auf der Wiener Weltausstellung, p. 441)

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Barbedienne and the Cloisonné Enamel Ferdinand Barbedienne continously innovated and he revived the use of enamel on art works during the second half of the 19th century. The Sèvres Manufacture enamel workshop had ever tried it in 1854-1855, but Barbedienne was the one who succeeded to join enamel to an industrial decorative objects production. From 1858 “At Mr Barbedienne’s, enamels in copper ornaments have got their former prestige back” (Les bronzes de la Maison Barbedienne, C. Simon, in L’Art du XIXe siècle, 1858, n°21, p. 252). The Barbedienne Company had now an enamel workshop where objects ornamented with oriental style or medieval style enamels were made. Four years after, Barbedienne’s cloisonné opaque enamels are noticed during the 1862 Universal Exhibition. Barbedienne was awarded three medals in three different categories : ‘Furniture’, ‘Silversmith work’ and ‘Artistic bronzes’ especially for the combination of bronze with enamel (oriental style cup, Compiègne Castle, Inv. C. 71-122).

VASES, CENTERPIECES

The technique used to make these covered cups is different from the traditional one used for cloisonné enamel. In fact in Barbedienne’s productions the cloisonné is not welded to the object but is directly cast with it. The cloisonné forms part of the object and this innovation enabled to have a more refined and softer decoration. The colours used by the Barbedienne Company also relate to the success of its enamels and the shades are praised as they “have more than the others these qualities of sparkle and richness that the range of colours of Gothic and Chinese enamellers also have” (in Gazette des Beaux-Arts, 1er décembre 1862, p. 542). This was made to create original enamelled creations either with Chinese or Japanese inspiration with a naturalistic decoration, or with Persian or Indian inspiration with a more stylized decoration, like on these covered cups. Bibliography - L’Art en France sous le Second Empire, Exposition Grand-Palais, Paris, 1979, p. 148-149. - L’émaillerie moderne, Alfred Darcel, in Gazette des Beaux-Arts, t. XXIV (janvier-juin1868), p. 76. - Les bronzes de la Maison Barbedienne, C. Simon, in L’Art du XIXe siècle, 1858, n°21, p. 252. - Der Traum von Glück : Die Kunst des Historismus in Europa, Ausstellung im Künstlerhaus und der Akademie der Bildenden Künste, Wien, 1996-1997, p. 599-600. - Kunst und Kunstgewerbe auf der Wiener Weltausstellung, 1873, Von Lützow, Leipzig, 1875, p. 441. - Gazette des Beaux-Arts, 1er décembre 1862, p. 542. Museology - Covered cup probably exhibited at the 1867 Universal Exhibition, preserved at the Osterreichisches Museum für angewandte Kunst, Vienna (Inv. –NrEm 15/1867). - Covered cup, preserved at the Carnegie Museum of Art, Pittsburgh (Inv. 1999.49.3.A-B). - Covered cup so-called sweet-box, preserved at the Musée de l’Evêché – Musée de l’Email, Limoges (Inv. 2006.15.1).

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L’Escalier de Cristal Designer & Art objects Editor (19th Century)

Ref: 3110/9

attributed to

Rare Mural Fountain French gilt-bronze (circa 1880) Chinese porcelain (circa 1720) Height : 61 cm (24 in.) ; Width : 30 cm (11 3/4 in) ; Depth : 25 cm (9 3/4 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Rare 18th Century Famille verte China porcelain mural fountain, decorated with lotus, tree and bird motifs. The faucet coming out of a dragon mouth. Beautiful gilt-bronze mounts with rocks, rushes and water motifs. Small gilt-bronze basin ornamented with pearls. The Famille verte decors were developed by Chinese ceramists and then exported throughout Europe under the reign of Emperor Kangxi (1662-1730). Those China pieces were much appreciated for their motifs, using vivid colours, but never overdecorated.

Bibliography Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I : l’Art moderne, Paris, 1878. Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, Paris, 1889. Les créations de l’Escalier de Cristal, Philippe Thiébaut, Revue de l’Art, 1989, n° 85.

304

F. Linke Cabinet-maker and Bronze-caster (1855-1946)

Ref: 1508/26

Thermometer and perpetual calendar France Circa 1880

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Height : 88 cm (34 2/3 in.) ; Width : 25 cm (9 3/4 in.)

Elegant set of Louis XVI style comprising a thermometer and a perpetual calendar. Each consisting of a metal plaque, painted with floral motifs on a beige background : for the calendar, four openings dislaying the year, the month, the day and its corresponding number in black on a parchment background, and for the alcohol thermometer, graduations indicating some states in Nature as « Ice » at 0° Celsius, or temperature suitable for « Silkworms » at 23° C. Molded carved and gilded wood frameworks enriched with volutes, acanthuses and oak leaves.

Related Work: A pair of Louis XVI style alcohol thermometer and matching barometer is to be linked to those made by François Linke, and registered under n°1830 in his personal archives.

306

J. Brandely Ornemanist

Ref: 1307/42c

(active from 1867 until 1873)

C.-G. Diehl Cabinet-maker (1811-1885)

E. Fremiet Sculptor

(1824-1910)

A Neo-Greek Inkwell Signed Diehl Ă Paris

VASES, CENTERPIECES Other Decorative Objects

France Circa 1867 Height : 45 cm (17 2/3 in.) ; Width: 50 cm (19 2/3 in.) ; Depth : 23 cm (9 in.)

Ebony and silvered copper inkwell. Central drawer ornamented with an escutcheon and flanked by two small lateral drawers forming two containers, surmounted by a lid representing a nestling. Central niche ornamented with a winged creature. Inkwell flanked by two felines. Toped by a penholder representing a Moorish head resting on an eagle claw. This exceptional piece was realized thanks to the collaboration of ornemaniste J. Brandely, sculptor E. FrĂŠmiet and cabinet-maker C.-G. Diehl.

308

F. Barbedienne Bronze-caster (1810-1892)

Ref: 0702/10

"Aenas carrying Anchises" Signed F. Barbedienne Fondeur France Circa 1880

Height: 70 cm (27 1/2 in.) ; Base: 32 x 32 cm (12 2/3 x 12 2/3 in.)

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

A patinated bronze figural group representing Aeneas leaving Troy on fire and carrying his father Anchises holding the palladium, the image of Pallas to be the sacred emblem of the Romans. His son Ascanius turns and looks around for his mother Creusa, daughter of Priam, who disappeared. The group stands on a Louis XV style gilded bronze base.

RELATED WORK: Bronze work executed after the marble model sculpted in 1697 by Pierre Lepautre (1660-1744), during his journey at the France Academy in Rome. Shipped to France in 1715 and placed in the Marly Park, then in the Tuileries Gardens in 1717. Now exhibited in the Louvre Museum (Inv. M.R. 2028).

310

L. B

after oizot Sculptor (1810-1892) French School

Ref: 0702/11

"Boreas abducting Orithyia" and "Pluto abducting Proserpine" France Circa 1880

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

Height : 53/49 cm (20 3/4/19 1/4 in.) ; Width : 28 x 27 cm (11 x 10 2/3 in.) Rare figural groups forming a pair, executed in patinated bronze, resting on Louis XV style gilded bronze bases. In 1786, Louis Boizot as director of the sculpture workshop of the Sèvres porcelain manufacture exposed the clay models for two groups representing the Rape of Proserpine by Pluto and the Rape of Orithyia by Boreas. Boizot made shortly after the bronze casts of these mythological subjects in collaboration with the greatest bronze-casters, such Pierre Gouthière (1732-1813), Pierre-Philippe Thomire (1751-1843) and François Rémond (1747 - 1812).

RELATED WORK: Similar bronze groups are now displayed at the Wallace collection in London (no.inv. S196 and S197) as well as at the Petit Palais museum in Paris.

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E. Drouot Sculptor (1859-1945) French School

Ref: 0702/24

"Appolo and Daphné" Signed E. Drouot France Circa 1890

Height : 79 cm (31 in.) ; Base : 32 x 32 cm (12 2/3 x 12 2/3 in.)

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

A dark brown patina bronze figural group representing Apollo pursuing Daphne, who was seeking to escape from his love. Exhausted, she asked her father, the god Peneus, to help her. He then transformed her daughter in oleander. The group stands on an ormolu-mounted « Campan rubané » marble base. Bibliography: Les bronzes du XIXe siècle, P. Kjellberg, Les Ed. de l’amateur, 1989, p° 291. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Bénézit, éd. Gründ, 1976, t.III, p.680.

RELATED WORK: This bronze group is a free adaptation of the sculpted marble work by Le Bernin in 1622 (now exposed at the Borghese Gallery in Rome).

316

P. Guisti Wood carver - Sculptor 1822-1878) Attributed to

R. Sanzio known as R Painter (1483-1520)

Ref : 2911/7

aphaël

After

Sienna, Italy Circa 1860

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Measurements with frame : Height : 120 cm (47 1/4 in.) ; Width : 90 cm (35 1/2 in.)

This very fine walnut frame richly carved with beads and arabesques on a gold background is porbably the work of sculptor and professor Pietro Guisti. Guisti exhibited a very similar frame at the International Exhibition of London in 1862, for which he obtained a medal. The Victoria and Albert museum of London bought the frame during the exhibition to illustrate the current quality of artcrafts It frames the copy of a celebrated work by Raphaël : « The Grand Duke’s Madonna ». The first version of this famous painting, executed in 1504-05, soon after the coming of Raphaël (1483-1520) to Florence, is now part of the collections of the Palazzo Pitti in Florence. This Madonna with her Child was already considered as one of the best-achieved paintings by Raphaël during his lifetime.

Related Work: Walnut and gilt background frame, by Pietro Guisti (1822-1878), exhibited at the Victoria &Albert Museum in London (n°8053-1862)

318

A.-A. Lesrel Painter (1839-1929) French School

Ref: 0702/33

"The Musicians" Signed A.A. Lesrel and dated 1912 France 1912

Oil on panel Measurements with frame : Height : 82 cm (32 1/4 in.) ; Width : 73 cm (28 3/4 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Painting presenting three musicians and a singer in a luxurious seventeenth century Flemish interior. Museology: - Stained-glass window, Genêts Church. - L’Alsace-Lorraine, Art and history museum in Avranches. - The Drinker, Fine arts museum in Nantes. - Gentlemen in a Tavern, 1876, Fine arts museum in Rouen. - Dawn, 1868, City museum of Saint-Lô. - The Chess Players, Public Library, New York City, USA. - The Connoisseurs, Art Gallery NSW, Sydney, Australia. Bibliography: Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Bénézit, éd. Gründ, 1999, vol. VI, p. 614. Précis analytique des travaux de l’Académie des Sciences et Arts de Rouen, M. Decorde, Rouen, H. Boissel, p. 140-7.

320

C. Malfroy

Painter (1862-1918) French School

"The Harbor of Martigues" Signed Malfroy Late 19th century

Oil on canvas Measurements with frame : Height : 76 cm (30 in.) ; Width : 102 cm (40 in.)

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

Maritime scene animated of sailboats and fishing boats in the harbor of Martigues. Bibliography: Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Bénézit, éd. Gründ, 1999, vol. IX, p. 102. 1820-1920 - Les Petits Maitres De La Peinture, G. Schurr, Les Editions de l’amateur, Paris, 1975, t.V, p.157.

322

Ref: 0805/8

"Putti painting a portrait"

French School

Ref: 0912/4

Circa 1870 Oil on canvas Measurements with frame : Height : 65 cm (25 2/3 in.) ; Width : 121 cm (47 2/3 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

A very fine oil on canvas depicting cupids amid clouds painting a portrait of a sculpted bust. Made in the style of the eighteenth century charming subjects dear to the French famous painter François Boucher.

Related Artwork: François Boucher (1703-1770) perfected his learning of oil painting from François Lemoyne. He won the Grand Prize for Painting in 1723. Approved at the Academy of painting and sculpture, he was admitted there in 1734. He had a brilliant career, knew all the honors, receiving incessant royal commissions and worked for the leading personages of the court of the King Louis XV, as Madame de Pompadour. Undisputed master of the rococo style, a precious and sensual painter, known during his lifetime as “the Painter of the Graces”, he was however since 1760 increasingly shunned by the public and critics who turned their favor into neoclassical art. It was therefore only in the second half of the nineteenth century, when Empress Eugenie reinvented her eighteenth century taste, the Goncourt brothers rediscovered then the most representative painter, François Boucher.

324

P.-M. Beyle

Ref: 0912/1

Painter (1838-1902)

"Bazaar, at the Casbah of Algiers" Signed Beyle 1877 Oil on canvas Dimensions with frame : Height : 127 cm (50 in.) ; Width : 98 cm (38 1/2 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Great animated scene depicting a young woman with a ewer and basin standing near a merchant’s stall. At her feet a woman selling oranges. When choosing a scene from everyday life taking place in a local architecture, the artist finds here a pretext to evoke the city of Algiers and then by extension the “East” in vogue at that time. Museology: Many famous museums preserve works by Pierre-Marie Beyle, such the Terres-Neuvas and Fishing museum in Fécamp (The bad news, The kelp burners, On the pier), the Art and History museum in Rochefort (Easter holidays), the city museum in Valence (Bayard and the girls from Brescia), or the National Gallery of Victoria in Melbourne, Australia (The last resting place of Coco). Bibliography: Bénézit, Ed. Gründ, 1999, t. II, p° 270. Les petits maîtres de la peinture, 1820-1920, G. Schurr, Editions de l’Amateur, Paris, 1996. Le femme dans la peinture orientaliste, Lynne Thornton, ACR Édition, Paris, 1985, p° 219. Les Orientalistes, Exposition à la galerie Gary-Roche, catalogue, Lynne Thornton, Paris 1992, n°10.

PAINTING EXHIBITED AT THE SALON OF 1877 (Listed under the number 207, in the Catalogue du Salon des Artistes vivants, 1877, p.27)

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"Un Bazar, à la Casbah (Alger)", oil on canvas, signed below on the right in Les Orientalistes, Exhibiton catalogue, galerie Gary-Roche, Lynne Thornton, Paris 1992, n°10, p18.

P. Marilhat

Ref: 0912/2

Painter (1811-1847) French School

"Sunrise on the Nile" Signed Marilhat and dated 1847 Oil on canvas Dimensions with frame : Height : 73 cm (28 3/4 in.) ; Width : 104 cm (41 in.)

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

A large animated scene depicting a boat leaving the shore. On the banks of the Nile, a palace is surrounded by luxurious vegetation, with in the distance, the sunrise over an oasis. The panoramic views of Marilhat, with a very low horizon, eventually translate very well the sweltering heat of the East felt by the artist. Museology: Many famous museums preserve works by Prosper Marilhat, such the fine art museum of Besançon (Eastern landscape at sunset), the Condé museum in Chantilly (Remember the Rosette campaign, A street in Cairo, Syrian Arabs traveling), the Bargoin museum in Clermont-Ferrand (Banks of the Nile, The Square Esbekieh and Coptic Cairo), the Fabre museum in Montpellier (Village in Auvergne) or the Wallace Collection inLondres (Beni Suef on the Nile). Bibliography: Bénézit, Ed. Gründ, 1999, t. IX, p° 222. Les Orientalistes, Lynne Thornton, ACR Édition, 1993. Marilhat et son œuvre, Hippolyte Gomot, Impr. Mont-Louis, Clermont-Ferrand, 1884.

328

L.Bazzani

Ref: 1508/34

Painter (1836-1927) Italian School

"Women in a Pompeian Atrium" Signed L. Bazzani, Roma 1879 Oil on panel Italy, 1879 Dimensions with frame : Height : 95 cm (37 1/2 in.) ; Width : 81 cm (31 3/4 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

A scene set in an atrium, the floor of which is decorated with a rose mosaic and Greek friezes. Showing two women by a fountain richly decorated with mosaics and grotesque figures. Museology: Many Italian museums conserve works by Bazzani. The National Museum of Naples exhibits about thirty watercolours of Pompeian life and another ten or so can be seen in the National Museum of Rome. The Revoltella Museum in Trieste exhibits The Arch of Septimus Severus in Rome (1893). Bibliography: Benezit, Gründ, 2000, t. I. L’Ottocento, sous la direction d’Enrico Castelnuovo, 1991, p° 683.

330

A. Watteau

Ref: 0805/7

In the taste of Painter (1684-1721) French School

"Fêtes Galantes" "Courtly Love" & "Inconstant Love" France Late 19th Century

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

Oil on canvas Measurements with frames : Height : 135 cm (53 in.) ; Width : 94 cm (37 in.) Magnificent pair of important paintings on the theme of “Fêtes galantes” and so dedicated to the art of seduction. One represents “Courtly Love”, where elegant couples walk in a park, talking and declaiming their sincere love. The other painting depicts young women and actors wooing less wisely near a gushing fountain, a lively and representative subject of “Inconstant Love”. These works are reminiscent of the painter Antoine Watteau’s ones (1684-1721), the inventor of the “Fêtes galantes” theme, where the artist gave via these juxtaposed skits considerable importance to the attitudes and positions of bodies, expressing thus feelings in an outdoor setting. The theme of “Fêtes galantes” quick to spur love trouble, treated with delicacy, were continued throughout the eighteenth century, thanks to the followers of Watteau, such as Jean-Baptiste Pater (1695-1736), Nicolas Lancret (1690-1743), François Boucher (1703-1770) and Jean- Honoré Fragonard (1732-1806).

332

Rare table service ď &#x2022; Imari

Porcelain from Arita Attributed to

Imari

Ref: 3012/70

Porcelain from Arita Attributed to

Rare Table Service Japan Circa 1880

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

Lovely part of Imari porcelain table service, made for the European market in Japan. Iris, Japanese chrysanthemum, Cap’s daisies, vine leaves, and small birds, create a rich purple and pink shades floral décor, all of which is circled by a gold on purple background frieze. This service was probably made for a European aristocratic family and presents a red “T” monogram top by a marquis crown. 18 large plates (25cm) – 6 soup plates (23 cm) – 6 plates (21,5cm) – 8 desert plates (17cm) – 2 cake plates (22cm) – 1 saucepan and its saucer – 3 oval plates (24,5cm) – 2 large cups and saucers – 8 small cups and 8 saucers – 6 egg cups – for a total of 71 pieces. Commentary The Imari porcelain is a ceramic style born around 1600 in the area of Arita (有田町), city of potters on the island of Kyushu, in southern Japan. According to tradition, this is a Korean named Ri Sampei installed in the region, who operated a kaolin deposit at the foot of the hill of Izumiyama. He managed the merger of kaolin, up to 1400 ° C, to obtain similar porcelain to the Chinese one’s ending thus a monopoly that was older than seven centuries. This porcelain is characterized by a decoration using three colors: cobalt blue, iron red and white background porcelain, the whole being embellished with gold. It mainly presents floral decoration and was called «Imari», the name of the port on the island of Kyushu, from where it was exported, a few kilometers from Arita. Because of the supply problems in China due to political unrest in the seventeenth century, the Dutch, with their East Company of the United Provinces, imported the first Imaris from Japan.

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Writing Case ď &#x2022; by

F. Duvinage

Designer and Art Objects Editor (1823-1876)

F. Duvinage Designer and Art Objects Editor (1823-1876)

Writing Case Signed FD Bté

Other Decorative Objects

France, circa 1875 Height: 10,5 cm (4 in.) ; Width : 33 cm (13 in.) ; Depth : 26 cm (10 1/4 in.) Precious kingwood writing case inlaid with a naturalistic decoration in the Japanese style. It is made of tinted fruitwood marquetry on a cloisonné ivory background according to the technique invented and patented by Ferdinand Duvinage in 1874. The writing case opens with a half-round cover revealing a pencil box, an inkpot and a powder box. The flap folds down and constitutes the writing surface ; its upper part opens onto a paper box. The writing case is adorned with a marquetry decoration with branches, flowers and berries. A bird, amidst blossoming branches and spreading its wings, ornates the middle of the flap. The marquetry work and the wood varieties subtly reproduce the shades of foliage and feathers to create as a real painting. The copper cloisonné is a part of the decoration since it constitutes branches. Duvinage’s Marquetery The marquetry technique used to adorn this writing case is a technique specific to Ferdinand Duvinage. On 6th May 1874, Ferdinand Duvinage filed a first patent for “a kind of mosaic inlaying made of partitioned metal to be used on furniture and art objects”. The process he invented is “the combined meeting of ivory as background, stained or exotic woods used for ornaments, and copper or other metal to partition ivory”. The ivory is intended to form the bottom and is hollowed to “insert the wooden mosaic” and the son of copper. The first patent is complemented by two additions. In February 1876, Duvinage imagined replacing ivory by imitating wood, such as boxwood. In November 1876, he offered further to enrich the decoration by adding “applied metal or other material (...) inlaid with pearls and precious stones”. This latter type of ornamentation was however little used by Duvinage. The Japanese style decors were always associated with nature, birds and plants. In 1876, Rosalie Duvinage named “the Duvinage widow” took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese inspiration, adding pearl decoration to the previous patent. We do not, until now, know any furniture, object or panel with pearl decoration. The presence of the Ferdinand Duvinage’s signature (FD Bté for « Ferdinand Duvinage Breveté ») allows us to precisely date our writing case, between 1874, the year of the patent, and 1876, the year of his death.

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Ref: 1508/30

Other Decorative Objects

Important Mirror

Ref : 2911/7

France Circa 1860 Height : 220 cm (86 2/3 in.) ; Width : 127 cm (50 in.)

A beautiful and important carved and gilded wood Regence style mirror.

Other Decorative Objects

Very fine rococo decoration made of flower garlands, pomegranates, ribonned rods, and acanthus leaves wrapped around the moulded frame. The richly decorated top presents a bird wing at the centre and two heads of eagles on the sides. The lower corners are adorned with fishes.

Provenance H么tel particulier, Parc Monceau.

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Important "Miroir d’Apparat"

Ref : 1307/31

Italy Circa 1880 Height : 200 cm (74 3/4 in.) ; Width : 120 cm (47 1/4 in.)

VASES, CENTERPIECES Other Decorative Objects ORIENTALISM

An important gilded wood- and stucco mirror. Heart shaped bevelled mirror plate. Rich marquetry ornamentation with mother-of-pearl inlaid. Acanthus leaves, shells and flower baskets motifs surmounted by two putti holding flower garlands. Mirrors applied on walls develop during XVIth century, but with small size mirror plates and heavy framing. Frequently an ornamented shutter folds down to protect the mirror plate. During XVIIth century the monopoly for mirror production stays in Venice, until Colbert creates the “Manufacture Royale des Glaces” in 1666. In 1688, Lucas de Néhout invents the mirror casting system, allowing him to obtain large size mirrors. These mirrors, which could cover entirely a trumeau, become true display elements in the apartments. By reflecting the light coming from chandeliers and candelabras, they greatly enhanced the decoration of the room they were placed in.

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Important Napoléon III "Miroir d’Apparat"

Ref : 0702/118

France, circa 1860 Height : 225 cm (88 2/3 in.) ; Width : 135 cm (53 in.) ; Depth : 10 cm (4 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

An important carved and gilded wood mirror, with a very fine decoration made of flower garlands wrapped around the moulded frame, sculpted with acanthus leaves. A large foliate shell ornates the top of the mirror. Mirrors applied on walls develop during XVIth century, but with small size mirror plates and heavy framing. Frequently an ornamented shutter folds down to protect the mirror plate. During XVIIth century the monopoly for mirror production stays in Venice, until Colbert creates the “Manufacture Royale des Glaces” in 1666. In 1688, Lucas de Néhout invents the mirror casting system, allowing him to obtain large size mirrors. These mirrors, which could cover entirely a trumeau, become true display elements in the apartments. By reflecting the light coming from chandeliers and candelabras, they greatly enhanced the decoration of the room they were placed in.

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G. Viardot Ref : 1508/29 Cabinet-maker (1830-1906) Attributed to

An Aesthetic Movement Mirror Circa 1880 Height : 132 cm (52 in.) ; Width : 98 cm (38 2/3 in.) ; Depth : 13 cm (5 in.)

A large Japanese style beveled mirror, of asymmetrical shape, decorated with a carved tinted alderwood dragon, wrappred around it. Surmounted by a carved wood Japanese blossoming cherry tree branch.

Other Decorative Objects VASES, CENTERPIECES ORIENTALISM

This mirror is to be linked to a mirror by Gabriel Viardot, now exhibited at the Decorative Arts Museum in Paris (Inv. 2002.57.1), showing two dragons wrappred around a crescent shaped mirror.

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Important Orientalist Mirror

Ref : 0912/6

France Circa 1870 Height : 270 cm (106 1/4 in.) ; Width : 117 cm (46 in.) ; Depth : 14 cm (5 1/2 in.)

VASES, CENTERPIECES ORIENTALISM Other Decorative Objects

An important carved and waxed oakwood Orientalist mirror. The term Orientalism appeared around 1830 while the 17th and 18th centuries had developed with great fantasy the « turquerie » theme. The taste for exotic and pittoresque subjects could even be found in the decoration of private apartments of Queen Marie-Antoinette and Count of Artois in the late 1780’s. But it was truly during the 19th century, with the expedition to Egypt led by Bonaparte from 1798, that the East attracted artists and collectors with beauty, eroticism, light and the fascination of the exotic oriental mystery. However the storming of Algiers by French troops in 1830 marked the act of birth of the artistic movement since the term of Orientalism appeared at this time. In France, it was really under the Second Empire, that the Orientalist artists were pushed into the lime light. Emperor Napoleon III himself, the aristocrats as well as the wealthy bourgeois in search of exotic feelings commissioned the most renowned artists. This wasn’t the mostly academic style used by the Orientalists but their exotic subjects they gave to see to the fascinated audience, such as the sculptors Charles Cordier (1827-1905), who innovated by combining polychrome marbles with Algerian onyx, and Emile Guillemin (1841-1907), whose works were published by the great founder Ferdinand Barbedienne (1810-1892). These artists led scientific missions toward the East, with the aim of helping to identify various cultures in a multi-ethnic civilization. The naturalist and documentary approach reveals a political and cultural will to keep track of these geographical and anthropological evidence. This term of Orientalism was also expressed in architecture and the decorative arts under qualified terms of «Arab» and «Moorish» or «exotic» styles. The cultural and geographical area of Orientalist reference extends from India to Spain via the North African countries, Egypt and Turkey.

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Artists and

Manufactures ď &#x2022;

Artists and Manufactures Edouard Agneesens (1842-1885)

Edouard Joseph Alexandre Agneesens, as a portrait painter, Edouard Agneesens occupies an important place among the realistic movement, with important compositions carefully elaborated yet natural. As soon as 1875 the first signs of mental illness appear, and will persist untill his premature death, at 43 years old.

Désiré Attarge (c.1820-1878)

D. Attarge won also the Crozatier Prize in 1862 and 1864, which was awarding the France best chaser, and was once again awarded at the 1867 Universal Exhibition with a Silver medal as Barbedienne’s co-worker. Jury’s report was then very explicit: "It’s impossible to show more taste in composition and more maestria in the making of these leaves and elegant flowers, all chased with so extreme delicacy". The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoleon, loc ated avenue Montaigne in Paris.

La Manufacture d’Aubusson

The most ancient references to tapestry date from 15th century. After the landscapes and verdures that were often represented during 15th and 16th century, tapestries appeared displaying characters from History, religion, literature or mythology. In 1600, Henri IV forbad the import of foreign tapestries; in 1665, Colbert granted trading license to the Aubusson workshops, which from now on owned the prestigious title of Royal Manufacture. In 1685, the "Edit de Nantes" revocation had unfortunate consequences for French tapestry: numerous protestant craftsmen from Aubusson emigrated to Germany or Switzerland. However, French state supported the Aubusson and Felletin workshops by sending designs, a dyer and a painter. During 18th century, Louis XV established the Savonnerie manufacture to create carpets. With the rise of this new fashion, Aubusson also started producing carpets in 1743.

Giuseppe Aureli (1858-1929)

Although Giuseppe Aureli owed his fame to his history paintings and portraits of the Italian royal family, he depicted a large number of harem scenes either with oil or watercolor. Giuseppe Aureli never traveled in the East, but like many of his Roman contemporaries of the late nineteenth century, he drew much his inspiration from the travelers reports, such as photographs, objects and prints. Aureli studied painting at the Academia di San Luca under the direction of Pietro Gabarini (1856-1926) and Cesare Maccari (18401919). He often exhibited his work in Rome, Turin and Bologna between 1883 and 1907, and in Paris at the 1889 Universal Exhibition and Salons of 1891, 1893 and 1897. He also presented historical paintings at the International Exhibition of 1888 in Munich and at the 1893 Chicago World Fair. Apart from exotic musical instruments, lion or leopard skin blankets and Moorish ceramics, the same greenhouse plants are to be seen in his paintings. They were probably permanently decorating his studio in Rome located 48 Via Margutta. Some of his works are now exhibited in the Galleria Nazionale d’Arte Moderna and the Aula del Consiglio Provincial in Rome.

Baccarat (Since the 18th century)

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the "Exposition des Produits de l’Industrie" for the "brilliance and the sharpness of its crystal" and became then the most renowned French "cristallerie". Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867. In all reports one can read about the "perfection of the material and of its cut". To keep its wealthy clientele, among which the Royal family, Baccarat must discover new styles and decors as well as new material, as shows that beautiful Opaline crystal, which became one of Baccarat’s specialities in the 1850’s.

Ferdinand Barbedienne (1810-1892)

Born in 1810, Ferdinand Barbedienne started at n°30 boulevard Poissonnière in Paris one of the most famous 19th century artistic bronze casting companies. He died in 1892. In addition to his personal production, he worked for famous artists such as Auguste Clésinger (1814-1883), Albert-Ernest Carrier-Belleuse (18241887) and Louis Barrias (1841-1905 At the London Universal Exhibition of 1862 Barbedienne exhibited some "opaque cloisonné" enamel works, which were for most of them designed by Constant Sévin (18211888), and won medals in three different categories: Furniture, Silversmith work and Artistic bronzes, combining for some pieces with enamels (Oriental style cup, Château de Compiègne, Inv. C 71-122). Barbedienne’s production was always highly esteemed and he was, himself admired by contemporary art critics who compared him during the 1878 Universal Exhibition to a "prince of industry and the king of bronze-casting".

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Maison Barbot (19th century)

The Barbot company, installed Chapon street in Paris between 1840 and 1850, then Rambuteau street in 1860, Saint-Maur street in 1890, finally Bucy street around 1900, specialized in the making of clocks made in inlaid wood or bronze. They went in partnership with D’Aureville et Chameroy who supplied the clockworks.

L. Bazzani (1836-1927) Luigi Bazzani was born in Bologna where he studied at the Academy of Fine Arts. His first steps in the artistic world were taken as a stage designer for the Bologna town theatre in 1857, in notable collaboration with Tito Azzolini and Francesco Bertolotti. He traveled in France and Germany in order to perfect his art. In 1861 he settled in Rome where he worked as a decorator, landscape painter and stage designer for the Opera. He worked with Elena Fracassini-Serafini on various interior designs until 1868. He equally distinguished himself with his religious paintings during the Roman Exhibition of Catholic Art in 1870, where he was awarded a medal of encouragement. Pope Pius 9th even commissioned him to decorate the Basilica of San Lorenzo. He painted frescoes for numerous public and private buildings such as the hall of the Roman Palace of Justice. Towards 1883 he exhibited paintings of Pompeian architecture successively in Rome, Monaco, Berlin and Turin. Each of these compositions of studied perspective and theatrical content was of the finest quality. He studied Pompeian architecture which he illustrated with precision, as in his series of watercolours painted in 1891 or the paintings he did in 1900 including “The House of the Tragic Poet in Pompeii”. Each of his representations of Pompeian life is thoroughly researched which gives his work an almost historical value. Antoine-Henri Beau (1855-1937) Antoine-Henri Beau, born in 1855 in Paris, studied at the École Polytechnique, where he graduated in electrical engineering in 1872. He became a manufacturer of lighting fixtures, and run his company Henri Beau, located 11 rue Francois-Millet at Auteuil. The art of lighting went through a considerable change with the industrialisation of gaz prior to the introduction of elecricity. French cities and salons alike were equiped with candelabras. But it was not until 1890 that apartements were supplied with electricity, yet to remain a great luxury for quite some time. Henri Beau made the first applications of electricity for lighting cities and interiors: he illuminated the Paris Opera Avenue and the Louvre Department Store in 1878, the Bellecour Theatre in Lyon in 1879, the Urbaine building on the Champs-Elysées as well as public festivals of Russian sailors in 1893. Celebrated by the public and the French state, Henri Beau was honored with the Chevalier of the Legion of Honor’ medal at the Paris Universal Exhibition in 1889. In 1901, Tsar Nicolas II and Tsarina Alexandra Feodorovna, during a visit of several days in France, settled in the Compiègne imperial Palace. For the occasion, this sumptuous castle is renovated, refurbished and illuminated. "Electric lighting is perfect. This is a triumph for Henri Beau, who indeed, throughout the palace, completed in less than three weeks, a veritable tour de force". Le Figaro noted in its edition of September 21, 1901. Mathieu Befort (1816-c.1880)

From 1844 to 1880, Mathieu Befort (1816-c.1880) also named Befort The Young worked as a “Boulle” style furniture craftsman at Neuve-Saint-Gilles Street in Paris.

Jean Bérain (1637-1711)

Jean Berain the Elder (Saint-Mihiel, Meuse, 1637 – 24 January 1711, Paris) was a draughtsman and designer, painter and engraver of ornament, the artistic force in the Royal office of the Menus-Plaisirs du Roi where all the designs originated for court spectacle, from fêtes to funerals, and many designs for furnishings not covered by the Bâtiments du Roi. The “Berainesque” style of light arabesques and playful grotesques was an essential element in the style Régence that led to the French rococo.

Alfred-Emmanuel Beurdeley (1847-1919)

Beurdeley is one of the most significant companies in art cabinet-making and decoration in the second half of the 19th century. Three generations succeed: Jean (1772-1853), who set up in Paris under the First Empire; his son Louis-Alfred-Auguste (1808-1882) who makes the renown of the family firm and is then considered as one of the greatest cabinet-maker under the Second Empire; finally the grandson Alfred-Emmanuel-Louis (1847-1919) who maintains the high fame of the firm thanks to his high standard quality furniture. In 1875, Alfred Beurdeley replaced his father Louis-Auguste as one of the main cabinet-makers of the Second Empire, specialising in 18th century furniture and particularly in the Louis XVI style. If Louis-Auguste was the star whenever he exhibited and was "most favored by the royal and imperial families", Alfred was a skilled bronze-caster as well as a well-known art collector. With Dasson, Grohé, Sauvresy and Fourdinois, the most famous artists of the period, he took part in the 1878 Paris Universal Exhibition where he won the gold medal. Crowned in glory he went so far as to open a shop in New York. His participation in the 1883 Amsterdam Universal Exhibition drew considerable attention to his work and "Alfred Beurdeley, Fabricant de bronzes d’art" was then awarded the Ordre National de la Légion d’Honneur, France’s hightest official mark of recognition. With this he won the respect of both the government and the contemporary art critics. 364

His last presentation was during the 1889 Universal and International Exhibition, at this time the director of the Exhibition wrote in his report: "The talent of Mr Beurdeley is self evident when one inspects his furniture".

Pierre-Marie Beyle (1838-1902) Pierre-Marie Beyle (1838-1902) was born in Lyon. He came to Paris to follow his studies, and in 1865, he became a freelance illustrator, working for five years to humorous periodicals. Then he painted circus scenes, captured along the way while following itinerant troubadours, and presented for the first time his works at the Salon of 1867. Following a trip to Algeria in the 1870s, Beyle sent to the Salon his paintings to be exhibited, including historical events and pictures on the theme : the Casbah of Algiers. At the Salon of 1877, the artist exhibited two paintings, including this one Bazaar, at the Casbah of Algiers and Yamina, a Moorish of Algiers. In 1878, he presented The Adornment of the bride. The Parisian painter then focused on Normandy, where his main subjects were the Dieppe coast and the lives of fishermen. Beyle participated in the Universal Exhibition of 1900 and still sent works to the Salon until 1902. Fernand Blayn (1853-1892)

Blayn Fernand studied painting under Alexandre Cabanel (1823-1889). He specialized in portraits and genre paintings depicting everyday-life scenes. F. Blayn exhibited from 1878 at the Salon of French Artists. He obtained a third class medal at the 1886 Salon and a bronze medal at the Salon of 1889. Dedicated to the circus, the composition of this painting, painted the year of the death of the artist, of flawless execution, is distinguished by fine and delicate tones. The expression of faces as the care given to the quality and texture of fabrics reveal the brilliant art of the artist.

Jean de Bologne

Giambologna or Jean de Bologne was a French mannerist sculptor born in Douai in 1529 and dead in Florence in 1608. He studied his art in Antwerp with the architect and sculptor Jacques Du Broeucq before leaving for Rome from 1555 to 1557. He then settled in Florence under the protection of Francesco I de’ Medici, where he produced for the Piazza della Signoria the equestrian statue of Cosimo I de’ Medici, and statues in the Loggia dei Lanzi. In 1614, the equestrian statue of King Henri IV commissioned to Jean de Boulogne by Queen Marie de Medicis was inaugurated in Paris on the Ile de la Cité (statue destroyed during the Revolution).

Louis Boizot (1810-1892)

(Louis Boizot 1743-1809), a French sculptor, was a pupil of the sculptor Michel-Ange Slodtz (1705-1764) as he won in 1762 the first prize for sculpture. This success allowed him to go to Rome in 1765 where he stayed for five years at the France Academy. Apart the Imperial Catherine II of Russia commissions, Boizot worked mainly in Paris by creating scul^ted decorations for public buildings such as Palais Bourbon (1772) or the Saint-Sulpice Church (1777). However Boizot acquired a certain notoriety when he succeeded Falconet in 1774, at the head of sculpture workshops of the Sèvres Manufacture where until 1785 he created small allegorical models according to the new neo-classical style of the time.

Lucien Bonvallet (1861-1919)

Lucien Bonvallet was a designer. He exposed his works on Cardeilhac’s stand at the 1900 Paris Universal Exhibition, and at the Autumn Salon of 1919.

André-Charles Boulle (1642-1732)

André-Charles Boulle (1642-1732) is considered to be the true inventor of 17th century French furniture. Soon after he was discovered by Colbert, Boulle became the “first cabinet-maker of the king”, his full title being “architect, painter, mosaic sculptor, engraver, marquetry craftsman, and inventor of figures”. Thus started for him the beginning of a period of great renown. With his royal privilege, Boulle was able to combine different activities usually restricted by corporations. Henceforth he worked as a master tortoiseshell and bronze marquetry craftsman, with such innovations as motifs both in the foreground and in the background. He also innovated by making a generous use of bronze, to decorate but also to protect the pieces of furniture. These innovations brought him fame throughout centuries.

Henry Cahieux (active since 1850)

Henry Cahieux, head decorator for the artistic bronze founder Ferdinand Barbedienne, was destined for a brilliant career, as testified by the works of art he sent to the Salons of 1850 and 1853. Most of these pieces were in the Grecian style, which was very fashionable at the time. Victor Champier’s article "Industrial Artists" , which appeared in the Decorative Arts Review (December 1888) echoed the genius of the artist: "Barbedienne had just lost (in 1854), taken by cholera in the prime of life, this young man with such a promising future, whose works, infused with graceful taste, showed him to be a master. At the 1855 Universal Exhibition in 365

Paris, these lamps which figured as the last testimony of Henry Cahieux, won a medal of honour for Barbedienne’s stand. His succession in the firm was assured by Louis-Constant Sévin (1821-1888) with great success.

Joséphine Calamatta (1817-1893)

Joséphine Calamatta was born Joséphine Raoul-Rochette in Paris, the granddaughter of the sculptor Jean-Antoine Houdon (1741-1828) was a pupil of the painter Hippolyte Flandrin (1809-1864) and of her husband Luigi Calamatta (1801-1869), an engraver and professor at the Fine Arts Academy in Brussels, himself a student of Jean-Auguste-Dominique Ingres (1780-1867). So naturally Joséphine Calamatta, following the precepts of Ingres painted sentimental genre scenes, portraits and religious subjects, with a symbolistic aspect in her allegories. Married since 1840, Joséphine left Luigi her husband and Lina her daughter to stay in Paris in 1852 and live her life as an artist at No. 3 rue JJ Rousseau, then at No. 24 rue Ventimiglia. She was a friend of the writer George Sand (1804-1876) and attended her home in Nohant. She started to exhibit at the Salon of 1842, where she won a 3rd class medal for The Virgin and Child Jesus. A 2nd class medal confirmed her talent at the 1845 Salon for Woman at her toilet and Charles Baudelaire quoted her in his Critique of the 1846 Fair, writing that she was known for the severity of her style and her Pre-Raphaelites tendencies. Joséphine Calamatta exhibited “hors concours” at the Salon from 1875. She entered into religion at the end of her life.

Antoine-Vital Cardeilhac (19th century)

Antoine-Vital Cardeilhac founded in 1804 a company specialized in cutlery and flatware. Throughout the 19th century, the company had passed from father to son, with Armand-Edouard and Ernest then, and continued to successfully produce pieces highly inspired for most of them from ironwork models, richly ornamented with fine motifs. These works of varied forms and styles were all considered remarkable for their chiselling. The Cardeilhac firm was then inevitably noticed in national and international exhibitions for the high quality of products available to the public and received numerous awards, such as the bronze medal in 1823, silver medals in 1827 and 1834 as well as at the famous 1867 Paris Universal Exhibition. They were finally awarded a gold medal at the Universal Exhibition of 1878, giving the Cardeilhac company an unprecedented boom. After more than a century of proven success in the great universal exhibitions, the famous silversmith Christofle took over Cardeilhac business in 1951.

Albert-Ernest Carrier-Belleuse (1824-1887)

Albert-Ernest Carrier-Belleuse, nick-named the "Clodion of the 19th century"; was a very prolific sculptor, treating his decorative objects and his portraits with equal naturalistic rigor, full of charm and life. He entered the Paris Fine-Arts School in 1840, where he studied sculpture under David d’Angers. From the early 1860’s, he won success with his sculptures presented at the French Artists Salon and particularly during the 1867 Salon, where he was awarded a "médaille d’honneur" and the "Légion d’honneur" for his Messiah. The "new" Paris redesigned by the Baron Haussmann during Napoleon IIIrd’s reign, commissioned many of Carrier-Belleuse’s masterpieces: at the Louvre palace with the high-relief "L’Abondance" on the Flore Pavilion (1865), or the sumptuous decoration made for the most famous Parisian palace on the Champs-Elysées Avenue, owned by the Marchioness of Païva. But it is especially with the torcheres-statues of the large staircase of the Paris Opera house (1873), recently built by Charles Garnier, that Carrier-Belleuse meets a huge success with the Parisian public. In the catalogue of the 1878 Universal Exhibition an art critic praised Carrier-Belleuse and added: "Even the English come from London to ask him to work for them". His busts, nudes, group compositions as well as his candelabras, vases and clocks, all chased remarkably, had a considerable success during the Second Empire.

Alexandre Chertier (active from 1855 until 1878)

Alexandre Chertier, active between 1855 and 1878, began in the 1850s as a silversmith to Louis Bachelet (active from 1844 to 1877), known as a great Parisian silversmith. He then founded his own company of silverware and decorative bronze pieces, located n.48 rue Mazarine in Paris. Honored by critics, Chertier was awarded medals at the Paris Universal Exhibitions of 1855 and 1878.

Charles Christofle (1805-1863)

Charles Christofle, began his career by managing a jewelry firm and a few years later he set up his own business: the Christofle silversmith company. His son Paul (1838-1907) and his nephew Henri Bouilhet (1830-1910) took over the business after his death. After his success at the Paris Products of Industry Exhibition of 1839, he bought the patents of gold and silver-plating by electrolysis from both Ruolz and Elkington, which enabled him again to win the gold medal at the 1844 Products of Industry Exhibition. He was named "silver-smith to the royal family" and his success was confirmed during the Second Empire when he was regularly awarded prizes at the Universal Exhibitions.

Emile Colin (2nd part of the 19th century)

Rrenowned founder installed since 1843, No. 29 Sévigné Street in Paris, cast as soon as 1855 for the most wellknow masters of France sculpture, such A.E. Carrier-Belleuse (Le Zouave), J. Pradier (Les Trois Grâces, Vénus consolant l’Amour) or J.B. Carpeaux since 1875 (L’Enfant au cor), as well as the famous Parisian silversmith Christofle. Colin used to stamp his bronzes of the mention "Emile Colin & Cie" from 1882 until 366

1898. That mark became later "M. Colin & Cie" from 1898 until 1906, then "Ancienne Maison Colin, Jollet & Cie" from 1906 until 1923. Worldwide renowned, Emile Colin sent to the Chicago Universal Exhibition of 1893 bronze works of art, with among them, ormolu mounted marble urns and clocks. The Colin Company counted then at the turn of the century among the greatest bronze-casters at the sides of Barbedienne, Susse and Siot-Decauville.

The «Compagnie des marbres Onyx d’Algérie» (19th century)

The «Compagnie des marbres Onyx d’Algérie», led by G. Viot and named also «The Algerian OnyxMarbles Co.», refering to the quarries of onyx the firm exploited near Oran, set up Boulevard des Italiens N.24, in Paris. Founded in the middle of the 19th century, that firm remained opened until the beginning of the 20th century. Onyx, although known since antiquity was not rediscovered until 1849 in Oran Province, Algeria, by Delmonte, a marble worker and fully exploited by Pallu in the late 1850’s. The firm G. Viot & Cie produced, after models created by the most well-known sculptors, such as Cordier, Cornu and Carrier-Belleuse, luxuous furniture and art objects, incorporating onyx marbles and bronze, which awarded Viot medals at the various exhibitions, such the Gold Medal at the 1867 Paris Universal Exhibition.

Charles Cordier (1827-1905)

Charles-Henri-Joseph Cordier entered the Paris School of Fine Arts in 1846, and then left in order to study under the famous sculptor François Rude (1784-1855). His first success with the bust of a Sudanese at the 1848 Salon was explained by Cordier himself in the following manner: "My subject was new and fashionable; The revolt against slavery and anthropology... , I renovated the value of sculpture and innovated the study of different races, thus enlarging the circle of beauty". Two years later, encouraged by the reception given his work, he executed The African Venus. These two bronzes were bought by Queen Victoria at the 1851 Universal Exhibition in London. The French government commissioned replicas for the anthropological gallery of the Natural History Museum in Paris which wished to inaugurate an ethnographical gallery to present different racial types. Cordier therefor began to constitute a collection of sculptures and in 1856 he requested a mission to Algeria in order to reproduce the various morphologies: Kabyles, Jews, Moors, Arabs, Berbers and Negroes; some in marble and others in bronze. This voyage was of capital importance to his work, not only in the mixture of art and ethnology but also in that he discovered marble and onyx quarries exploited since ancient times. It should be noted that alongside these documentary and naturalistic expeditions, the imperial couple Napoleon III and Eugenie, aristocrats as well as the wealthy high society in search of exotism, look especially to see the picturesque, wealth and sensuality that emerg from these multi-ethnic cultures.

Eugène Cornu (1827-1899)

The sculptor Eugène Cornu worked closely with G. Viot and Cie, set up Boulevard des Italiens N. 24, in Paris. They produced luxurious furniture and art objects, incorporating onyx marble and bronze, with sometimes enamel, a combination then considered as a novelty and become quickly highly prized among wealthy collectors. They both showed at the 1867 Universal Exhibition held in Paris a fine pair of onyx, bronze and enamel vases (signed "G. Viot et Cie, Exposition de 1867, Eugène Cornu Inventeur"; Catalogue Officiel de l’Exposition, groupe III, classe XIV, "meubles de luxe", n°65) for which Cornu and Viot won the Gold Medal (Rapports du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, groupe III, classe XV, chapître II, § 2, p°45 & 46).

Joseph-Désiré Court (1797-1865)

Joseph-Desire Court, French painter of history and portraits, entered the local art school in Rouen, where he was noticed by rapid progress. He then passed into the studio of the famous painter Antoine-Jean Gros (1871-1835), from whom he learned the power of color. Wishing above all to visit Rome to complete his art education, Court won the Grand Prize in 1821 for his painting Samson handed over to the Philistines by Delilah (preserved at the Fine Arts School of Paris). From Rome he sent to the Paris Salons to be exhibited, Death of Caesar in 1824 (Fabre museum in Montpellier), what knew a considerable impact and was acquired by the French State, then The Flood in 1827 (Fine Arts museum in Lyon). In 1828, the Rouen Arts Academy commissioned him a large painting to decorate the newly built assembly hall: with Corneille welcomed at the theater by the Great Condé, Court was awarded a gold medal. The French government in 1830 ordered a decoration contest for the new hall of the Chamber of Deputies and Court there won for the second topic. This academic painter trained at neoclassical masters is characterized by its smooth and perfect technique, his mastery of drawing, as well as the harmony and balance color and composition. He had a special talent for portrait and the orders flooded in his studio, including those from sovereigns, such as King LouisPhilippe, his sister Madame Adelaïde, the King and Queen of Denmark, the Tsar Nicolas I of Russia and Pope Pius IX. Joseph-Desire Court got the Legion of Honour in 1838. Returning to his hometown, he in 1853 was appointed curator of the Fine Arts musuem in Rouen. He exhibited nevertheless regularly at the Paris Salon until 1863.

Manufacture of Creil Montereau (18th- 20th centuries)

In order to compete with the English production, the Creil (Oise) and Montereau (Seine-et-Marne) manufactures began producing "English style" white paste earthenware as soon as the 18th century. At Montereau, English potters refugees in France shared their skills with Louis Leboeuf (1792-1854). Under the Second Empire, technical innovations, added to the enthusiasm of the middle classes in the decorative arts, provided a production of fine standard, more accomplished and more diverse. The white clay was 367

then relayed by the opaque porcelain, then whiter, harder and tougher. With the merger of Manufactures of Montereau and Creil in 1840, Lebeuf went into partnership with Milliet (marks "Lebeuf Milliet and Co." from 1840 to 1874, followed by "Lebeuf and Co." from 1875 to 1876). Both partners were constantly seeking to discover new and various techniques and patterns of decoration. This golden age lasted until the early 20th century as the economic crisis appeared. A restructuring process was started and Montereau was preferred to Creil. The takeover by the Choisy Manufacture in 1920 continued the mass production until 1955, when Montereau definitely closed down its workshops.

Charles Cressent (1685-1768)

Charles Cressent, famous French cabinet-maker and sculptor. He was taught by his father, François Cressent, a sculptor in Amiens, and became a maître ébéniste on 9 January 1708. He subsequently became a pupil of François Girardon and became a maître sculpteur in the Académie de Saint-Luc, Paris, on 14 August 1714. He obtained the title of Ebéniste du Régent in 1719, which allowed him to trade as a cabinet-maker free from guild restrictions. The richest French patrons, the Portuguese Court and many German princes bought furniture from him. His work is of exceptional quality and epitomizes the Régence and early Louis XV styles, to which he remained faithful throughout his career. The forms of his pieces were perfectly curved and rendered sumptuous by abundant, virtuoso bronze mounts and emphatically serrated agraffe ornaments and mouldings. His lavish mounts to some extent obscured the restrained veneering or geometric marquetry, for which he almost always used rose-wood, purplewood or satin-wood. Above all, however, he was a sculptor, and he contravened guild restrictions by modelling the bronzes that adorn his furniture himself.

Charles Cumberworth (1811-1852)

Charles Cumberworth was the son of an English officer and a French mother, arriving in Paris at his early age. Student of the sculptor James Pradier (1790-1852), he joined the Fine Arts School in 1829 and won the Rome grand prize in 1842, but he was disqualified because of his no French nationality. Cumberworth exhibited at the Paris Salon of living artists from 1833 to 1848, mostly busts of women and children as well as allegorical statues of classical style.  He made the statues of Queen Marie-Amélie (1842) and the Duke of Montpensier (1847). As many artists, Charles Cumberworth signed a contract as early as 1837 with the Susse brothers company, one of the greatest bronze editors-founders of the time.

Albert Louis Dammouse (1848-1926)

Albert Louis Dammouse was a French sculptor, designer and ceramist, who worked as his father sculptor Pierre-Adolphe Dammouse (1817-1880) at the Sèvres porcelain Manufacture. He first received training in the workshop of the sculptor François Jouffroy (1806-1882) where he made sculptures for the Louvre palace. From 1863 to 1868, he studied at the École Nationale des Arts Décoratifs in Paris, then studied at the École des Beaux-Arts. He began to expose at the Salon of 1869 with a plaster bust. In 1871, he founded a workshop in Sèvres and kept it until his death in 1926. There, he made and decorated porcelain pieces as well as stoneware and earthenware. He exhibited at the Paris Universal Exhibition of 1878, where he met a huge success and won a gold medal at the Universal Exhibition of 1889.

Henry Dasson (1825-1896)

Henry Dasson, as a cabinet-maker and bronze-caster, executed in his Paris workshop sumptuous copies of royal 18th century models and some pieces of his own modified 18th century design. For his pieces of furniture, he used the very finest ormolu mounts with high quality mercurial gilding. He mainly produced in the Louis XV and Louis XVI style. His participation at the Paris 1878 Universal Exhibition was highly remarked with a Louis XVI style table, all made of bronze and considered as a "chasing masterpiece", and a copy of the famous King Louis XV desk (original piece exhibited at Versailles), which was also admired by critics. At the 1889 Universal Exhibition, he won a "grand Prix" for his outstanding furniture. Dasson closed down his business in 1894.

Pierre-Louis Dagoty (1771-1840)

Pierre-Louis Dagoty (1771-1840) was a perfect illustration of the golden age of Paris porcelain in the early nineteenth century. The production of the Dagoty factory was characterized by the elegance of forms, the use of great colors and the decorative richness. P.L. Dagoty was born in Paris into a family of painters and sculptors. With the help of his brothers, Isidore and Étienne Jean-Baptiste, he took over in 1798 a small workshop for porcelain, and specialized in fine china painting. Very quickly, the products of the manufacture knew a great reputation, especially when, in December 1804, the Empress Josephine could support him. The factory took the name of “Manufacture of Her Majesty the Empress, P.L. Dagoty in Paris” (from 1804-1814) and after the fall of the First Empire, “Manufacture of HRH the Duchess of Angouleme. P.L. Dagoty” (1815 to 1820). In 1810, P.L. Dagoty worked closely with François Maurice Honoré (dead in 1833), a porcelain maker who set rue de Chevreuse in Paris. After 1820, date of the end of their association, Dagoty continued alone with his own workshops in Paris, until 1823 when Pierre-Louis retired and sold the factory to Dominique Denuelle who founded the Manufacture La Seynie with a production that definitely was relocated in Limoges in about 1900.

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Théodore Deck (1823-1891)

The renowned ceramist Théodore Deck, born in Guebwiller in 1823, made his apprenticeship in the Hügelin earthenware factory in Strasbourg. After a European tour of initiation he arrived in Paris in 1847. He made his first public appearance in 1861 at the Parisian Arts and Industry Salon where he won a silver medal for the works he exhibited. His reputation thus assured, Deck became profoundly influenced by the Japanese style, which was very fashionable at the time. He adopted the naturalistic oriental motifs with great precision. Emile Reiber (1826-1893) chief designer for Christofle, also made sketches for Deck. The fame he merited through long hours of work was assured by his success at Universal Exhibitions in which he participated: Vienna in 1873 where all his rivals were left far behind; Paris in 1878 where he won the Grand Prize for his portraits on gold backgrounds. Showered with praise by the critics at the Central Union of Decorative Arts Exhibition in 1874, the "Gazette des Beaux Arts" (Paris,1874, vol. XXXV, p. 310) reported that "Mr. Deck, master of masters is the greatest glory of French ceramics". His life was devoted to the amelioration of earthenware technology by a succession of achievements. He thus improved the rending of colours, one of which, a new turquoise blue, became known as "Bleu de Deck". Theodore Deck had talent and he knew it. He did not keep it to himself however, but shared it with others and helped to promote young artists who lacked means. He thus became an example for the renaissance of ceramic art during the second half of the 19th century. All his techniques were made public and circulated in a book on earthenware. His Genius recognized and promoted to the grade of "Officier de la Légion d’honneur" he was nominated director of the Sèvres Porcelain Factory in 1887.

Eugène Delaplanche (1836-1891)

The sculptor Eugène Delaplanche was a pupil of Francisque Duret (1804-1865), gained the Prix de Rome in 1864 (spending 1864-67 at the Villa Medici in Rome). He was a very talented artist, much appreciated under the Second Empire. His best work is naturalistic, but at the same time classical, dignified and simple in line, and shows sound mastery of technique. With some of his colleagues, he was against the Realism artistic movement. Delaplanche exhibited several times at the Salon of the French artists in Paris, such in 1877, and obtained the Medal of honour in 1878.

Guillaume Denière (1815-1903)

The bronze-caster Guillaume Denière was the pupil of the famous ornementalist Aimé Chenavard (17981838) and of the architect Henri Labrouste (1801-1875). In 1844, Denière succeeded his father in the family workshop, established in 1804, at 15, rue Vivienne in Paris. The business was at this time prosperous and four hundred workers worked to satisfy the numerous commissions from King Louis-Philippe and the upper classes. He made bronze furnishings, candelabras and centrepieces. He collaborated with a number of artists, amongst whom Carrier-Belleuse (1848-1913) and Constant Sévin (1821-1888). He turned out several clocks for the Tuileries Palace in 1852, as well as a ‘globe’ clock with rotating dials for the Grand Salon of the Château of Bagatelle. Denière’s work was very often remarked upon at the Universal Exhibitions, so much so in fact that the Emporer Napoleon III bought, at the Paris Exhibition of 1867, a clock set. His renown was by this point international. Amongst his most prestigious commissions, Denière produced 1854 a spectacular bronze centrepiece for the Russian ambassador, Kisselef, and decorative bronzes for the Viceroy of Egypt, Saïd Pacha, as well as railings for the Throne Room for the King of Cambodia, Norodom I, in 1862. At the 1889 Universal Exhibition G. Denière won a gold medal.

Charles-Guillaume Diehl (1811-1885)

Arriving in Paris in about 1840 Charles-Guillaume Dieh founded his cabinet making and decoration firm at 19 rue Michel-le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments (see "Les ébénistes du XIXème siècle",D. Ledoux-Lebard, Ed. de l’amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown (see "l’Art en France sous le Second Empire", Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861.In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book "Les Merveilles de l’Exposition Universal de 1867" (vol. II, pp. 133 & 149). He writes of a table of which "the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love " (p. 133) and a jewelry case where "The head in fine Grecian style makes up the essential part of the fine gilt bronze ornementation" (p. 149). For this Universal Exhibition Diehl also formed a partnership with two famous sculptors: Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet with marquetry and silver plated bronzes (Orsay Museum, Paris, Inv. O.A. 10440). Diehl was again rewarded with a medal of honour at the Union Central Exhibition of 1869 and a progress medal at the Universal Exhibition in Vienna in 1873 (Sideboard in blackened pear wood and lemon wood with galvanic bronzes, designed by J. Brandely with a low relief by E. Guillemin, Orsay Museum, Paris, Inv. O.A.O. 336). Showered with praise by the critics, Diehl is considered as one of the most innovating artists of the 19th century. His final appearance was at the 1878 Universal Exhibition in Paris where he presented outside the competition, his most recent creations, including a work table in marquetry which with its naturalistic grasshopper motif anticipated "Art Nouveau" (Musée de l’École de Nancy, Nancy). 369

Maison Dienst (19th century)

The Dienst company practiced in Paris, No.58 rue du Faubourg-Saint-Antoine from 1836 and subsequently to No.38, 29 and 86 until 1871. Eugène Dienst took over in 1871 his father’s furnishing firm, then with the sign «To the King of Siam» and executed there complete furnishings of various styles until the late 19th century. As a talented interior designer, he participated in the Paris Universal Exhibition of 1889 where he won a gold medal. He presented there among other furniture, «A Louis XV bed, of a very distinguished and charming design, a Renaissance fireplace and some nice seats». The jury of the exhibition honoured Eugène Dienst and reported that they regretted that «Mr Dienst doesn’t have recalled us that he was a talented cabinet-maker as well as a sculptor».

Gustave Doré (1832-1883)

Gustave Doré was a French illustrator, engraver, painter and sculptor, born in Strasbourg in 1832 and dead in Paris in 1883. He was internationally recognized during his lifetime especially through his many book illustrations like the Works by Rabelais or The Divine Comedy by Dante. Gustave Doré also excelled in sculpture, as evidenced by his bronze mirror with cherubs made in 1877 (now in the museum of the Royal Monastery of Brou in Bourg-en-Bresse, France), The Fates and Love presented at the Salon of 1871, or Glory introduced in 1878 which had received a laudatory article by Paul de Saint-Victor. At the Paris Universal Exhibition held in 1878, Gustave Doré showed a huge vase of 2.90 meters, named Le Poème de la Vigne on which a cascade of putti makes a stunning work. Cast in bronze by Thiébault Frères in 1882, this vase dedicated to winemakers was presented at the Universal Exposition in Chicago in 1893 and San Francisco in 1894 where it was bought by businessman Michael Henry de Young (still exposed in the de Young Museum in San Francisco). The achievement of Doré’s short career as a sculptor is undoubtedly the monument to the memory of his friend Alexandre Dumas (located Place du Général Catroux, Paris). Gustave Doré said of this work that it was the greatest effort of his life and did not accept any money for it. Gustave Doré has left a considerable number of works. Henri Leblanc has identified in his catalog 9850 illustrations, 526 drawings, 283 watercolors, 133 paintings and 45 sculptures.

Edouard Drouot (1859-1945)

Edouard Drouot began his career as a painter, and soon devoted himself to sculpture. He studied in Paris in the studio of Emile Thomas (1817-1882) and then Mathurin Moreau (1822-1912), who taught him how to sculpt in a very academic style corresponding to the taste of the time. Exhibiting at the 1889 Paris Salon, Edouard Drouot asserted his style and his skill in sculptures mainly cast in bronze. He sculpted only one large sculpture, The Amateur, a marble work presented at the 1893 Salon, and then at the Universal Exhibition of 1900 where he received an honorable mention. Drouot focused in his work on movement and expression through his figures posing with precarious balance, giving them much grace. He found his subjects in a wide repertoire plenty of genre, sport and Orientalist scenes. But the theme in which the artist excelled was the representation of mythological figures making him a leading figure of the sculpture of the late 19th and early 20th century.

Paul Dubois (1827-1905)

Paul Dubois entered the Paris Beaux-Arts School in 1858. He exhibited at the 1865 Salon the Chanteur Florentin, illustrating Florentine sculpture, observed after his journey in Italy. This work, cast that time in silvered bronze, was exhibited at the 1867 Paris Universal Exhibition (now preserved at the Orsay museum). Dubois’ success brought him many commissions, both private (Portrait of Duc d’Aumale) and public (Jeanne d’Arc, in Reims). Appointed curator at the Luxembourg museum in 1873, Dubois became also a member of the Institute and finally headmaster at the Beaux-Arts School in 1878.

Gervais Durand (1839-1920)

The cabinet-maker Gervais Durand participated in the 1889 Universal Exhibition where he was awarded a silver medal. A. Picard’s exhibition report stated that, "Mr Durand, cabinet-maker, as skilful as modest, displays for the first time very fine furniture, which has been designed and made by him. He is walking in the footsteps of giants such as Beurdeley and Dasson". Durand made almost exclusively reproductions of 18th century masterpieces.

Ferdinand Duvinage (1823-1876)

As early as 1863, Ferdinand Duvinage was a dealer of paintings and fans. In 1867, he teamed up with Alphonse Giroux for running the company installed Boulevard des Capucines. This partnership allowed him to label "Maison Giroux Paris" and then "Ancienne Maison Giroux" on his works mounts. On 6 May 1874, Ferdinand Duvinage filed a first patent for "a kind of mosaic inlaying made of partitioned metal to be used on furniture and art objects". This patent filed by Duvinage is really original. The process he invented is "the combined meeting of ivory as background, stained or exotic woods used for ornaments, and copper or other metal to partition ivory". The ivory is intended to form the bottom and is hollowed to "insert the wooden mosaic" and the son of copper. These, in most cases, represent the branches and stems of plants. The first patent is complemented by two additions. Indeed, in February 1876, Duvinage imagined replacing ivory by imitating wood, such as boxwood. A few months later, in November 1876, he offered further to enrich the decoration of ivory partitioned furniture and objects by adding "applied metal or other material depicting birds, animals, shrubs, flowers, foliage, fruit, etc.., inlaid with pearls and precious stones". This type of ornamentation was however 370

little used by Duvinage, most of the time, his productions were confined to the technique described in the first patent. The Japanese style decors were always associated with nature, with birds and plants. In 1876, Rosalie Duvinage named "the Duvinage widow" took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese inspiration, adding pearl decoration to the previous patent. We do not until now know any furniture, object or panel with pearl decoration. Signed works embellished with these designs were first exhibited to great acclaim at the 1878 Paris Universal Exhibition (D. Kisluk-Grosheid, "Maison Giroux and its 'Oriental' Marquetry Technique", Furniture History: The Journal of The Furniture History Society, 1998, Vol. 34). Directed then by A. Philippe and E. Arnut from 1883 until 1884, the Giroux company closed definitively down in 1885.

George Richards Elkington (1800-1865)

The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (18001865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830’s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then emloyed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces.

L’Escalier de Cristal (19th century)

L’Escalier de Cristal, Parisian firm created about 1800 by Mme veuve Desarnaud, famous under the French "Restoration" for its decorative objects combining crystal and bronze. She was awarded a gold medal at the 1819 Paris Exposition des Produits de l’Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, L’Escalier de Cristal was bought out around 1830 by Boin, and then by Lahoche in 1840. The company owed its rise to a position amongst the most important Paris decorative wares shops to Lahoche, who expanded considerably the business and entered later in partnership with his son-in-law to set up in 1852 Lahoche et Pannier. In 1872 Emile Pannier led alone the firm, and then his sons from 1885 to 1923, whom gave the name of Pannier Frères to the company, located at the corner of Scribe and Auber streets, next to the new built Paris Opera house. L’Escalier de Cristal suggesting also since the 1880’s furniture and art bronze pieces, was several times awarded medals at the various International Exhibitions held in Paris, London and New York, and for instance a gold medal at the 1900 Paris Universal Exhibition. Numerous artists, such Emile Gallé, Louis Majorelle and Gabriel Viardot worked for the L’Escalier de Cristal’s woldwide renown, and introduced then some of their greatest Japanese style creations (adorned with "cloisonné" enamels, Japanese motifs…).

Gilbert Fabre (active around 1900)

Gilbert Fabre is listed at the turn of the 20th century among manufacturers of quality bronzes. They also produced many clocks and mantle decorations, whose works were manufactured by the wellknown Samuel Marti, installed Rue Charlot in Paris in 1860. Gilbert Fabre in 1919 sold his business to Chardon company, an art foundry from Belgium in 1878 then.

Étienne-Maurice Falconet (1716-1791)

Étienne-Maurice Falconet, adapted the classical style of the French Baroque to an intimate and decorative Rococo ideal. He was patronized by Mme de Pompadour and is best known for his small sculptures on mythological and genre themes and for the designs he made for the Sèvres porcelain factory. Falconet was a pupil of the sculptor Jean-Baptiste Lemoyne. He was received in the French Royal Academy in 1754 and soon after began to enjoy royal and official patronage. In 1757 Mme de Pompadour appointed Falconet director of the sculpture studios at the Sèvres porcelain factory. While director, he executed many models for the factory and produced small sculptures of mythological figures, such as Venus and Cupid, and a series of nude female bathers. He also executed a few monumental and religious works. In 1766 he was summoned to Russia by Catherine II at the suggestion of his friend Denis Diderot to produce a bronze equestrian statue of Peter the Great for St. Petersburg. The resulting work, dedicated in 1782, is one of the most powerful and original equestrian portraits of the age. Falconet left Russia in 1778, and, soon after, he suffered a debilitating stroke that left him unable to sculpt. He is also remembered for his writings, including Réflexions sur la sculpture (1760; “Reflections on Sculpture”), produced at Diderot’s request for the Encyclopédie.

Alexandre Falguière (1831-1900)

Alexandre Falguière studied sculpture under Jouffroy at the Paris École des Beaux-Arts, began his career at the Paris Salon in 1857 and won as soon as 1859 the "Prix de Rome". Falguière became very quickly successful and was several times awarded medals at the Salon, such in 1868 with his marble sculpture Tarcisius the Christian Boy-Martyr, or at the 1867 Paris Universal Exhibition, where he won the first medal in his category. Thanks to that success, he was immediately commissioned by private collectors as well as by the French State, whom asked him in 1878 to realize the Triomphe de la République, placed in 1881 at the summit of the Paris Arch of Triumph (taken down in 1886). After having created in the conventional classical mould, Falguière turned his art to Realism, as shows this bust of Diana, very close in style to portraits of Parisian ladies. Falguière was considered as one 371

of the inventors of Realism in sculpture, in the 19th century French school and was then awarded 1870 the Ordre national de la Légion d’honneur, France’s hightest official mark of recognition.

Maison Forest (19th Century)

Maison Forest was established since 1883 in Paris, at 14 rue Pierre-Picard, then at 31 rue Cambaceres. The furniture produced by the firm stands out for its high quality gilt-bronze mounts and furthermore for its notable ébénisterie and fine decoration. Maison Forest presented their products at the Universal Exhibition held in Chicago in 1893.

Maison Fourdinois (founded in 1835)

The Fourdinois company was founded in 1835 by the cabinet-maker Alexandre-Georges Fourdinois (17991871). The Universal Exhibition held in London in 1851 was undoubtedly their first great artistic and public success. Winning the Great medal for a neo-Renaissance buffet triggered a competition among other cabinetmakers, as the press was unanimously greeting their success. His son Henri-Auguste (18301907) was taught design by the architect Duban, then by the silversmith Morel in London, before working with the bronze founder Paillard. He joined the firm in 1860. His talent and the high quality of his designs drew attention at the 1862 World Exhibition in London, where the jury awarded him two medals for "Excellence in Composition and Execution". Henri-Auguste, now sole in charge, brought the firm to the summit of its achievements at the 1867 Universal Exhibition in Paris by winning the Grand Prix (classes 14 and 15) as well as at the 1878 Exhibition. The 1862-1880 period marks truly the peak for the Fourdinois house, which remains for many cabinet-makers, whether French, English or American, an example to follow.

Charles-Auguste Fraikin (1817-1893)

Charles-Auguste Fraikin, the son of a notary, attended the Academy in Antwerp from 1829 to 1831 before receiving his diploma as a pharmacist in 1835. In 1836 he discovered the work of Guillaume Geefs (18051883), one of the greatest Belgian sculptors in the early 19th century, and decided to abandon pharmacy for sculpture. Pierre Puyenbroeck (1804-1884) noticed his talent and took him on in his studio. Fraikin was encouraged by the famous painter François-Joseph Navez (1787-1869), the director of the Brussels Royal Fine arts Academy, and studied there under Louis Jéhotte (1803-1884). He exhibited for the first time in 1839 in Brussels where, six years later, his Cupid held Captive won a gold medal and considerable success. Two versions in marble were ordered by King Leopold I for the Royal Fine arts Museums in Brussels, and by Grand Duchess of Russia for the Hermitage in Saint Petersburg. Fraikin was then during all his life honoured for his delicate and seductive classicism, awarding him much success and many private and official commands.

Gagneau (19th century)

Famous lighting manufacture established in Paris, participated in many exhibitions, such the Industry Products expositions since 1819, and received numerous awards throughout the 19th century. Appreciated by his contemporary fellows, G. Gagneau became part of the jury, in the category of art bronzes (Class 25) at the 1889 Paris Universal Exhibition.

Emile Gallé (Nancy, 1846-1904) As a ceramist, carpenter and glassmaker, is one of the founding artists of Art Nouveau. His father, Charles Gallé (1818-1902), already a major artist, had successfully launched the family business in the production of pottery. After school in Nancy, Emile Gallé went to Weimar in 1865 and studied there mineralogy. He then went to Meisenthal for learning glass and ceramics crafts. He added to this a good knowledge of woodworking and of natural sciences, the family passion, especially for plants that led him to drawing. In 1877, working hard, he took over his father’s activities and developped the firm. Participating in the 1878 Universal Exhibition, he was awarded four gold medals. His fame spread to the world then. At the 1889 Universal Exhibition, Emile Gallé was awarded the Grand Prize and was made an Officer of the Legion of Honor. Jean-Baptiste Gamichon ( ?-1832)

was successively established rue Mauconseil (1799), rue de Cléry (1810) and 16, faubourg Saint-Denis (1828). He used two stamps, one with his name and the other inscribed à Paris, placed on top of each other or at each side of the piece of furniture. Sometimes, a label was added : rue de Cléry, n°58 GAMICHON, marchand ébéniste tient magasin et fabrique d’ébénisterie en tous genres, il fait aussi des envois dans les départements, à Paris. In 1827, he exhibited furniture in maple, lemonwood an amaranth at the Exposition des Produits de l’Industrie.

François Gautier (19th century)

Francois Gautier founded his bronze workshop in 1850 and settled at 3, rue des Fosses-Montmartre in Paris. He was awarded a first-class medal in 1855 with table centrepieces, figure groups, statues, art and bronze furniture mounts. He exhibited again in 1862 and soon after sold his company to J. Albinet and G. Coulon, 372

then installed at 4, rue de Choiseul in Paris, and specialized in bronze clocks and chimney clock sets. In 1874 they both exhibited bronze artworks, clocks and candelabras of various styles.

Adolphe-Victor Geoffroy-Dechaume (1810-1892)

Adolphe-Victor Geoffroy-Dechaume (1816-1892) was a French designer and sculptor. He studied at the drawing free-program school before joining in 1831, the Paris Fine Arts School. He became a pupil of the renowned sculptors David d’Angers (1788-1856) and James Pradier (1790-1852). He devoted himself primarily to decorative arts before working for medieval art. Thus he drew and modelled extremely refined silverware with very fine enamelled parts. He then worked to restore Gothic monuments (stone statues of the Apostles of the Sainte-Chapelle and Notre-Dame de Paris).

Gien (19th century)

In 1821, the English businessman Thomas Edme Hulm called “Hall”, who wanted to introduce fine English earthenware manufacturing techniques in France and after having sold the Montereau pottery factory run by his family since 1774, acquired in Gien, land and buildings of the former convent of the Minimes to install a new faience factory. This faiencerie was later called to worldwide fame. The company was in financial difficulties and quickly passed on ownership of the business several times during the period 1826 to 1862. A new partner, Jean-Félix Bapterosses, who recently bought the old ceramics factory of Briare, then came in 1866, bringing new capital to the manufacture. The company eventually became known as “Gien Faiencerie” in 1875 on the occasion of its transformation into a public company. Production first began with functional tableware, and then went on to make fancier dinnerware, decorative pieces and tableware emblazoned with notable families’ coats of arms, calling on the savoir-faire of talented potters. The climax of the production of faience of Gien was between 1855 and 1900 at the time of the famous Universal Exhibitions, during which they won numerous awards.

P. Girola (2nd part of the 19th century)

P. Girola is a worthy descendant of Stefano Girola, born in Milano in 1795. He was a student of Camillo Pacetti at the Academy of Fine Arts of Brera in Milan and was regarded in the 19th century as one of the best representatives of Neoclassicism in Lombardy. He participated in the sculptural decoration of the Dome from 1811 to 1861. P. Girola developed then his business in Milan, Viale Umbria 93.

Alphonse Giroux (active from 1799 until 1885)

Alphonse Giroux and Company, famous curiosity and luxury goods shop was situated at No. 7 rue du CoqSaint-Honoré and in business from the time of the Consulate until the end of the Second Empire. The company was founded by Francois-Simon-Alphonse and continued in 1838 by his two sons, AlphonseGustave (1810-1886) and André (1801-1879). The father became a close associate of the royal family and specialized in the manufacture of refined items for gifts, winning a silver medal at the in 1834. Kings Louis XVIII and then Charles X were both supplied with gifts for "The Children of France" by Giroux. Making progressively small furniture, they were mentionned for the first time in 1837 in the class "cabinet-makers" in the Paris Almanach. It was Alphonse-Gustave, however, who really expanded the activities of the firm as is testified by the report of the jury at the 1839 Products of Industry Exhibition awarding him another silver medal. Alphonse was also quick to participate in the famous and soon figured among the best in the luxury goods business. After buying a writing desk at the 1855 Universal Exhibition Napoleon IIIrd bought several other pieces of furniture, candelabras and clocks from Giroux for the Compiègne Palace. In 1857 Alphonse Giroux transferred his shop to No. 43, boulevard des Capucines where he continued to do business until 1867, when he ceded the company to Duvinage and Harinkouck.

Oscar Gladenbeck (1850-1921)

Gladenbeck Hermann (1827-1918) was a bronze founder from Berlin, of international reputation in the 1850s. He led his company in 1880 with his four sons, Oscar (1850-1921), Alfred (1858-1912), Walter (1866-1945) and Paul (1869-1947) as the Gladenbeck & Son. Their bronze foundry produced many large pieces ordered by the State, as the monument to the memory of Emmanuel Kant and the Victory of the Victory Column in Berlin, modeled by Friedrich Drake. Gladenbeck is considered as the most important German foundry that produced monumental sculptures as well as small bronze pieces. The company ceased to be led by the family Gladenbeck in 1892, then ceased activity in 1911 following a bankruptcy.

Pierre Philippe Gouthière (1732-1813)

Pierre Philippe Gouthière is one of the masters of bronze crafting under the reign of Louis XVI. He was the master of Pierre Philippe Thomire.

Michele Grandville (1758-1836)

Few crafts have experienced the span of one century - the 19th - the splendor, recognition, and international diffusion that Tarsia Sorentia (Sorrento Inlay) enjoyed. The beginning of this enchanting art can be dated 373

to the 1827 with the work of the Sorrentine Antonio Damora, who was summoned by Francis I of Bourbon to restore and furnish Naples Palazzo Reale (The Royal Court at Naples). Returning to Sorrento, Damora learned the wood inlaying techniques along with other artists, such as Michele Grandville, Luigi Gargiulo (1806-1883) and Guiseppe Maggiolini (1738-1814). They led the way for the production of inlay objects that won awards and medals, and reached half the world’s market in the mid-19th century. Important patrons of the arts such as Ferdinand of Bourbon and Pope Pius IX contributed to the growth of the Sorrentine inlay industry. The main subject of decoration used in Michele Grandville’s production, is the Neapolitan customs represented during the various scenes of everyday life, drawn from the prints by Gaetano Dura (1805-1878), as well as genre scenes inspired by antique Pompeian paintings. Unlike other inlay works in its use of different colored woods, Sorrentine inlay based its chromatic effects on the play of the tonal contrasts of two local woods: walnut and orange at first, and then olive and some other imported woods. But the reason for the high artistic value of Sorrentine inlay is its absolute independence from contemporary forms of inlay work. The initial technique of mosaic-like inlay evolved into painting with watercolors on the wood design, known as "enamel on wood", although the inlay work was still performed with gouges and saws.

Jean-Louis Grégoire (1840-1890)

Jean-Louis Grégoire studied sculpture with Jean-Jules Salmson (1823-1902). Since 1867, he exhibited portraits of contemporaries as well as mythological works at the Salon of Paris, where he won a honorable mention, and later at the Salon of the French Artists. After the 1870 war, Grégoire was several times commissioned for patriotic subjects, such L'Alsace (1874), La Lorraine or La Défense du drapeau (1888).

Guillaume Grohé (1808-1885)

Guillaume Grohé settled down as a cabinet-maker in Paris in 1827 with his brother Jean-Michel and started a company making and selling furniture and art objects, which became famous very quickly. They took part in the 1834 "Exposition des Produits de l’Industrie Française". In 1849 he was awarded the "Légion d’honneur" and later officer. His reputation is mainly based on a style furniture specialisation. He was one of the most well-known cabinet-makers at his time, providing King Louis-Philippe, Emperor Napoleon the IIIrd and Empress Eugénie, princes and princesses, even Queen Victoria in Great-Britain after 1862. He naturally participated in many different exhibitions and was jury member in Universal Exhibitions.

Emile Guillemin (1841-1907)

A leading Parisian sculptor of the period, Emile Guillemin began his career at the 1870 Salon of French Artists. He participated in various Exhibitions where he was awarded honors and medals. The quality of his chasing was highly acclaimed because of its realistic effects: accurate costuming, minute detailing and expressive faces. Most of his works, made in bronze and cast in different sizes were inspired by exotic subjects, such as biblical heroes, conquistadors and above all life-like Oriental figures.

Eugène Hazart (19th century)

Eugène Hazart entered the "Réunion des Fabricants de Bronze" in 1839. Well-known since 1843 in the making of ancient style reproductions, not only with his Gothic and Renaissance style bronzes but also very at ease in the 18th century style. He was definitely well apreciated because his presence in 1884 in the Pannier brothers’s bronze-casters booklet. The Pannier brothers managed beautifully the so-famous house "A l’Escalier de Cristal", which took place at the Palais-Royal in Paris and was selling porcelain and cristal objects as well as furniture. This company drew attention to his work during its participations in the 19th century "Expositions des Produits de l’Industrie".

Emile Hébert (1828-1893)

Emile Hébert studied sculpture with his father and the renowned artist Feuchère. He participated in all major exhibits, such the Salon of the French Artists from 1846 to 1893 with busts and mythological subjects, or the Paris Universal Exhibitions. At the 1867 Universal Exhibition, Hébert was awarded a gold medal for having collaborated on the clock described above (Exposition Universelle 1867, Groupe III, Classe 25, catégorie des bronzes d’art) with Georges Servant (1828-c.1890), whom had a foundry, rue Vieille-duTemple, in Paris, specialized in neo-Greek and neo-Egyptian style clocks. Hébert participated with equal success at the 1878 Universal Exhibition, where he won once again a gold medal for some other Egyptian style objects. The report of the jury (Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p.26) noticed, that "the chasing by Hébert is under perfect control and always appreciated by artists". His antique style figures, Greek, Roman or Egyptian, are some of his most popular works following the tradition of ethnographic decorative sculpture in late 19th century France. Hébert became also renowned for having sculpted two allegories, La Comédie and Le Drame, for the façade of the Paris "Vaudeville" Theater.

Nicolas Heurtaut (1720-1771)

Nicolas Heurtaut learnt woodcarving in his father’s carpentry workshop. In 1742 he became a "maître sculpteur", and in 1753 "maître menuisier" for chairs. Nicolas Heurtaut worked within different styles, between the Louis XV and the Louis XVI period. He realized many pieces of furniture, but specialized mainly in sittings. Among the 18th century chairs production, his works showing great technical mastery, are considered to be unsurpassed. 374

Henri Houdebine (active since 1845)

The bronze-caster Henri Houdebine founded his company in 1845. He gained a great reputation in the making of clocks and decorative bronze pieces. His works, appreciated for their high artistic quality, took inspiration from various styles, including the neo-Greek style, very fashionable with artists in the 1860s. His work was immediatedly successful with the public, and one can say from 1862, that 50% of his production was exported. Houdebine set up his workshops at number 64, rue de Turenne, in Paris during the period 1865-1880. He participated magnificently in several Universal Exhibitions, such those held in Paris in 1855, where he was awarded a 2nd class medal for his statuettes and display cups, in London in 1862, and again in Paris in 1878 and 1889, where he won a Gold medal for his all the works he exhibited. Houdebine participated finally in the Chicago Universal Exhibition of 1893, where he presented splendid cressets, clocks and some sculptures.

Henry Paul Hudelet (1849-1878)

Born in Langres in 1849, Henry Paul Hudelet entered the drawing school of his town in 1864 and continued his training at the Paris Fine Arts School in 1866, where he studied under the direction of the sculptor Augustin Dumont (1801-1884). Hudelet presented in the Fine Arts contest of 1867 a Mercury and an academy made after the antique, then two further works in the contest of 1869 with Achilles and a Bacchante playing with a panther. Hudelet exhibited at the Salon of the French artists in 1876 and 1877. That same year, he competed for the Grand Prix de Rome with a bas-relief of Fishermen finding the head of Orpheus on the banks of the Hebrus, molded to expense of the State (now in the Museum of Art and History of Langres) and the statue of The dice player. This talented artist died prematurely as he was about to compete once again for the Prix de Rome in 1878.

Pierre Nicolas Huilliot (1674-1751) Coming from a famous family of painters, he learns from his father, Claude Huilliot, a very well known still-life painter. In 1722 he is elected at the "Académie Royale de Peinture". During his prestigious career, he works for the royal entourage in Versailles, Fontainebleau and Compiègne. This fecund artist paints with great taste the most simple subjects, such as animals, flowers, fruits or decorative landscapes. From 1737 to 1750, his still-life paintings, allegories and decorations are exhibited at the "Salon". Georges Jacob (1739-1814)

After having been received Master in 1765, Georges Jacob worked from 1773 to the French Revolution for the Crown Furniture Repository. Its clientele was the most brilliant with Louis XVI and Queen MarieAntoinette, the royal family, especially the Count of Provence, future Louis XVIII, the Count of Artois, future Charles X, the Prince of Condé, the Duke of Penthièvre as well as foreign courts. In 1785 he created the first mahogany chairs, called «British chairs», for the Count of Provence. He launched the Etruscan style in 1788 by delivering «Etruscan» carved mahogany furniture for the dairy of the castle of Rambouillet. He also participated in the furnishings of the Petit Trianon at Versailles. Georges Jacob spent the revolutionary period without being harassed thanks to the famous painter David. He retired in 1796, leaving his workshop to his sons Georges Jr. and François-Honoré, who created the company Jacob Brothers at Meslée Street, making Directoire and Consulate style furniture and seating. Because of their success, George interrupted retirement to help his sons to supply the imperial residences of Napoleon I. François-Honoré added the name of Desmalter, after the death of his father, in memory of the family estate in Burgundy.

Jean-Baptiste-Jules Klagmann (1810-1867)

The sculptor Jean-Baptiste-Jules Klagmann worked throughout his career in both a monumental scale, in marble and bronze sculpture, and on a smaller scale for goldsmiths. In 1828 he entered the École des BeauxArts (France’s leading, national fine arts academy), where he was taught by Jean-Jacques Feuchère (18071852). Feuchère introduced Klagmann to the art of the Renaissance with his decorative repertory. Klagmann made his debut at the Salon of 1831 and the French state as soon as 1841 commissioned him to execute the decoration of the doors of the Salle de Séances at the Senate. At the same time Klagmann was involved, alongside Feuchère, in the commission for a centrepiece from the Duc d’Orléans in 1834 and then cast by Jean-François Denière (1774-1866), now preserved at the Paris Decorative arts Museum (Inv. 18273). Klagman thus realised large decorative figures for a variety of Parisian buildings, theatres and the Louvre palace, recently enlarged by the Emporer Napoleon III, and continued to provide models for goldsmiths such as François-Désiré Froment-Meurice (sword of the Comte de Paris), François Durand (vase given by the Duc d’Orléans to the Goodwood races) and of course Charles Christofle (Isaac Pereire’s centerpiece, 1862). However, J.-B. Klagmann also produced first-rate works in collaboration with bronze-casters such as Guillaume Denière. In 1848, Klagmann was nominated for the council of the Gobelins, Beauvais and Sèvres manufactories and was also one of the founders of the Central Union of the Arts Applied to Industry.

Maison Krieger (2nd half of the 19th century)

The Krieger firm began with Antoine Krieger (1804-1869) the cabinet-making activity in the middle of the 19th century, before setting an important inner decoration department which provided much success and prestige to the company until about 1945. The Krieger firm made all sketches and designs in all kind of styles, ancient or contemporary. About one thousand workers were employed at n°74-76 Faubourg-Saint-Antoine Street in Paris, producing luxurious as well as standard furniture. But the making was always of very high quality with 375

oakwood or selected mahogany cabinets decorated with finely chosen veneers. The Krieger firm won several medals among which a second-class medal at the 1851 Universal Exhibition of London and took part in further international exhibitions, such as the one held in Paris in 1855.

Lacarrière - Delatour (19th century)

It was at 3 bis rue Ste-Elisabeth that Lacarrière, a simple craftsman opened a workshop that was soon to specialise and to excell in the production of bronze lighting equipment. From 1834 to 1844 he was awarded several prizes. Lacarrière, Delatour & Cie after 1870 cast and carved the great majority of the lamps, candelabras and chandeliers of the Paris Opera Garnier, among which the chandelier in the concert hall, designed by Garnier himself and modeled by Corboz. At the 1878 Universal Exhibition, there was a special note in the catalogue declaring that: "their exhibition proves their craft to be very pure and precise, their taste very sure in bronzes used for interior lighting". Lacarrière, Delatour & Cie participated in the creation of the chandelier at the Queen’s Theatre in London. They also produced fourteen monumental candelabras for the Paris Alexandre III Bridge, which was an amazing feat at the time considering some of the pieces weighed up to 1470 pounds, and measured 14 ft. 9 in. with a diametre of 15 ft. 5 in.

Elkington (19th century)

The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (18001865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830’s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then employed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces.

Eugène-Armand Lachaise (1857-1925)

Born 1857 in New York, Eugène-Armand Lachaise went to Paris to study painting. Installed at N°84 Avenue des Champs-Elysées, he became the pupil of some renowned artists such as Gustave Boulanger (1824-1888) and Jules Lefebvre (1836-1911). Both of them taught painting at the famous Julian Academy, located on Dragon Street in Paris. That art school was founded in 1868 in reaction to the established "École des Beaux-Arts". The reference books mention a remarked participation of E.-A. Lachaise in the 1888 "Salon", at the Paris Industry Palace on the Champs-Elysées, with a painted portrait of M. Le Commandant G... Lachaise became later a prized member of the "Paris Society of American Painters", whose goal was to promote American artists not only in Paris but through worldwide exhibitions. In the 1880’s, the Japanese subjects by Lachaise take place in the general artistic movement much in fashion in France: Japonism (named also Aesthetic Movement), whose the French leader was indoubtedly Edouard Manet (1832-1883). Having learned painting under the direction of French artists and leading his successful career in Paris, E.-A. Lachaise was naturally considered as a French artist. He was even awarded Knight of the Légion d’honneur, and Officer in that national Order during World War I. Lachaise died in Paris in 1925.

Jules-Isidore Lafrance (1841-1881)

Jules-Isidore Lafrance was a sculptor, himself the son of a sculptor ornamentalist. He studied sculpture under the direction of Francisque Duret (1804-1865) and Jules Cavelier (1814-1894). He began to exhibit his work at the Salon of 1861 (Repentant Magdalene) and won the Prix de Rome in 1870 (Samson breaking ties). Back from Rome, where he was seriously ill, he sculpted Mathieu Molé, Portrait of Puget, St. John, Achilles. For the Pavillon de Flore, at the Louvre palace, he received a commission in 1876 to sculpt two allegorical figures, Law and Prudence. He obtained a first class medal in 1874 and won a medal at the Universal Exhibition of 1878.

Louis-Edouard Lemarchand (1795-1872)

Son of Charles-Joseph Lemarchand (1759-1826), who founded the Lemarchand cabinet-making dynasty around 1789, he came back to Paris in 1815 in order to help his father with the studio, after he studied architecture and spent two years in the military. They were successful and became Fournisseur Breveté du Garde-Meuble in 1817. After his wedding in 1828, Louis-Edouard settled his workshop at 17, rue des Tournelles. He joined forces in 1846 with André Lemoyne, who will be an official cabinet-maker under Napoleon III, and retired in 1852. Lemoyne father and son continued the activity until the firm was bought by Charles Jeanselme in 1893. Louis-Edouard used the same stamp as his father, only suppressing his initial. At first, he cooperated with his father during the Restauration to produce furniture in the tradition of the Imperial style. Le Recueil de modèles d’ébénisterie composé pour la maison LEMARCHAND, ébéniste du Garde-Meuble, continuée par THEILLIER, undated and kept at the library of the Decorative Arts Museum, Paris, provides an overview of the production through original drawings. Active under Charles X then under Louis Philippe (creating pieces for Saint-Cloud, the Trianon, the Tuileries), he produced numerous pieces of furniture made of light wood and mahogany. A former soldier to the Emperor, he made the ebony coffin of Napoleon. 376

Lerolle Frères (19th Century)

Alphonse Lerolle was a well-known bronze-caster based in Paris. Succeeding his father, he worked in partnership with his brother as Lerolle Frères, and specialised in Antiquarian bronzes in the Renaissance, Louis XIII and Louis XIV taste. Besides their bronze cast production, they also as soon as 1850 produced electrotyped pieces and participated in the Exhibitions of Fine Arts applied to Industry. Lerolle Frères exposed mainly furnishing objects and few art bronze casts, but they were much applauded during the 1878 Paris Universal Exhibition for having presented among clocks and chandeliers those superb Indian figures sculpted by Charles Cordier.

Adolphe-Alexandre Lesrel (1839-1929)

Adolphe-Alexandre Lesrel entered 1861 the Paris fine Arts School, in the Jean-Léon Gérôme’s (18241904) studio, one of the greatest artists of the second half of the 19th century, then in the Jean-LouisErnest Meissonier’s (1815-1891) studio, an artist whose popularity extended throughout Europe and the United States. Adolphe-Alexandre Lesrel painted historical genre scenes with a romanticized view of the past, in the highly detailed and finished style of his master, adopting then his meticulous academic style characterized by adhering to a strict manner of painting, following narrow compositional rules and delicacy of color. The atmospheric effects are then sumptuously luminescent. Lesrel was known for historical accuracy with a highly detailed and polished style. His most often used realistic indoors subjects, much appreciated among his contemporaries, were jovial musketeers, courtly love and the frivolity of the upper classes mainly dressed in Louis XIII period costumes. Fabrics, gowns, objets d’art, furniture, all were researched to ensure the historical accuracy of his work. His subject matter and technical virtuosity of his brushwork ensures his continuing popularity. Lesrel exposed during many years one or two paintings at the famous Paris Salon of the Society of French Artists as soon as 1885 and of the National Fine Arts Society from 1890. Throughout his career, Lesrel won prices, medals as well as official awards. At the 1889 Paris Universal Exhibition, he was awarded a honorable mention. In 1907, Lesrel left Paris for Genêts, his native town. He died there in 1929.

Ferdinand Levillain (1837-1905)

Ferdinand Levillain tudied under the sculptor Jouffroy (1806-1882), before making his debut in 1861 at the French Artists Salon where he continued to exhibit until 1903. At the 1867 Universal Exhibition in Paris, he was praised for a Neo-Greek style bronze cup he made for the firm of Blot et Drouard. He was not to become really famous, however, until 1871 thanks to his association with the great bronze founder Ferdinand Barbedienne, who began to exhibit Neo-Greek style lamps, cups, vases and candelabras on his stands. Levillain was averwhelmingly triumphant at the 1878 Universal Exhibition in Paris, where he was unanimously awarded the gold medal for his creations in the Classical style. The famous bronze-caster Servant (1828-c.1890) declared in the report of the jury for Artistic Bronzes that the work of Levillain "chased like the finest jewels" and "so diverse and pure of form (…) are of the highest degree of perfection". After receiving a first class medal at the 1884 Salon for a cup entitled "The Elements, the Months and the Seasons", he went on to win a silver medal at the 1889 Universal Exhibition in Paris.

Michel Liénard (1810-1870)

Sculptor and designer. He worked among others for Cavaillé-Coll (1811-1899), famous organ maker (organs in Saint Vincent de Paul in Paris and in the Bayeux cathedral), for the silversmith F. D. Froment-Meurice (Madeleine church in Paris), as well as cabinet-makers Ringuet-Leprince (1801-1886) and Guillaume Grohé.

Edouard Lièvre (1829-1886)

Edouard Lièvre studied under the painter Thomas Couture (1815-1879), one of the more conspicuous artists in the circle of the Empress Eugenie. E. Lièvre soon devoted himself, however, to the art of furniture design. A talented ornamentalist, marked by the eclecticism typical of the Second Empire, Lièvre knew how to avail himself of skillful collaborators in order to create pieces in various styles: Renaissance, Louis 16th or Oriental, which last were part of the great artistic movement in fashion since the 1860’s: the Japanese style named also Aesthetic Movement. they recreated an imaginary Far East adapted to decorate Western reception rooms. As an Interior decorator Lièvre also matched his luxurious and refined furniture with bronzes, ceramics and even fabrics. This Oriental exoticism, which only the richest could afford, appealed to bankers, judges, artists and famous courtesans as well as the Royal and Princely families. After the death of Edouard Lièvre, the greater part of his models, sketches and cabinet designs were bought by art publishers such as "l’Escalier de Cristal" or by Ferdinand Barbedienne, thus giving them the right to reproduce Lièvre’s furniture with their own stamp (see "Ventes de la succession Lièvre", Hotel Drouot, 27 fevrier 1890).

François Linke (1855-1946)

François Linke, born in 1855 in Bohemia (Czechoslovakia), worked as a cabinet-maker in Paris from about 1882 until his death in 1946. In 1900, at the apex of his career, he opened a new shop at the famous Parisian place Vendôme. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully mounted with gilt-bronze ornaments, and he received numerous commissions. Later Linke decided to collaborate with the well-known sculptor Léon Messagé and integrated new lines and shapes announcing the "Art Nouveau" style. His great success is definitely the 1900 Universal Exhibition where he was awarded the gold 377

medal for his extraordinary kingwood desk, designed by Messagé. At this occasion, the "Revue artistique et industrielle" commented that "Linke’s stand is the biggest show in the history of art furniture".

Jan Lopienski (1838–1907)

Jan Lopienski created a bronze workshop in Warsaw in 1862. He studied in Warsaw, Cracow, Vienna and Paris. He established his reputation with the Louis XVI style bronze balustrade commissioned for the palace of Count Jan Zawisza in Warsaw, which awarded him a silver medal at the Paris Universal Exhibition of 1878. Lopienski also executed numerous of great decorative pieces of great quality. Jan Lopienski had two sons, Grzegorz (1863-1939) and Felix (1866-1941), who took over their father’s business. They’ve been commissioned by the Polish State for many monuments, such in 1898, with the bronze cast of Adam Mickiewicz’ one.

Paul Louchet (1854 -1936)

Louchet Paul, born 1854, dead 1936, a French complete and gifted artist, worked at the beginning at chiselling bronze pieces, as shows the beautiful mount of this oriental vase. Much talented, he was then complimented by his contemporaries and became even President of the Bronze Manufacturers Society, located in Paris. Afterwards, he dedicated himself entirely to painting, studying under the direction of the academic painter Jules Lefebvre (1836-1911) and the landscape painter Henri Harpignies (1819-1916). Louchet exhibited his paintings, mostly landscapes, at the famous Paris "Salon". Critics admired his paintings: "Louchet’s works are delicate and secret, simply composed without glare nor emphasis". He was awarded 1896 member of the Paris Beaux-Arts Society. As a multi-talented artist (He was also a culptor and engraver), he was a close friend to the cabinetmaker Louis Majorelle (1859-1926), the glassmaker and jeweler René Lalique (1860-1945) and the Daum brothers. Man and his time, Paul Louchet was also the mayor of the town of Herblay (Seine et Oise) in 1887.

Georges-Antoine-Prosper Marilhat (1811-1847)

Georges-Antoine-Prosper Marilhat (1811-1847) was among the first French orientalist and naturalist painters of the nineteenth century. Son of a banker, Prosper Marilhat left Thiers for Paris in 1829 where he joined the studio of Charles Ciceri (1782-1868) that he quickly abandoned for Roqueplan Camille (1802-1855), and then started at the Salon of 1831. His taste for the painter Nicolas Poussin and the classics gave him the nickname “Accurate”. Baron von Hügel preparing a scientific expedition in the Middle East remarked the accuracy of his drawings and invited to accompany him as a designer. Marilhat then embarked in 1831. Visiting Upper Egypt, Marilhat made large drawings along the Nile that made his reputation. Having declined in Alexandria proposal of Baron to follow him to India, Marilhat returned to Cairo, where he drew street scenes and bazaars. Marilhat also focused on the outskirts of the city by visiting Bulak on the Nile or in the palm groves surrounding Cairo. It is from this period that the outstanding drawings of Cairo, point his ultimate art for architectural drawing. He returned to France in 1833 on the Sphinx, towing the obelisk of Luxor and brought back ten books of drawings and sketches, which were widely used by the artist to compose his paintings on his return to Paris. He then didn’t leave Paris until his death except the two trips he made in Italy and Provence. He attended the “Circle of Arts” where he met Prosper Mérimée. At the Salon of 1834, his Egyptian subjects aroused the enthusiasm of Théophile Gautier. At the Salon of 1835, the success continued with landscapes of Auvergne and the Orient. He received the Gold Medal for the Remembrance Rosette Campaign. In summer 1835, he made the traditional trip to Italy. He got a gold medal at the Salon of 1844 with a result of sending Orientalist works. Sick, Marilhat can’t return to the East, and painted in Paris three royal commissions in 1844 and 1845. After losing the reason, he died in 1847.

Lajos Markos (1917-1993)

The painter Lajos Markos was born 1917 in Marosvásárhely (Hungary). He was student at Fine Arts School of Budapest, where he was awarded the prestigious National Zrinyi Prix. During World War II he went to Italy, opened a workshop in Rome, then in Milano. He came in 1952 to the United States and quickly established himself in New York City as a major portraitist, with many of his subjects being celebrities such as John Wayne, Robert Kennedy, The Royal Family of King Hassan II and Pablo Casals. In his lifetime, Lajos Markos completed over 2,000 portraits. In the 1960s, he moved to Houston, Texas, where he expanded his interest to art of the American west.

Charles Malfroy (1862-1918) Charles Malfroy (1862-1918), a native of Lyon, specialized in views of the Mediterranean harbors, and one of Martigues in particular, he liked to paint along its banks. Martigues, known as the “Venice of Provence”, located on the edge of the Etang de Berre and Caronte Canal, which connects the lake to the Mediterranean, and especially its port then inspired many artists in the mid-nineteenth century, such Raymond_Allègre (1857-1933), Henri Théophile Decanis (1847-1917) and of course Felix Ziem (18211911) who established there his workshop. Charles Malfroy himself settled in Martigues his studio, which was taken in the first half of the twentieth century by his son Henry Malfroy. As a follower of the post-impressionist artist Jean-Baptiste Olive (1848-1936), a maritime landscape painter from Marseille, Charles Malfroy was much appreciated for his clear tones and his ability to deal with the Mediterranean light, subtly transposing on his palette the sky and the sea. From Le Havre to Venice, he painted tirelessly in an almost unreal clarity atmospheric effects arising from the merging of these elements. 378

Marnyhac et Cie (19th- 20th century)

Marnyhac et Cie was used as the commercial name for the Société des Marbres et Bronzes Artistiques de Paris (the Paris Marbles and Artistic Bronzes Society) which was established since the middle of 19th century in Paris, on the Opera avenue and then at N.1, rue de la Paix. Managed by Charles de Marnyhac, the bronzefoundry company specialized production of luxurious pieces as well as casts from models made by the greatest sculptors of the time, such as Jean-Baptiste Clésinger (1814-1883), Amédée Charron (1847-1937) and Eugène Despléchin (1852-1926). The Marnyhac firm was awarded a medal at the 1878 Universal Exhibition, and showed again their works at the Paris Universal Exhibition of 1900. The company closed down around 1910.

Emilio Marsili (1841-1926)

Emilio Marsili, a Venitian sculptor who was the pupil of the renowned artist Ettore Ferrari (1844-1929) at the Fine Arts Academy in Venice. As many Italian artists of his time, he spent a while in Paris and Brussels. Marsili knew then increasing success with his portraits as well as his sculpted memorials. He participated in the 1880 Turin Fine Arts Exhibition, then in the 1881 Milano Exhibition, where he exposed his famous Vocazione, which was awarded a medal. Marsili also showed his beautiful work at the various art fairs of Vienna in 1882 and again in Turin in 1884, where he presented low-relief plaques (Music, Architecture, Sculpture) among further sculpted busts (Snow, Do ré mi fa). He drew much consideration with the busts of Victor Emmanuel II (1879) and Garibaldi (1885), made for the town of Pordenone, as well as with the monument dedicated to Paolo Sarpi (1892) at Campo Santa Fosca, in Venice. In his native city of Venice, he executed the low-reliefs set in the Piétà Church and also decorated the Franchetti Palace. In Paris, Marsili participated in the 1889 Universal Exhibition, where he won a bronze medal. He exposed at the famous Venice Biennale as soon as 1895. Acclaimed by critics and awarded by jurys, Marsili is wellknown all over the world, from Paris to San Francisco. The greatest Italian modern art museums now show some of his works, such in Turin (The Pinafore dress, 1882), in Venice (Thought, Swallows), or at the Rome National Gallery of Modern Art with a bronze figural group (Maternity), exhibited first in Venice in 1887 with very much success.

Charles Stanislas Matifat (active since 1840)

Charles Stanislas Matifat studied under the direction of the silversmith Antoine Vechte. He then succeeded his father in 1840 at the head of the family business founded in 1820, whose workshops were located No. 9 rue de la Perle in Paris. Charles Matifat exhibited for the first time in his own name at the Paris Exhibition of Industrial Products in 1849, where the jury awarded him a silver medal. At the Universal Exhibition of 1851, taking place in the stunning Crystal Palace in London, Charles Matifat (No. 923 of the French section) presented among many pieces, this table entirely made of gilded bronze and a large Louis XIV style chandelier commissioned by the king of Holland, William III, to his palace in The Hague. His show widely commented by critics earned him a second class medal. In 1853, Matifat who already had premises in London, participated in the Exhibition of Industrial Arts in Dublin. He worked a lot for the English nobility, such as Lord Londesborough who commissioned bronze candelabra. At the London Universal Exhibition of 1862, Matifat presented a chandelier made for the Duchess of Sutherland. In addition to his small scale art production, Charles Matifat also produced monumental bronze works after the great French sculptors models. He cast in 1860 the statue of the Marquis Dupleix, sculpted by Theodore Gruyère, then in 1873 the statue of General Daumesnil, sculpted by Louis Rochet. The same year, he made two important casts: The Abruzzo Child after the plaster sent from Rome by André-Joseph Allar and the Fountain of the Four Parts of the World created by JeanBaptiste Carpeaux and Emmanuel Frémiet in the Observatory gardens in Paris. During this period, Charles Matifat made several lampposts in the Grand Staircase of the new Opera recently built by Charles Garnier.

Léon Messagé (1842-1901)

Léon Messagé is ornemanist and designer. When drawing his ornaments, he related to the Rocaille asymmetry found in the sketchbooks of Nicolas Pineau or J. A. Meissonier, famous ornemanists of the first part of the 18th century. But even though Messagé found inspiration with these artists, he didn’t simply copy their work and showed great originality, even extravagance, with some designs contained in "Cahier des dessins et croquis style Louis XV". He realized numerous sketches on gray paper before the execution of a reduced or life sized model of his ornaments, made of wax or Terra Cotta. From 1885, Léon Messagé started working with important Parisian cabinet-makers such Joseph-Emmanuel Zwiener and François Linke. François Linke developed his personal style, with such talent and quality that he was named during the 1900 Universal Exhibition the "Linke Style". His tremendous success and his particular formal imagination came from his association with the designer Léon Messagé. The mutual influences concerning these three artists can be concretely observed in numerous realizations. Notably, the "Louis XV style régulateur surmounted by a motif representing Time", which was at first executed in Terra Cotta by Messagé. It was presented by Linke at the 1900 Universal Exhibition under the number 551.

Auguste Metgé (1883-1910)

The cabinet-maker Auguste Metgé followed courses at the École des Beaux-Arts in Toulouse from 1899 until 1903, and won a scholarship from the Regional Council in order to continue his art studies in Paris, where he finally exhibited sculptures and paintings at the Salon des French Artists in 1910. He took after the family entreprise, making seats and carved furniture in Sorèze (Southern France), and thanks to his education and talent, he gave a new impetus to the workshop, which quickly specialized in the artistic cabinet-making. Auguste Metgé created furniture and ensure their perfect realization. While performing his own drawings, 379

woodworking and carving, his wife made on her own the inlay work after her husband’s compositions. The finely executed subjects took their source in the Sorèze landscape. Marked by the Great War (1914-18), Auguste Metgé withdrew gradually, responding to very few commands. His work include the bas-reliefs of the Memorials in Sorèze and Durfort, and a Christ for the Benedictine Abbey in En Calcat. Metgé was a member of the jury for the "Greatest France Craftsman", and was awarded the "Ordre National de la Légion d’Honneur", France’s hightest official mark of recognition.

Maison Millet (active from 1853 until 1818)

The firm of Millet T. was founded in Paris in 1853. A very talented specialist in 18th century reproductions, Millet produced furniture and artistic bronzes of the highest quality. He was one of the few cabinet-makers to obtain authorisation from the Château de Versailles to make a replica of Queen Marie-Antoinette’s great jewel cabinet. As an artist of great merit he obtained the highest rewards such as the Gold medal at the Paris Universal Exhibition in 1889 and the Grand Prize at the Universal Exhibition of 1900. The photographic archives show, among some views taken in the Millet’s workshop and his parisian shop, the stand held by him during the Saint-Louis Universal Exhibition of 1904. Among Millet’s masterpieces then exposed, this chimney decoration is to be seen. The firm lasted until 1918.

Martha Darlay Mutrie (1824-1886) and Annie Ferray Mutrie (1826-1893)

Martha Darlay Mutrie and Annie Ferray Mutrie were born in Manchester in 1824 and 1826. Both were pupils of Georges Wallis at the Royal Academy of Manchester. They specialized in still life paintings of flowers and fruits. Between 1851 and 1882, they showed their work at the Royal Academy of Manchester and Royal Academy of London exhibitions. They were greatly appreciated by British high society ladies. They also participated in numerous Universal Exhibitions, held such in Paris in 1867. Martha Darlay Mutrie was rewarded at the exhibitions of 1855 in Paris, 1876 in Philadelphia, 1879 in Sydney and 1880 in Melbourne.

Leopold Oudry (active since 1854)

Leopold Oudry in 1854 founded his electrochemical company in the village of Auteuil (annexed to Paris in 1860) at n.10 rue Cuissard. In 1855, Oudry is known for his cast vases and statuettes coated with pure copper deposited by electroplating, a process whose Parisian silversmith Charles Christofle had bought the patents in 1839. Jean-Charles Alphand, director of public roads and walks in Paris under Napoleon III, understood the advantage of this system for the beautification and conservation of monumental fountains and public candelabra. Oudry was then commissioned for galvanic plating all cast objects and monuments of the City of Paris. The factory located in Auteuil becoming unsuitable, Oudry created thus a larger one at n.10 bis route de Versailles, welcoming an average of 150 workers. Participating in the famous Universal Exhibitions, Leopold Oudry won a 2nd class medal at the 1855 Paris World Fair. In 1861, he performed a real tour de force: the copper plating of the two monumental fountains on the Concorde square, built by Hittorff in 1838 and that had to be repainted every years. At the 1862 London Universal Exhibition, Oudry exposed decorative items, such as vases, candelabras and statues made in bronze or iron, copper- or bronze-coated using the same technique. In the 1880s, the Oudry company will be purchased by Antoine Durenne, the iron-casts specialist in Sommevoire.

Victor Paillard (1805-1886)

Victor Paillard was one of the most distinguished bronze-casters in Paris during the second half of the 19th century. He was taught chasing by Guillaume Denière (1815-1903), then opened in the 1830’s his own workshop making "Art bronzes and Furnishing bronzes", settled n°105 boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone for the exceptional quality of his work. Appointed a Chevalier of the "Légion d’honneur" by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundreds models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his "Cherub" figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the "happy and innocent moods of childhood".

Paris Porcelain (18th - 19th century)

Since the discovery of kaolin, needed material for the making of porcelain, porcelain factories also called porcelain manufactures are on the increase in all France and naturally in Paris. Most of those manufactures worked in the 18th century under the protection of a member of the Royal family, such the comte de Provence, future Louis XVIII, who protected the Clignancourt manufacture. But during and the 19th century, numerous pieces did bear no making mark. It was then almost imposssible to attribute them to any particular Parisian factory, hence the expression "Paris porcelain" or "Vieux Paris" including all those various productions.

Henri Pernot (1859-1937)

Henri Pernot born in Gent (Belgium) in 1859, was naturalized French. He studied sculpture at the Fine Arts School in Brussels. He was a renowned sculptor, well reguarded during his lifetime. He set up his workshop 380

in Paris, participating with success as soon as 1895 at the famous Paris Salon of the French Artists (Salon des Artistes Français), where he was awarded a "mention honorable" in 1897 with "the Wolf Trap", then a third class medal in 1904. He steadily attended this Salon where he was a member since 1906. He won in 1909 a second class medal with "Coquettery". H. Pernot also supplied beautiful models to the porcelain manufacture of Sèvres.

Perret & Vibert (19th Century)

In 1872, Alfred Perret and Ernest Vibert opened in Paris, at 33 rue du Quatre-Septembre a store that offered “natural bamboo furniture and cane seats” and all kinds of textile fittings for furniture. This furniture used for winter gardens and terraces of mansions knew then a resounding success. They developped their business around 1884 with their Japanese style furniture, very close to that executed by Gabriel Viardot (1830-1906). In 1886, the company appearing in the category of “Chinoiserie and Japoneries” offered, in addition to furniture and seating creation, works of art and inlaid furniture directly imported from the Far East ; an activity that expanded rapidly. Their exotic fantasy furniture presented at the Universal Exhibition of Paris in 1889 and 1900, rewarded them two silver medals. In 1894, the company was listed under the name “Perret et Vibert”, headed by the son of Alfred Perret and Ernest Vibert. The same year, they redesigned their store on rue du Quatre-Septembre, creating ten new show-rooms, showing complete furniture sets of Japanese and Chinese style inspiration. It was not until 1895, that the company was finally named “La Maison des Bambous” and organized then in their shops an “exhibition of country furniture and seats for castles and villas”, which was visited by Empress Eugenie to furnish her villa Cyrnos at Cap Martin. She actually was a regular customer of the “Maison des Bambous” as she bought repeatedly furniture. In October of the same year, the king of Greece George I “chose a variety of these cute small woodcarved and decorated bamboo furniture and seats” as well as several bronze and porcelain pieces from Japan to garnish his Winter Palace near Athens. As for the American millionaire, Mr. Vanderbilt, he commissioned the Perret & Vibert house, to embellish the lobby and the greenhouse in New York, a great collection of white and gold lacquered flexible rattan seats, and objects art of Japanese origin. “La Maison des Bambous” which already had in 1910 a branch established 170 boulevard Haussmann, moved definitely there its headquarters in 1917 to remain until its closure in 1994.

Jacob Petit (1796-1865)

The famous French porcelain artist Jacob Petit (1796-1865) owned one of the most important and wellknown porcelain factories in France, becoming one of the major producers of Rococo ornamental ware during the 1830s. He however didn’t attend to become a ceramist and began by studying painting under the painter Antoine-Jean Gros (1771-1835) and then travelled throughout Europe. England gave him a taste for ornamentation and back in France in 1830, he was quick to issue an interior design book including everything about furniture. Soon, it seemed china best way to express his taste and created a workshop at the Sèvres Manufacture. Jacob Petit (nickname composed of his first name Jacob Mardoché and his wife’s family name) started a business in Belleville (Paris). He then bought in 1838 the porcelain small Baruch Weill business located in Fontainebleau. This was so successful that Jacob Petit tripled the number of workers. In 1850, he gathered his two factories in Avon, and retired in 1862 at Paradise-Poissonnière street in Paris, giving his business to one of his workers named Jacquemain. Jacob Petit was imitated throughout Europe and his highly decorative porcelain was enormously popular in both England and France.

Raphaël Charles Peyre (1872-1949)

Raphaël Charles Peyre was born in Paris in 1872. He studied sculpture at the École des Beaux Arts in Paris with renowned sculptors Alexandre Falguière, Antonin Mercié and Théodore Barreau. He inherited the classical vocabulary, themes and emotional figures from which emerges grace combining flexibility with naturalist strength, which made thus him a brilliant French sculptor of the first half of the 20th century. During his career, Peyre regularly presented his work at the Paris Salon des Artistes Français where he is awarded several medals such at the 1902 and 1903 salons. He often worked with woman and childhood themes.

Henri Picard (active since 1831)

Henri Picard was established in Paris, 6 rue Jarente from 1831 to 1839 and then 10 rue de la Perle from 1840 to 1864. He worked on the Emperor Napoleon III’s apartments gilding at the Louvre Palace. His production was in a rich and fine style, like a Japanese style inkwell, or his Pompeian style dining table centerpieces.

Emile-Louis Picault (1833-1915) Emile-Louis Picault, brilliant pupil of the Flemish sculptor Louis Royer (1793-1868), exhibited numerous sculptures at the French Artists Salon from 1863 to 1909. His allegorical, biblical and mythological subjects (Perseus delivering Andromeda, Salon of 1880) are treated in a realistic style. Picault generally collaborated with the founders Colin, Houdebine and Susse, all three renowned for the quality of their casts. He also acquired an important popularity for his Egyptian subjects, cast then by Servant. The Picault’s Japanese style subjects are scarce, and there are above all his Greek subjects, presenting a high standard quality of sculpture, very realistic, which are much fashionable during the second half of the 19th century. 381

Jean Pillement (1728-1808)

Jean-Pillement was born in a family of painters and was a student of Daniel Sarrabat in Lyon. Jean Pillement began to work at an early age for the Gobelins manufacture. He became official painter not only to Queen Marie-Antoinette of France but also to the King of Poland, Stanislas Auguste. During the artist’s journey in Vienna, his landscapes were in great demand by the Prince of Liechtenstein and also by a wide range of private clients in London, where he was an active and greatly popular member of the artistic society there. J. Pillement achieved success not only as a landscape painter but was also one of the most influential decorators of the 18th century. His chinoiseries, arabesques and flower paintings providing elegant leitmotives for furniture makers, tapestry weavers, and particularly in his old age, for the Manufacture de Soie et des Indiennes in Lyon, where he ended his distinguished career.

Georges et Constantin Potheau (Late 19thcentury)

Georges and Constantin Potheau took over the cabinet-making company led by Charmois and Lemarinier, and installed their workshops at the n° 21, rue du Faubourg-Saint-Antoine in Paris. "Potheau Brothers" were quite renowned for their fine furnishings, simple but luxuruous. Remarked by the jury at the 1889 Paris Universal Exhibition, both of them were awarded a Silver medal for a superb carved fireplace. From 1894 onwards, Constantin ran alone the company.

Jean-Louis Prieur (18th century)

Jean-Louis Prieur (born circa 1725) was the most famous member of the Prieur family, an important dynasty of ciseleurs (chiselors). Active from 1765 to 1775, he was a member of Académie de Saint-Luc at the time of its dissolution in 1776. He was known as an «ornament sculptor, modeleur and ciseleur». In 1777, he lived at Faubourg Saint-Denis. He was chosen to execute the ormolu ornamentation for the coach of King Louis XVI coronation.

Gustave-Frédéric Quignon, born in 1843.

He worked with his father Napoléon Quignon, boulevard Richard-Lenoir. He took the lead in 1874 and expanded the production of the firm with other seats and pieces of furniture, but also with sculpture. Like his father before him, he produced richly carved and gilded Louis XV and Louis XVI style furniture, but also some Neo-Renaissance furniture. He became a supplier of the Mobilier National. He exhibited at the Universal Exhibition in 1878 and won a gold medal. He was a member of the jury at the Universal Exhibition in 1889. The same year, he relocated the firm rue de Saint-Sabin, where he worked until the end of the century. He participated to the French Exhibition of Moscow in 1891, next to H.Dasson and P.Sormani, and to the rapports sur l’Exposition Internationale de Chigago in 1893. He won the Grand Prix for his stand at the Universal Exhibition of 1900.

Giacomo Raffaelli (1743-1836)

Was probably the most talented mosaicist in Rome during the last quarter of the eighteenth and the beginning of the nineteenth century. He was one of the first, if not the first, to have worked in “mosaico in piccolo”, or micromosaic in about 1775. This new technique permitted the meticulous virtuosity that was so coveted by the connoisseurs of the neo-classic era. Raffaelli, was certainly regarded as the supreme craftsman in this technique, and worked not only for the papacy but also for foreign courts, like that of Stanislaus Poniatowski in Poland. He was invited to Russia by the imperial government but refused, accepting instead an invitation to the Milanese court of Napoleon, where his technical mastery was particularly appreciated. He produced there one of his masterpieces the mosaic mural copy of Leonardo’s Last Supper, now in the Minoretenkirche in Vienna. Raffaelli stayed in Milan even after the fall of the Napoleonic Empire (1814), but he eventually returned to Rome.

Raingo Frères founded in 1813

The company Raingo Frères, founded in Paris in 1813, installed their workshops around 1830 at n°8 Touraine Street, then at n°102 Vieille-du-Temple Street. The four Raingo brothers first known as clockmakers, added to their 1841 sale catalog some art bronze works as well as decorative bronze pieces. In 1860, they supplied the palaces of the Emperor Napoleon III. First specialized in Antique statues reproductions, they cast then models sculpted by contemporary artists such James Pradier (1790-1852), Albert Carrier-Belleuse (1824-1887) et Auguste Moreau (1834-1917).

The "Royal Worcester Porcelain Company Ltd" (19th century)

On the retirement of William Henry Kerr (1823 – 1879) in 1862, The Worcester Royal Porcelain Company Limited was formed with Richard William Binns (1819 – 1900) and Edward Phillips (d.1881) as joint managing directors. Between 1851 and 1887 the Severn Street factory expanded from 70 to 700 employees. Royal Worcester kept pace with public demand for novelty in design with the development of a wide range of new materials and glazes, including glazed and unglazed Parian, earthenware, majolica and bone china. The firm concentrated on the production of figures and vases, introducing over 2500 new decorative items between 1862 and 1900. The Victorians believed that good designs from the past should be adapted and improved to create tasteful new designs. They favoured a mixture of period and foreign styles including Japanese, French Empire, Persian, Indian, 382

Renaissance and Classical Greek. The Aesthetic Movement – In the 1860’s, after 100 years of isolation the Japanese started to trade again with Europe. In 1872 His Excellency Sionii Tomomi Iwakura, Junior Prime Minister of Japan, visited Royal Worcester and saw Japanese style wares being made for display in Vienna the following year. Japanese bronzes, ivories and prints, purchased by R.W. Binns in Europe, inspired the Worcester craftsmen who did not slavishly copy, but adapted ideas for the English market. The Royal Porcelain Manufactory of Berlin (19th century) The Royal Porcelain Manufactory of Berlin (German: Königliche Porzellan-Manufaktur Berlin, abbreviated KPM) was founded in 1763 by Frederick II of Prussia (1712-1786) to meet his desire to compete with factories of Dresden, Meissen and Sèvres in France. His troops occupied Meissen and Saxony during the Seven Years’ War, where famous manufactures had secrets which were highly coveted in Europe. The King of Prussia acquired the company to the brink of bankruptcy in 1763 and gave it therefore a new impetus.

Rousseau brothers

Rousseau brothers, Jean-Siméon Rousseau de Rottière (1747-1820) and Jean-Hugues Rousseau, named Rousseau the elder (1743-1806) are best known for having worked to the apartments of the Dauphin at Versailles as soon as 1772, then for having achieved the boudoir of Marie-Antoinette at Fontainebleau castle and queen’s cabinet rooms in 1783 in Versailles p alace. The originality of Rousseau was to exercise both the trade of painter and sculptor for ornaments, and to excel in the genre of «arabesques», mixing painted medallions imitating low-reliefs and paintings whose «grotesques» were inspired from the ancient Domus Aurea in Rome. Rousseau brothers realized similar «arabesques» for the cabinet room in the Mégret Serilly mansion in Paris (panels now exhibited at the Victoria & Albert Museum, London), and for the salon in the Hosten mansion (panels now preserved at the J. Paul Getty Museum, Malibu).

Charles Rudhardt (1829-1895)

Charles Rudhardt, born 1829 in Geneva, dead 1895 in Paris, was a great ceramist of the 19th century, as well as a talented painter. He settled in Paris in 1862, founded a workshop and presented at the Paris Universal Exhibition of 1867 some earthenware imitating the "old Rouen" and "Urbino" decors. He is also mentioned as a painter producing at the famous earthenware Loebnitz manufacture. Ch. Rudhardt then worked in Longwy, a famous place for fine decorative earthenware, where he not only produced prestigious pieces in collaboration with renowned artists such as the painter Eugène Carrière (1849-1906), but also executed his own creations. His signature is however relatively rare in Longwy, dating between 1882 and 1893, therefore a very brief period revealing his interesting work. Rudhardt achieved landscapes and portraits sometimes in addition of flowers in relief. As a creative and independent artist, some of his works bear only his own signature without the Longwy mark. Frédéric-Jules Rudolphi (1808-1872) Frédéric-Jules Rudolphi (1808-1872) ranks alongside François-Désiré Froment-Meurice (1802-1855) and Jules Wièse (1819-1890) as one of the outstanding representatives of the goldsmith’s craft of French Romantic Historicism, which had been techinically and stylistically shaped by Charles Wagner (1799-1842) and Jacques-Henry Fauconnier (1776-1839) during the 1820s and 30s. Born in Copenhagen in 1808, Rudolphi worked under and collaborated with Charles Wagner. On the latter’s death in 1842, Rudolphi continued his workshop and in 1849 participated in Paris industrial exhibitions, initially under Wagner’s name, but then under his own. At the same time he also collaborated with modellers, goldsmiths and engravers such as Adolphe-Victor Geoffroy-Dechaume. In 1851, along with Froment-Meurice, Rudolphi exhibited at the Crystal Palace Great Exhibition and was awarded a Council Medal. In his sumptuous pieces of jewellery and figural works admired by his contemporaries for the excellence of its design and execution, Rudolphi adopted the motifs of the NeoGothic and Neo-Renaissance and combined these with elements of the so-called ‘Second Rococo’ period.

Marius Joseph Saïn (1877-1961)

Marius Joseph Saïn, born 1877 near Avignon, dead 1961, studied sculpture at the École des Beaux-Arts in Avignon and Marseille. He was awarded there several medals and awards. Following the death of his parents in 1901, for whom he raised a monument to their memory (Montfavet cemetery, Vaucluse), he came to Paris in 1902 and moved rue de Seine. He successfully passed the exam to integrate the prestigious Paris École des Beaux-Arts and won the Avignon City scholarship. He became the student of Gabriel Thomas, Antoine Injalbert, Henri Allouard and Félix Charpentier, and he struck up a friendship with several artists from Avignon in 1903. Saïn finally participated in the third exhibition of the Vaucluse Society of Friends of the Arts as well as in the famous Paris salon of the Society of French Artists, where he exhibited A la recherche des crabes, a work which gained him an honorable mention and acquired by the Baron Rothschild for the Grenoble Fine Arts Museum. In 1910, Marius Saïn obtained a travel grant due to its participation in the Salon of the Colonial Society of French Artists. He went live several months in Algeria where he reported several orientalist models. In 1912, he went to Greece, but was 1914 mobilized for war. In 1922, Marius Saïn received the prize of the Society of navigation, awarded by the Colonial Society of French artists, and won the prize of French Equatorial Africa. In 1924, he exhibited at the Salon of the Colonial Society the two plaster models of an Arab girl and a young shepherd presented here. In 1926 Saïn was awarded the Order of the Legion of Honor and exhibited at the Salon of the Society of French Artists until 1935.

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Cristallerie St.Louis (since the 16th Century)

is the oldest manufacturer of Crystal in Europe since a first glasswork factory was established in 1586 in Münzthal, Valley of the Monks (current region of Lorraine). The Thirty Years War (1618-1648) caused havoc in the region and the glassware factory ceased operations in mid-seventeenth century. On 17 February 1767, King Louis XV authorized a decree of the State Council the recovery of the old industry. She held the title of royal glassware factory and was under the patronage of Saint Louis, in memory of King Louis IX. Fifteen years later, François Beaufort developed the formula of the crystal there. Renamed Cristallerie royale de Saint-Louis, the manufacture as then directed by the Lassalle, before being sold in 1788 to the baron Coëtlosquet. In 1781, the new verreries royales de Saint-Louis were among the first on the continent to produce crystal, that was previously the monopoly of England since its invention in 1627 in Newcastle and that Sebastien Zoude (1707-1779) produced in Namur since 1761. At the beginning of the 19th century, a director of St. Louis, Aimé-Gabriel d’Artigues (1773-1848) rebuilt, restored production facilities and refocused production on crystal making. The manufacture employed in 1810 more than 650 workers and was then the biggest crystal factory of continental Europe. In 1829, it was renamed the Compagnie des Cristalleries de Saint Louis. Often put in competition with the Baccarat manufacture, St.Louis factory then presented its finest creations to the famous Universal Exhibitions where it earned numerous awards.

Edmé Samson (1810-1891)

Edmé Samson, painter on ceramics established 1845 at n°7 rue in Paris, bought his white porcelain pieces, in other words undecorated porcelains from various Paris manufactures. His son, Emile (1837-1913) who succeeded him, began to make reproductions from older models. Exhibiting at the 1863 Exposition of the fine Arts applied to Industry, Emile Samson became particularly noted for his porcelain works imitating the "Old Japan" ones. He installed in 1864 a factory in Montreuil-sous-Bois, nearby Paris and enjoyed great success at the Paris International Exhibition of 1867 with their imitations of Saxony, China and Japan porcelain pieces, all considered of very fine quality. At the 1889 Universal Exhibition, Samson & Cie was deemed to be specialized in large size pieces, made either in porcelain or earthenware, whose models were chosen from the most wellknown museums, such as the Louvre Museum in Paris and the Victoria & Albert Museum in London. In 1891, Emile went into partnership with his son Léon (1868-1928), under the name Samson & Son, who gave a major extension to the factory, employing a large number of workers and decorators. In addition to the manufacturing of porcelain, they also made their own bronze decorative mounts used on the pieces.

Jean-Baptiste-Claude Séné (1748-1803)

Jean-Baptiste-Claude Séné member of a family of carpenters and cabinetmakers, was received as a mastercarpenter in 1769. In 1785, Queen Marie-Antoinette bought Saint-Cloud Castle from the Duke of Orléans. At first, it was quickly furnished with simple furniture or taken from other residences. Then the GardeMeuble de la Couronne (Crown Furniture Repository) ordered the making of seats made of high standard quality so that the king and queen could enjoy their furnished apartments during their 1788 Spring journey. This command was made under the direction of the Quarter general master of the Crown Furniture Repository and of the Minister of Finance in order to refurnish the royal residences. To do this, they assigned to this task carpenters like Georges Jacob, Jean-BaptisteBoulard and Jean-Baptiste-Claude Séné, whom for the last one became one of the leading suppliers of the Royal Furniture Repository, making then the most beautiful Louis XVI style furniture, as evidenced by the bed he made for Queen Marie-Antoinette at Fontainebleau and King Louis XVI’s bed at Saint-Cloud.

Georges Emile Henri Servant (1828-c. 1890)

Georges Emile Henri Servant, who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek works, among which was exposed this "vase of Bacchus". Jules Mensard explains in his report of the exhibition (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167): "The general shape and the details (of the piece) reach perfection in character and taste, and bear the same stamp as the best works left to us by antiquity, notably those from Pompeii, which was Roman, although many of the vases found there were of pure Greek style... This vase of Bacchus is made entirely of bronze". Servant was even awarded in 1874 the "Ordre national de la Légion d’Honneur", France’s highest official mark of recognition. Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and small bronze pieces of furniture, but was also a member of the jury for the class of bronze pieces of art. He finally retired shortly before the 1889 Paris Universal Exhibition.

Louis-Constant Sévin (1821-1888)

Louis-Constant Sévin was apprenticed to the parisian sculptor Marneuf. In 1839, he joined the sculptormodelors Phénix and Joyau, as designer, and designed silver-smith’s objects for famous firms like Denière, Froment-Meurice, Morel and Duponchel. During the Revolution in 1848, C. Sévin joined Morel in London, as workshop manager and designed pieces that Morel exhibited in 1851. Back in France in 1851, C. Sévin went to Limoges and designed models for the porcelain factories of Jouhanneaud and Dubois of which 384

many pieces were exhibited at the Universal Exhibition in 1855. From this date on, he worked for Ferdinand Barbedienne as sculptor-ornemanist until the end of his life. Sévin’s works are considerable, he designed furniture bronzes for the "hôtel de La Païva". At the London Exhibition in 1862, he was awarded a medal "pour l’excellence artistique des meubles qu’il a dessinés et qui sont exposés par Barbedienne": for the artistic excellence of the furniture he designed and which is exhibited by F. Barbedienne. He won a second class medal at the Union centrale des Arts décoratifs Exhibition in 1863 and was awarded a gold medal as "cooperator". F. Barbedienne said that posterity would remember Sévin’s compositions. The most extraordinary object designed by C. Sévin for F. Barbedienne, was a Renaissance style gilded bronze monumental clock, four metres high, for which C. Sévin won a gold medal as well as was awarded the Légion of Honour at the Universal Exhibition in 1878. His triumph was still valid at the 1889 Universal Exhibition.

The Sèvres Manufacture (active since 1738)

The Sèvres factory of soft-paste porcelain was created, about 1738 at Vincennes by bankers and financiers with the aim of making true or "hard-paste" porcelain, like Meissen did. In 1753 Louis XV, became a major shareholder and the manufactory was transferred to Sèvres, closer to Versailles and the château de Bellevue, acquired by the Marquise de Pompadour. The Marquise took a personal interest in Sèvres activities, and encouraged production. In 1759, Louis XV bought out the other shareholders and Sèvres became the exclusive property of the France Crown. From then, the manufactury mark was a symmetrically crossed Ls (the royal monogram) together with a letter indicating the year. The period between 1756 to 1779 represents the most successful and prosperous years for the factory. Louis XV, ordered large services for diplomatic and royal presents. The foremost artists, like the painters Boucher or Bachelier, the sculptors Falconet or Boizot, worked for Sèvres, creating models. Experimentation in order to discover the hard-paste porcelain technic continued, and was discovered after 1769. The factory produced with success both soft-paste and hard-paste porcelain. In these years the most famous ground colours were invented: the dark blue (bleu lapis) about 1752, the turquoise blue (bleu céleste) in 1753, the applegreen in 1756, the famous rose in 1757, and the king’s blue in 1763. These remarkable pieces were usually painted with scenes form engraving by famous painters (François Boucher) or ornementalists, with garlands, baskets of flowers and trophies. The production included sculptures ("l’Amour menaçant" by Falconet), large services (the service for Rambouillet was delivered to Marie-Antoinette in 1788), decorative and utilitarian objects. The "marchands-merciers" played an important role in supporting the factory and making its production popular. Daguerre was the first to decorate furniture with porcelain, one of the most striking innovations of the century and one of the most admired today.

Paul Sormani (1817-1877)

Paul Sormani, born in Italy in 1817, dead in 1877, specialized at first in the making of small furniture. He installed 1854 his workshops at the n°114 rue du Temple in Paris. The Sormani company knew then a great success and was much in favour with the Imperial Family as well as with the Paris high society. Empress Eugénie, who admired Queen Marie-Antoinette and the style at her time, furnished her palaces in the Louis XVI style, with some Sormani’s creations. Presenting his work at all important fairs, such the 1849 Exposition of the Industrial Products or the Universal Exhibitions from 1855 until 1867, Sormani was then honored by jurys for his "production of high standard quality" and won the highest awards. In 1867, by the time of the great Universal Exhibition, Sormani enlarged and transfered his workshops to the n°10 rue Charlot. When Paul Sormani died (circa 1877), his wife and son took over the business and from this date onwards pieces are normally signed "Veuve Sormani & Fils à Paris".

Arthur Strasser (1854-1927)

Arthur Strasser, born 1854 in Adelsberg, dead 1927 in Vienna, was an Austrian sculptor. He studied from 1871 until 1875 at the Vienna Academy of Fine Arts. He marked his early interest in sculpture. With a scholarship he was able to continue and expand his studies in Paris from 1881 until 1883. He then returned to Vienna to sculpt his work in the naturalistic style. In 1892, Strasser took the painter Charles Wilda (18541907) to a trip to Egypt, where he found inspiration for his art. He directed particularly his attention to the representation of typical Arab country-people, dressed in traditional clothes. Being one of the leaders of Orientalism, he chose very carefully the right colour for his bronze patina, appearing as naturalistic. Those sculptures were quite popular with buyers who were also in the Austrian imperial family. In 1893, he received the Imperial Prize, an d in 1896, the Great Golden States Medal. He became professor in 1899, taking over the sculpture class at the Vienna School of Applied Arts. Arthur Strasser was certainly not a revolutionary reformer, but his natural subtle design could put some momentum in accordance with The Vienna Secession, seeking to move away from the prevailing historicism and appointing several new professors to give the new teaching ideas. Strasser created for the Universal Exhibition in Paris in 1900, the bronze statuary of Marc-Antony on his triumphal char.

Susse (19th century)

Susse Company awarded medals several times at the famous Paris "Expositions des Produits de l’Industrie", Susse Frères (Brothers), Victor (1806-1860) and Amédée (1808- 1880), were known since 1841 as makers of "Art bronze pieces for clocks, candelabras, statuettes, etc". Installed Place de la Bourse in Paris, they also presented at the second storage of their luxurious shop "fine furniture, ormolu mounted porcelain pieces and art objects". As a worldwide reknown foundry, the Susse company began to cast pieces as soon as the first half of the 19th century The most wellknown French sculptors gave their sculpted models to Susse in order to cast them, 385

such Pradier who signed in 1841 the oldest known publishing contract for bronzes between a publisher and an artist. After the death of the two brothers, Albert Susse took over the business from 1880 until 1922.

Pierre-Philippe Thomire (1751-1843)

Pierre-Philippe Thomire was considered as one of the most talented bronze-chaser under the First Empire. He studied chasing with the renowned Pierre Gouthière (1732-1813) and installe then in 1776 his Paris workshop, where all the famous cabinet-makers and the Sèvres Manufacture went into, to embellish their own production. Thomire was many time commissioned to ornate with light fittings and clocks the various Imperial residences, such as the Tuileries Palace, the Saint-Cloud Palace and the Fontainebleau Palace.

Armand Toussaint (1806-1862)

Armand Toussaint (1806-1862) who was son of a Paris locksmith, trained with him before entering the Paris Fine Arts School in 1827. He followed the sculpture teachings of David d’Angers (1788-1856) and won the second Grand Prix de Rome in 1832 with the subject of Capaneus strucked down under the walls of Thebes. Toussaint exhibited the first time at the Salon of 1836 by presenting A young Farmer finding a Sword. He obtained a third class medal at the Salon of 1839 and a second class medal to the 1847 Salon. Armand Toussaint has specialized very early in monumental sculptures with reliefs and figures, such in 1839 at the PèreLachaise cimetery for the Forestier’s tomb with A seated young Woman. The following year he participated in the project of the Dampierre Castle by making for the Duke of Luynes the sculpted decor of the main staircase and the Four Seasons drawing room. At the Salon of 1847, he exhibited the Indian Slave holding a torch and the Indian Slave maid holding a torch. On February 23, 1850 the French Home Office commissioned him to cast in bronze these both sculptures. The pair was then delivered to the Elysee Palace, France President residence. These two torcheres were cast by Marly-Graux and Barbedienne under the title The two Indians. Besides, the Barbedienne foundry also cast further Armand Toussaint’s works, such the medallion Laissez venir à moi les petits Enfants, made in four sizes. In 1851, it made thus Law, Justice and Two seated Children for the clock of the Justice Palace in Paris. He executed several statues for the west front of Our-Lady Cathedral in Paris (St Marcel, St Peter, St Etienne, St Martin). In 1852 Toussaint was awarded the Cross of the Legion of Honor. In 1854 he made one of his greatest commands: the pediment of the newly built St. Clotilde Church in Paris, representing Christ surrounded by two angels bearing the instruments of the Passion. Also portraitist, Armand Toussaint sculpted a bust of David d’Angers in 1861 (exhibited in the David d’Angers museum, Angers) and a statue of Dr. Esquirol (1860, Charenton Hospital).

Willem Jan van den Berghe (1823-1901)

Willem Jan van den Berghe, born in 1823 in The Hague, Holland, became known as a painter of genre subjects and landscapes animated with figures. He participated in the 1858 exhibition held in Amsterdam.

Georges van der Straeten (1856-1928)

Georges van der Straeten, born in Ghent (Belgium) in 1856, dead 1928 in Paris, began his sculptor career in 1882, after having trained as a lawyer. He studied sculpture in Belgium under G. Kasteleyn and Jef Lambeaux, and left then Ghent for Paris, where he lived from 1883 until 1928. He met there a group of Belgian artists and was in particular very close to the painters Jan Van Beers and Rik Wouters. Straeten exhibited regularly his works at the Salon. He took inspiration from Antoine Watteau’s paintings to realize his numerous busts, made with elegant gestures and full of lively charm.

Joseph van Severdonck (1819-1905)

Joseph van Severdonck was a Belgian painter. He studied painting under Baron Wappers (1803-1874) from Anvers. He specialized in historical and military paintings, including animals, what also classified J. van Severdonck among animal painters. He also painted classic style allegories. He became professor at the Royal Academy of Brussels and had many pupils, among them, Walter Shaw Sparrow, whom considered him a "noted character" and wrote of him in his memoirs. J. van Severdonck is considered to be one of the last representative painter of the Rubens School. He also became the appointed professor to Queen Marie Henriette, wife of King Leopold II of Belgium.

Emilio Vasarri (1862-1928)

Emilio Vasarri born in Montevarchi, in the province of Arezzo, in Tuscany, studied painting at the Academy of Fine Arts in Florence. Talented drawer and brilliant colourist, he regularly exhibited from 1878, both in Rome and Palermo, works full of meticulous details. He came to Paris in the late 19th century, where he participated in the Salon of French Artists. At the 1900 Universal Exhibition, Emilio Vasarri was awarded a bronze medal, then a mention honorable at the 1904 Salon. As Jean-Léon Gérôme (1824-1904) and Ernest Meissonier (1815-1891), Emilio Vasarri specialized in genre scenes, referring to the ancient Greco-Roman period. Keen on detail and picturesque, he painted with such a prodigious talent the various colored fabrics and matching jewelry. 386

André César Vermare (1869-1949)

André César Vermare (son of sculptor André Vermare) grew up in a French and Italian renaissance admiration. He studies sculpture at the Lyon École des Beaux-Arts, where he receives a gold medal in 1889 before joining the workshop of Alexandre Falguière (1837-1900) in Paris. In 1899, André César Vermare wins the "Premier Prix de Rome" for a plaster bas relief representing "Adam and Eve finding the body of Abel". This sculpted group, "triangular and compact, in a clay and smoke recently born world decor", is still displayed at the Paris École des Beaux Arts.

Henri Vian (19th century)

Henri Vian, a bronze-caster active in the second half of the 19th century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers,… He became especially renowned for his light decorations of high quality.

Gabriel Viardot (1830-1906) Gabriel Viardot career began as a wood carver and he produced small furniture, sculpturally carved with naturalistic motifs and animals. In the 1855 Exposition Universelle in Paris, his finely sculpted objects were well received. However, with the increasing importation of similarly produced Swiss and German articles, he found less opportunity for these and decided to inovate. G. Viardot succeded to his father's business in 1861 installed rue Rambuteau in Paris. Around 1870 he turned to the idea of producing "Meubles genre Chinois et Japonais". The taste in Europe for exotic furniture, incorporating sometimes authentic Chinese or Japanese objects was well established. But Viardot early designed his own models enriched with ivory, mother-of-pearl and beautiful gilt-bronze mounts. After having won four medals at the Paris Universal Exhibition of 1867, Viardot was awarded a silver medal at the 1878 Universal Exhibition in Paris. He was also awarded gold medals several times: Universal Exhibitions in Anvers (Belgium) in 1884, and again in Paris in 1889 and 1900. A contemporary commentator notes that he had a workshop employing approximately 100 men, both sculptors and cabinet-makers with another 25 to 30 outside contract workers. "l'Escalier de Cristal", the famous Parisian offering luxuruous furniture got the exclusivity to use their own stamp on six Viardot’s furniture models.

Emmanuel Villanis (1858-1914)

The sculptor Emmanuel Villanis was born on 12 December 1858 in Lille, from Italian parents. In March 1861, the Italian Kingdom was proclaimed and the Villanis settled back in their country, in the Piemont region. From 1871 to 1880, Emmanuel Villanis studied at the Albertina Fine Arts Academy in Turin, under the direction of the renowned sculptor Odoardo Tabacchi (1831-1905). As soon as he finished his studies, E. Villanis exposed in various Italian cities, such with Alda, a bust exhibited in Milano in 1881. In 1885, Villanis returned to France, living and working in Montmartre, where he stayed untill his death in 1914. From 1886 until 1910, he participated eleven times in the famous Paris Salon des Artistes Français, where he was awarded the Mention Honorable in 1892 for two plaster sculptures. Among his seventeen sculpted works shown there: Nérina (1887 Salon); Galtée (1894 Salon); Mignon (1896 Salon) and Judith (1898 Salon). E. Villanis also participated in numerous Universal Exhibitions, such the the 1889 Paris Universal Exhibition, where he won the Mention Honorable for La Souricière. He sent to the 1893 Chicago Paris Universal Exhibition two busts named Europe and Orient.

Lina de Weiler (1823-c.1880)

Lina de Weiler (or von Weiler), born in Mannheim in 1823, in the dukedom of Bade (Germany) came to France in order to study painting at the Parisian School of Fine Arts, under the direction of the famous portrait painter Léon Cogniet (1794-1880). There she met Edmond Lebel (1834-1908) who was soon to be noticed for his Italian scenes. In 1857 Lina de Weiler exhibited a full length portrait of sir William Forbes at the Living Artists Salon which took place in the Palace of Industry on the Champs-Elysées. With increasing success, she sent numerous portraits as well as some genre scenes to the 1859 Salon. These gentle and romantic scenes, as shows our painting The Return, won the favour of the public and were at the forefront since the 1861 Salon. The subjects of Lina de Weiler’s paintings sometimes also included landscapes of her place of birth, as attested by the Fording of the river: Recalling the Black Forest, exhibited at the 1864 Salon.

Adam Weisweiler (1744-1820)

Adam Weisweiler became Master in cabinet-making on March 26th 1778. He settled his workshops in Paris, on Faubourg-Saint-Antoine Street. Weisweiler was one of the great masters of the Louis XVI style. From German origin, he is assumed having received his training in the workshop of Roentgen. He came to France before 1777, year of his wedding in the capital city. He worked primarily for the «marchandmerciers» like Daguerre, whom sold Weisweiler’s works to Queen Marie-Antoinette. Very talented in his art, he developed a personal style, combining various materials such pietra-dura, lacquer or Sèvres porcelain plaques. Unlike most of cabinet-makers, the Revolution didn’t affect his production; Weisweiler worked under the First Empire for Queen Hortense. A large part of his production is now displayed in public collections such in the Louvre Musuem, the Paris Decorative Arts Museum, the New York Metropolitan Museum of Art. 387

Jean-Jacques Werner (1791-1849)

Swiss ébéniste, active in Paris. He was established in Paris by 1820, and specialized in furniture built from indigenous wood.

Albert Willms (19th century)

Albert Willms was apprenticed as modeler and engraver to Klagman, Dieterle and Constant in Paris before working for Morel & Co. in London in 1848. On his return to Paris he was employed by the great Parisian silversmiths including Christofle and Froment-Meurice, for whom he designed pieces to be presented at the 1855 Universal Exhibition in Paris. It was during this period that he joined the firm of Elkington in London as head decorator. Elkington was soon to become one of the first to produce refined pieces in "champlevé" enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in 1862 (see Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, J.B. Waring, London, 1863, III, pl. 211). Willms’ "champlevé" enamels could not be compared, however, with the delicate "cloisonné" enamels exhibited by Japan at the Universal Exhibition in Paris in 1867. This explains why Elkington adapted the ancient Japanese technique to produce pieces according to European taste and custom. In London, Albert Willms presented his luxurious vases and cups in "cloisonné" enamel for Elkington (see Illustrations of Art Manufacturers in the Precious Metals exhibited by Elkington & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) produced in the workshops of Ferdinand Barbedienne (1810-1892) a tray decorated with a golden pheasant in "cloisonné" enamel on copper and Emile-Auguste Reiber (1826-1893) designed for the Christofle firm, a large clock with matching candelabras in the Japanese style (Musée d’Orsay, Paris, Inv. O.A.O. 1360-1361) with "cloisonné" enamels executed by Antoine Tard. Albert Willms nevertheless became a specialist of "cloisonné" enamel on gilt metal between 1870 and 1876. The 1876 Philadelphia Universal Exhibition where Elkington presented to the public his latest creations in the Japanese style, an extensive set of vases and dishes in "cloisonné" enamel (reproduced in Contributions to the Centennial and International Exhibition at Philadelphia, 1876, London, 1876) assured him a resounding success. Referring to his enamels the critics said "They surpass by far modern Chinese and Japanese works and approach the exquisite beauty of ancient Japanese pieces".

Charles-Guillaume Winckelsen (1812-1871)

Born in 1812, Charles-Guillaume Winckelsen is one of the most talented cabinet-makers of the Second Empire period, taking inspiration from 18th century furniture. He mainly used the Louis XVI style decorative motifs but without reverting to simple pastiche and creating then beautiful furniture. Winckelsen’s bronze casting was of the highest quality. He had his workshops in Paris at N°23 Val-Sainte-Catherine in 1854, moved in 1860 to N°21 rue Saint-Louis in the Marais, and in 1867 to N°49 rue de Turenne. His production varied from furniture to decorative works of art, specializing in particular in the Louis XVI style to a very high quality standard. As a very talented cabinet-maker he was often honoured the commands from the aristocrats as well as the Paris wealthy high society, such as Lafitte, de Béhague, prince Radziwill. Following Winckelsen’s death in 1871, Henry Dasson (1825-1896) purchased on July 27 the workshop and stock from Winckelsen’s widow.

Jean-Henri Zweiner-Jansen (1854-1928)

Jean-Henri Jansen founded the famous interior decoration firm of Maison Jansen in 1880. Manufacturing revival and Nouveau furniture he became Fournisseur de la Cour d’Espagne and was awarded a Silver Medal at both the 1883 Amsterdam Exhibition and the Paris 1889 Exposition Universelle.The firm relocated to 9, rue Royale, Paris, in 1885 around wich time it incorporated the established firm of JosephEmmanuel Zwiener, renaming it Zwiener Jansen Successeur and adopting the practice stamping pieces, "Z.J".

Joseph-Emmanuel Zwiener (active from 1880 to 1895)

Joseph-Emmanuel Zwiener was born in Germany in 1849. In 1880 he set up his extensive workshops in rue de la Roquette in Paris where he created many original pieces of furniture. He immitated practically every style, ranging from «Boulle» to «Louis XVI» and including extraordinary personal interpretations of the «exhuberent» Louis XV style. His unique style won Zwiener the gold medal at the 1882 exhibition of the Union Centrale des Arts Décoratifs in Paris. One of the judges, René Ménard, remarked that «if Mr. Zwiener had limited himself to literal reproductions, he wouldn’t have attracted the attention of the jury so strongly. But alongside his very skillful copies, he has shown us works inspired by his own imagination». At the 1889 Universal Exhibition, held in Paris, he was awarded the gold medal for his remarkable copy of that most famous piece of furniture, Louis XV’s desk. The catalogue of the exhibition included a wonderful elegy qualifying the work as perfect: «No criticism what-so-ever could be made». As that other famous cabinet-maker François Linke (1855-1946), Zwiener had most of his bronzes modelled by Léon Messagé (1842-1901) whose work was considered as being of the best possible quality. Zwiener was active until 1895, when JeanHenri Jansen (1854-1928) purchased his business and stock. Operating under the name of «Zwiener Jansen Successeur», Jansen continued to faithfully produce Zwiener’s creations, using the original models and lavishing the utmost care on these «meubles de luxe». 388

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Signatures ď &#x2022;

391

Signatures Edouard Agneesens (1842-1885)

Désiré Attarge (c.1820-1878)

Ferdinand Barbedienne (1810-1892)

Alfred-Emmanuel Beurdeley (1847-1919)

Fernand Blayn (1853-1892)

Albert-Ernest Carrier-Belleuse (1824-1887)

Christophe Charmois & Ernest Lemarinier (1839-1920)

Charles Christofle (1805-1863)

Emile Colin (2nd part of the 19th century)

Charles-Henri-Joseph Cordier (1827-1905)

Eugène Cornu (1827-1899)

Alfred Daubrée

Joseph-Désiré Court (1797-1865)

Manufacture of Creil Montereau (18th- 20th centuries)

Albert Louis Dammouse (1848-1926) 392

Henry Dasson (1825-1896)

Théodore Deck (1823-1891)

Eugène Delaplanche (1836-1891)

Charles-Guillaume Diehl (1811-1885)

Paul Dubois (1827 - 1905)

Ferdinand Duvinage (1823-1876)

L'Escalier de Cristal (19th century)

Alexandre Falguière (1831-1900)

Charles-Auguste Fraikin (1817-1893)

Gagneau (19th century)

François Gautier (19th century)

Alphonse Giroux et Cie (1799-1885)

Oscar Gladenbeck (1850-1921)

Michele Grandville (1758-1836)

Jean-Louis Grégoire (1840-1890)

Emile Guillemin (1841-1907) 393

Eugène Hazart (19th century)

Lacarrière (19th century)

Eugène-Armand Lachaise (1857-1925)

Jules-Isidore Lafrance (1841-1881)

Ferdinand Levillain (1837-1905)

François Linke (1855-1946)

Paul Louchet (1854 -1936)

Emilio Marsili (1841-1926)

Auguste Metgé (1883-1910)

Victor Paillard (1805-1886)

Raphaël Charles Peyre (1872-1949)

Henri Picard (active since 1831)

Emile-Louis Picault (1833-1915)

Raingo Frères (founded in 1813)

Charles Rudhardt (1829-1895)

Susse Company (19th century) 394

Manufacture "Royal Worcester Porcelain Company Ltd" (19th century)

Paul Sormani (1817-1877)

Arthur Strasser (1854-1927)

Pierre-Philippe Thomire (1751-1843)

Armand Toussaint (1806-1862)

Willem Jan van den Berghe (1823-1901)

Georges van der Straeten (1856-1928)

Joseph van Severdonck (1806-1862)

Emilio Vasarri (1862-1928)

AndrĂŠ CĂŠsar Vermare (1869-1949)

Henri Vian (19th century)

Emmanuel Villanis (1858-1914)

L. de Weiler (1823-c.1880

Charles-Guillaume Winckelsen (1812-1871)

Zwiener Jansen successeur (active since 1880)

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Founded before 1945 and handed down from father to son, this family enterprise specialises in European arts, including painting and sculpture, furniture and decorative arts, from the second half of the 19th century. Philippe Zoï represents the second generation in this line of connoisseurs. A member of the French National Syndicate of Antiquarians and the National Company of Experts in Paris, Mr. Zoï, a recognised expert for the 1850-1900 period, pursues the family tradition of giving meaning to the words ‘knowledge’ and ‘quality’. Tobogan Antiques, newly located in Paris, 14 avenue Matignon, also offers its clientele a selection of objets d’art reflecting some of the principal artistic movements of the French 19th century - such as Second Empire, Japonism, Orientalism or the Greek Revival - whose creators are now widely represented in private collections and museums. Philippe Zoï, Director

TOBOGAN ANTIQUES 14 Avenue Matignon. 75008 Paris. France For all information, please contact us by: TEL: + 33 1 42 86 89 99 Email: tobogan.antiques@wanadoo.fr