Second Empire, Volume II - Tobogan Antiques

Page 1

19TH CENTURY FINE ART

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CON E S

M PIR

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2019 Issue Volume II

Finest Selection 8

Authenticity 8

Quality

IMPORTANT MIRROR

Ref : 2911/7

France +QZKI 0MQOP\ " KU ,6 QV # ?QL\P " KU QV

A beautiful and important carved and gilded wood Regence style mirror. >MZa ÅVM ZWKWKW LMKWZI\QWV UILM WN ÆW_MZ OIZTIVL[ XWUMOZIVI\M[ ZQJWVVML ZWL[ IVL IKIV\P][ leaves wrapped around the moulded frame. The richly decorated top presents a bird wing at the centre IVL \_W PMIL[ WN MIOTM[ WV \PM [QLM[ <PM TW_MZ KWZVMZ[ IZM ILWZVML _Q\P Å[PM[

MIRRORS

PROVENANCE: Hôtel particulier, Parc Monceau.

214

IMPORTANT MIROIR D’APPARAT

Ref : 1307/31

Italy Circa 1880 0MQOP\ " KU 8,7 QV # ?QL\P " KU ,2 QV An important gilded wood- and stucco mirror. Heart shaped bevelled mirror plate. Rich marquetry WZVIUMV\I\QWV _Q\P UW\PMZ WN XMIZT QVTIQL )KIV\P][ TMI^M[ [PMTT[ IVL ÆW_MZ JI[SM\[ UW\QN[ []ZUW]V\ML Ja \_W X]\\Q PWTLQVO ÆW_MZ OIZTIVL[

MIRRORS

Mirrors applied on walls develop during 16th century, but with small size mirror plates and heavy framing. Frequently an ornamented shutter folds down to protect the mirror plate. During 17th century the monopoly for mirror production stays in Venice, until Colbert creates the ¹Manufacture Royale des Glacesº QV 1V 4]KI[ LM 6uPW]\ QV^MV\[ \PM UQZZWZ KI[\QVO [a[\MU allowing him to obtain large size mirrors. These mirrors, which could cover entirely a trumeau, become \Z]M LQ[XTIa MTMUMV\[ QV \PM IXIZ\UMV\[ *a ZMÆMK\QVO \PM TQOP\ KWUQVO NZWU KPIVLMTQMZ[ IVL KIVLMTIJZI[ they greatly enhanced the decoration of the room they were placed in.

IMPORTANT SECOND EMPIRE MIROIR D’APPARAT

Ref : 0702/118

.ZIVKM CQZKI 0MQOP\ " KU ,6 QV # ?QL\P " KU QV # ,MX\P " KU QV

MIRRORS

)V QUXWZ\IV\ KIZ^ML IVL OQTLML _WWL UQZZWZ _Q\P I ^MZa ÅVM LMKWZI\QWV UILM WN ÆW_MZ OIZTIVL[ wrapped around the moulded frame, sculpted with acanthus leaves. A large foliate shell ornates the top of the mirror.

218

SPLENDID MIRROR

Réf: 1508/0

Italy 19th Century 0MQOP\ " KU ! ! QV # ?QL\P " KU QV

MIRRORS

An important carved giltwood mirror with a rich frame beautifully decorated of arabesques. The top Q[ ZQKPTa WZVIUMV\ML _Q\P I KPMZ]J IVL []ZUW]V\ML Ja I UI[S WV I [XZMIL [PMTT <PM _PWTM XZWN][MTa KIZ^ML _Q\P [KZWTT[ ÆW_MZ[ IVL NWTQIOM

220

RARE POLYCHROME MIRROR

Réf: 1544/0

France Second half of the 19th century 0MQOP\ " KU QV # ?QL\P " KU ! QV

MIRRORS

A rare and beautiful giltwood mirror, framed by straped and laurel wreath borders. All sides are MVZQKPML _Q\P WXMV _WZS XIQV\ML \QV WZVIUMV\[ ZMXZM[MV\QVO XWTaKPZWUI\QK NWTQIOM U][QK I\\ZQJ]\M[ ÆW_MZ[ _ZMI\P IVL OIZTIVL[ WV I KZQU[WV ^MT^M\ JIKSOZW]VL ;QLM NIKM[ QV UMLITTQWV[ IZM WV \PM NW]Z corners and a monogram h. O. is inserted in the top of the mirror.

222

G. DURAND

Ref: 1307/87

+IJQVM\ UISMZ (1839-1920)

A FINE PAIR OF LOUIS XV STYLE ENCOIGNURES Stamped G. Durand France Circa 1880 0MQOP\ " KU ,8 QV # .ZWV\ _QL\P " KU ,5 QV # ,MX\P " KU ,7 in.)

FURNITURE

1VTIQL KWZVMZ KIJQVM\[ _Q\P IV M`KMX\QWVIT -VL K]\ ÆWZIT UIZY]M\Za _Q\PQV IV IUIZIV\P JWZLMZ WV I [I\QV_WWL OZW]VL -IKP [MZXMV\QVM NZWV\ML MVKWQOV]ZM Q[ Å\\ML _Q\P I LWWZ IVL ZIQ[ML WV KIJZQWTM legs. Richly decorated with gilt-bronzes comprising frame, scrolled shoes, corner mounts. Topped with

*ZvKPM L )TMX UIZJTM

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225

P. SORMANI

Ref: 0702/58

+IJQVM\ UISMZ (1817-1877)

attributed to

BIBUS France Circa 1880 Height : 110 cm (43,3 QV # ?QL\P " KU QV # ,MX\P " KU ,2 in.)

FURNITURE

) 4W]Q[ @> [\aTM \_W [PMT^M[ *QJ][ KIJQVM\ UILM QV SQVO IVL ZW[M_WWL ^MVMMZ <WXXML _Q\P

*ZvKPM UIZJTM 5W]V\ML _Q\P Ã…VM OQT\ JZWVbM WZVIUMV\[ ;\IVLQVO WV NW]Z KIJZQWTM NMM\

227

P. SORMANI

Ref: 0702/59

+IJQVM\ UISMZ (1817-1877)

attributed to

MEUBLE D'APPUI France Circa 1880 0MQOP\ " KU ,5 QV # ?QL\P " KU ,5 QV # ,MX\P " KU QV

FURNITURE

) 4W]Q[ @>1 [\aTM 5M]JTM L¼IXX]Q UILM QV [I\QV_WWL ^MVMMZ WXMVQVO _Q\P NW]Z LWWZ[ IVL I LZI_MZ []ZUW]V\ML Ja I XQOMWVPWTM <WXXML _Q\P *ZvKPM UIZJTM 5W]V\ML _Q\P ^MZa Ã…VM OQT\ JZWVbM ornaments. Standing on four cabriole feet.

228

C. POTHEAU

Ref: 1608/10

+IJQVM\ UISMZ (Late 19th century)

A REGENCE STYLE DISPLAY-CABINET Signed Constantin Potheau, ébéniste, Paris France Circa 1895 0MQOP\ " KU 108,2 in. # ?QL\P " KU QV # Upper part depth : 48 cm (18,9 QV QV[QLM" KU ,5 in.) 4W_MZ XIZ\ LMX\P " KU ,6 in.)

FURNITURE

) ^MZa Ã…VM :uOMVKM [\aTM \_W XIZ\ LQ[XTIa KIJQVM\ [\IVLQVO WV I XTQV\P []ZUW]V\ML Ja IV IZKPML pediment. Executed in carved walnut, richly decorated with motifs, such as lambrequins, acanthuses, TI\\QKM IVL ZW[IKM[ 7XMVQVO _Q\P NW]Z LW]JTM WXMVQVO [a[\MU LWWZ[ Ã…\\ML QV[QLM _Q\P [PMT^M[ IVL LZI_MZ[ <PQ[ [XMKQÃ…K [a[\MU UISM[ MI[QMZ IVL _QLMZ \PM WXMVQVO# \PM LWWZ[ KIV JM NWTLML ITWVO \PM sides. BIBLIOGRAPHY: Les ébénistes du XIXe siècle, Ledoux-Lebard, Ed. de l’amateur, 1989, p° 530. -`XW[Q\QWV =VQ^MZ[MTTM 1V\MZVI\QWVITM LM ! :IXXWZ\ L] 2]Za QV\MZVI\QWVIT /ZW]XM 111 +TI[[M 5WJQTQMZ p° 11.

230

231

SUSSE FRÈRES

Ref: 1307/100b

Bronze-casters & Art objects Editors (2nd part of the 19th century) attributed to

EXCEPTIONAL MARQUETRY CABINET France Circa 1880 0MQOP\ " KU QV # Width " KU !,7 QV # ,MX\P " KU QV

FURNITURE

Ebonized wood side-cabinet, opening with a central cupboard door underlined with gilt-bronze rods, ÆIVSML Ja \_W [UITT WVa` KWT]UV[ MVKQZKTML _Q\P JZWVbM ?Q\P I ^MZa Ã…VM IVL MTIJWZI\M *W]TTM ornamentation inlaid with wood, copper, brass and lapis lazuli and ornated with arabesque, acanthus and palmette motifs. An ormolu molded base resting on six top feet. Topped with Brèche marble.

:-4)<-, ?7:3 " ) ® 5M]JTM o PI]\M]Z L¼IXX]Q ¯ WN [QUQTIZ LM[QOV IVL WZVIUMV\I\QWV <PQ[ UWLMT however presenting single wooden posts on each side. ;QOVML ;][[M .ZvZM[ WV \PM TWKS 8ZQ^I\M KWTTMK\QWV 8IZQ[

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MILLET

Ref: 0702/56

+IJQVM\ UISMZ *ZWVbM KI[\MZ (active from 1853 until 1918)

LOUIS XVI STYLE WARDROBE Signed Millet France Circa 1890 0MQOP\ " KU QV # ?QL\P " ! KU QV # ,MX\P " KU !,7 in.)

FURNITURE

) 4W]Q[ @>1 [\aTM _IZLZWJM ^MVMMZML _Q\P )UIZIV\P 3QVO IVL :W[M_WWL ?Q\P \_W LWWZ[ LMKWZI\ML _Q\P I ÅVM ZPWUJ][ UW\QN UIZY]M\Za WXMVQVO WV\W NW]Z [PMT^M[ >MZa ÅVM OQTLML JZWVbM UW]V\[ UILM WN XI[\WZIT IVL U][QK QV[\Z]UMV\[ I[ _MTT I[ _ZMI\P[ WN ÆW_MZ[ ;\IVLQVO WV NW]Z \WX NMM\

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MAISON FOREST

Ref: 0512/61

+IJQVM\ UISMZ (Active since 1883)

IMPORTANT REGULATOR-WARDROBE Signed Forest à Paris France Circa 1890 0MQOP\ " KU ,2 QV # Wid\P " KU ,7 QV # ,MX\P " KU ,6 QV

FURNITURE

) ZIZM 4W]Q[ @1> [\aTM _IZLZWJM _Q\P I JZMIS NZWV\ML WOMM XMLQUMV\ UILM QV UIPWOIVa IVL [I\QV_WWL ^MVMMZ 7XMVQVO _Q\P \_W [QLM K]XJWIZL[ ÆIVSQVO I ZMO]TI\WZ KTWKS ZQKPTa LMKWZI\ML _Q\P UIZY]M\Za ornated with roses, laurel wreaths, acanthuses and ribbons. Beautiful gilt-bronze ornaments made of oval IVL PMIZ\ UW\QN[ _I\MZ TMI^M[ JIVLML NZIUM[ ZW[M\\M[ IVL TI]ZMT JZIVKPM[ []ZZW]VLQVO IV )XWTTW UI[S At the pediment surrounding the regulator dial, a superb and large gilt-bronze cartouche is composed of three putti symbolizing Time and a drapery. The wardrobe stands on a large plinth and six feet, two of which are large gilt-bronze clawfeet.

Inspired by a wardrobe enclosing a regulator clock, made by André-Charles Boulle, circa 1715. Preserved at the Wallace +WTTMK\QWV 4WVLWV 1V^ . !

KRIEGER

Ref: 1585

+IJQVM\ UISMZ attributed to

IMPORTANT CHEST-OF-DRAWERS France Circa 1880 Height. 94,5 cm (37 in.) ; Width. 211 cm (83 in.) ; Depth. 76 cm (29.9 in.)

FURNITURE

Very important chest-of-drawers in mahogany veneer and darkened wood. Rich and fine ornementation made of Louis XVI style gilded and chiselled bronze representing egg-and-dart and foliage friezes. Opening by four drawers, one in the belt, two hidden with a push-button and a larger central one. The lateral doors are decorated with portraits in medallions designating « M.ANT.ARCHISE D’AUTRICHE DAUPHINE DE FRANCE » and « LOUIS AUGUSTE DAUPHIN DE FRANCE ». It has four rubbed toupie feet and the top is made of white Carrare marble.

Our commode is a variation of the one stamped G. Beneman kept at the Louvre Museum (OA 5507), and was among the four bought by the Garde-Meuble in 1786 to the mercer Philippe-Ambroise Sauvage. Created by Joseph Stockel for the Comte de Provence, it has been re-veneered in mahogany and reduced. The door has been replaced by the drawers and the bronzes gilded. Made for Louis XVI’s room in Compiègne, it went in the Luxembourg Palace then the Tuileries until 1870.

238

239

G. DURAND

Ref: 1402/17

+IJQVM\ UISMZ (1839-1920)

attributed to

A LOUIS XV STYLE TABLE France Circa 1880 Height : 70 cm (27,5 QV # ?QL\P " KU QV # ,MX\P " KU ,5 in.) ) ^MZa Ã…VM 4W]Q[ @> [\aTM ZMK\IVO]TIZ \IJTM UILM QV [I\QV_WWL \]TQX_WWL IVL SQVO_WWL :IQ[ML WV four cabriole legs, each surmounted by a gilt-bronze mount and ending on cast feet. Surmounted by a [MZXMV\QVM [PIXML \WX QVTIQL _Q\P IV MTMOIV\ [\aTQbML ÆW_MZ IVL XITUM\ UW\QN UIZY]M\Za <PM NZQMbM KWV\IQVQVO I TWVO LZI_MZ ITTW^MZ LMKWZI\ML _Q\P I Ã…VM MVL K]\ ÆWZIT XIZY]M\Za KPIZIK\MZQ[\QK WN ,]ZIVL¼[ _WZS QV , 4MLW]` 4MJIZL Les ébénistes du XIXe siècle, Paris, 1984, p°183).

FURNITURE

:-4)<-, ?7:3"

<IJTM[ IN\MZ [QUQTIZ UWLMT[ Ja * > : * SVW_V IVL exhibited : Louvre Museum, Decorative Arts Museum 8IZQ[ # >QK\WZQI )TJMZ\ 5][M]U 4WVLWV # 5M\ZWXWTQ\IV 5][M]U WN )Z\ 6M_ AWZS

242

243

A.-E. BEURDELEY

Ref: 1307/94

+IJQVM\ UISMZ IVL JZWVbM KI[\MZ (1847-1919)

attributed to

A RARE CENTER TABLE France Circa 1880 Height : 75 cm (29,5 QV # ?QL\P " ! KU ,4 QV # ,MX\P " KU ,6 in.) 5ILM M`KT][Q^MTa QV ZQKPTa KIZ^ML JW`_WWL # _Q\P I Ã…VM XQMZKML JMT\ WZVIUMV\ML _Q\P TI]ZMT JZIVKPM[ Raised on four legs joined by a stretcher, centred by a carved boxwood vase. Topped with a red Griotte marble. *M]ZLMTMa TQSML \W ][M JW`_WWL JMKI][M WN Q\[ PIZLVM[[ *M]ZLMTMa KIJQVM\ UISMZ IVL [K]TX\WZ I\ \PM [IUM \QUM KW]TL \PMV UISe XQMKM[ WN N]ZVQ\]ZM XZM[MV\QVO I ^MZa PQOP Y]ITQ\a WN KIZ^QVO 0M showed for instance a beautiful boxwood table at the 1878 Paris Universal Exhibition.

FURNITURE

BIBLIOGRAPHY: 4¼]VQ^MZ[ LM[ JZWVbM[ A^M[ ,M^I]` -L 8aOUITQWV 8IZQ[ ! X

4I [IOI *M]ZLMTMa ! ! *MZVIZL ,WZQ^IT B.S.H.A.F., 1989, p.191.

:-4)<-, ?7:3"

Beurdeleys' table - Paris Universal Exhibition of 1878. (in Les Beaux-Arts et les Arts Décoratifs de l’Exposition Universelle de 1878, p. 395)

244

245

G. GROHÉ

Ref: 1499 - 1453

+IJQVM\ UISMZ (1808-1885)

EXCEPTIONAL PAIR OF INLAID TABLES France Circa 1855 Marquetry, box tree, amaranth, ebony, yew, sycamore 0MQOP\" KU QV # ?QL\P" KU ! QV # ,MX\P" KU ! QV

FURNITURE

Exceptional pair of Louis XVI style inlaid tables, opening with a frieze drawer, made in box tree, IUIZIV\P MJWVa aM_ [aKIUWZM _Q\P ^MZa Ã…VM KPQ[MTTML WZUWT] UW]V\[ <PM \WX Q[ ZQKPTa ILWZVML _Q\P QVTIQL KZW[[ JW\\WVQM[ WZVIUMV\[ M`MK]\ML _Q\P I OZMI\ Ã…VM[[M IVL ^IZQM\a WN _WWL[ # ZQUUML Ja a pierced ormolu gallery.

247

248

249

3:1-/-:

Ref: 1511/0

attributed to

ELEGANT TABLE France Circa 1880 0MQOP\ " KU QV # ?QL\P " KU QV

FURNITURE

-TMOIV\ PMIZ\ [PIXML 4W]Q[ @> [\aTM \IJTM LMKWZI\ML _Q\P I JMI]\QN]T ÆWZIT UIZY]M\Za IVL I gilded ormolu mount. Supported by three feet, the upper part lifting and revealing a velvet-padded compartment.

250

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P. SORMANI

Ref: 0702/76

+IJQVM\ UISMZ (1817-1877)

BEAUTIFUL LOUIS XVI STYLE SHOWCASE ;QOVML WV \PM SMaTWKS P. Sormani France Circa 1870 0MQOP\ " ! KU ,8 QV # ?QL\P " KU QV # ,MX\P " KU QV

FURNITURE

) ^MZa Ã…VM 4W]Q[ @>1 [\aTM ^Q\ZQVM UILM QV ZW[M IVL SQVO_WWL ^MVMMZ \WXXML _Q\P UW]TLML [PIXML

.TM]Z LM 8wKPMZ UIZJTM 7XMVQVO _Q\P I KMV\ZIT OTIbML LWWZ IVL ÆIVSML _Q\P K]Z^ML OTIbML [QLM[ 5W]V\ML _Q\P ÅVM KPQ[MTTML JZWVbM WZVIUMV\[ []KP K]XQL[ _I\MZ TMI^M[ NZQMbM[ IVL IKIV\P][M[ Raised on four cabriole feet.

252

253

H. DASSON

Ref: 0702/77

*ZWVbM KI[\MZ IVL +IJQVM\ UISMZ ! attributed to

LOUIS XVI STYLE VITRINE France Circa 1880 Height : 147 cm (57,8 QV # Wid\P " KU ,3 QV # ,MX\P " ! KU ,3 in.)

FURNITURE

) ^MZa Ã…VM 4W]Q[ @>1 [\aTM ^Q\ZQVM WXMVQVO _Q\P I KMV\MZQVO LWWZ ^MVMMZML _Q\P J]ZT MTU Ã…VMTa LMKWZI\ML _Q\P KPQ[MTTML IVL OQTLML JZWVbM UW]V\[ IVL \WXXML _Q\P *ZvKPM UIZJTM ;\IVLQVO WV four legs joined by a streched shelf.

Vitrine inspired by the 18th KMV\]Za UWLMT[ M`MK]\ML Ja )LIU ?MQ[_MQTMZ IVL UILM Ja Henry Dasson in the 19th century. (in 4¼IUM]JTMUMV\ L¼IZ\ NZIVtIQ[ ! , Camille Mestdagh, Les Ed. de l’Amateur, Paris, 2010, p°277)

254

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C. CRESSENT

Ref: 3110/22

+IJQVM\ UISMZ after

A "ROYAL" LOUIS XV STYLE COMMODE France Circa 1880 Height : 88 cm (34,6 QV # ?QL\P " KU !,5 QV # ,MX\P " KU ,8 in.)

<PM [MZXMV\QVM JZvKPM L ITMX UIZJTM \WX IJW^M \_W LZI_MZ[ LMKWZI\ML _Q\P OQT\ JZWVbM PIVOQVO ÆWZIT garlands, scrolling foliage and trellis marquetry, the curved sides similarly decorated and each set with a cupboard door, the angles clasped with scrolling acanthus, on tapering legs with pawcast sabots.

FURNITURE

:-4)<-, ?7:3"

The model of this commode was made by Charles Cressent in 1739 NWZ 3QVO 4W]Q[ @>¼[ JMLZWWU QV \PM +Pp\MI] LM 4I 5]M\\M 8IZQ[

257

J.-M. ZWIENER

Ref: 0702/19

+IJQVM\ UISMZ (active from 1880 to 1895)

L. MESSAGÉ Designer (1842-1901)

EXCEPTIONAL PAIR OF COMMODES France Circa 1885 Height : 85 cm (33,5 QV # ?QL\P " KU ,8 QV # ,MX\P " KU ,8 in.) An exceptional pair of Louis XV style bombé KWUUWLM[ UILM QV IUIZIV\P IVL \QV\ML [aKIUWZM# MIKP \WXXML _Q\P *ZvKPM L¼)TMX UIZJTM W^MZ \_W NWZU LZI_MZ[ LMKWZI\ML _Q\P ÆWZIT TMUWV_WWL marquetry within a scrolling gilt acanthus banded bronze cartouche form. Raised on four cabriole legs with foliate swag mounts, ending in ormolu scrolled foliate sabots. )n apparent M`IUXTM WN \PQ[ UWLMT _I[ [WTL I\ *WVPIU[ 6M_ AWZS ,MKMUJMZ

FURNITURE

BIBLIOGRAPHY: Catalogue de l'Exposition Universelle, Paris, 1889.

J-B. GAMICHON

Ref: 2603/36

Cabinet-Maker (? - 1832, maître in 1790)

FINE COMMODE Stamped Gamichon

France Circa 1820-1830 0MQOP\ " KU !,3 QV # ?QL\P " KU ,3 QV # ,MX\P " KU QV

FURNITURE

Elegant Restauration period commode veneered with satinwood and amaranth. It opens with a series of four drawers adorned with beaded marqueted frames. Chiseled and gilded bronze ornementation PIVLTM[ TWKS[ :M[\QVO WV [Y]IZM NMM\ »*TM] ÆM]ZQ¼¼ UIZJTM \WX

Commode stamped Gamichon, exhibited at the Museum of Decorative )Z\[ 8IZQ[ QV ! »+PMN[ L¼¶]^ZM LM[ OZIVL[ uJuVQ[\M[ ! LM / 2IKWJ o /QZW]`¼ Vˆ

KRIEGER

Ref: 1538/0

Cabinet-Maker (active in the second half of the 19th century)

IMPORTANT CHEST-OF-DRAWERS Signed KRIEGER PARIS on the lock of the drawers, and on a metal plaque

France Circa 1880

FURNITURE

0MQOP\ " ! KU QV # ?QL\P " KU QV # ,MX\P : ! KU QV <PQ[ UIPWOIVa UIPWOIVa ^MVMMZ LIZSMVML _WWL IVL OQTL IVL KPQ[MTTML JZWVbM KWUUWLM QV \PM 4W]Q[ @>1 [\aTM WXMV[ _Q\P \PZMM LZI_MZ[ [Q\\QVO WV \WX WN \PZMM TMI^M[ :QKP IVL Ã…VM WZVMUMV\I\QWV UILM WN OQTLML IVL KPQ[MTTML JZWVbM XZM[MV\QVO NMUITM UI[S[ QJM`M[ aW]VO [I\aZ[ IUWVO OZIXM[ IVL foliage, egg-and-dart friezes, and ribbons. It features upright ribbed columns on the angles and ribbed toupie feet. The top is made of veneered white marble. 3ZQMOMZ \WWS I[ I UWLMT I ^MZa KPIZIK\MZQ[\QK \aXM WN KWUUWLM Ja ) ?MQ[_MQTMZ WVM WN \PM OZMI\M[\ KIJQVM\ UISMZ[ WN \PM \P KMV\]Za ?MQ[_MQTMZ KZMI\ML [M^MZIT ^IZQI\QWV[ WV PQ[ []KKM[[N]T UWLMT[ including a series of commodes with leaves such as our piece of furniture : tripartite facade, toupie feet, veneered panels framed with bronze rods, detached ribbed coloumns, with or without a bronze frieze.

:-4)<-, ?7:3; 7]Z KWUUWLM Q[ [QUQTIZ \W \PM WVM KZMI\ML Ja )LIU ?MQ[_MQTMZ and delivered by the marchand-mercier Daguerre in 1788 for \PM KIJQVM\ QV\uZQM]Z WN \PM 3QVO 4W]Q[ @>1 I\ \PM +Pp\MI] LM ;IQV\ +TW]L <PM WZQOQVIT KWUUWLM Q[ SMX\ I\ \PM +Pp\MI] LM +WUXQvOVM QV \PM -UXZM[[ *MLZWWU + ) XIQZ WN [QUQTIZ KWUUWLM[ Q[ SMX\ I\ \PM 4W]^ZM 5][M]U <PQ[ \aXM WN commodes was also produced with lacquer or vernis européen panneling. Two of these are in the collections of the Metropolitan 5][M]U WN )Z\ ?ZQOP\[UIV KWTTMK\QWV ! IVL WN \PM 3IV[I[ +Q\a 5][M]U Commode by A.Weisweiler, 1788, collections of the Château de Compiègne

FURNITURE

!

C.-G. WINCKELSEN

Ref: 0702/34

+IJQVM\ UISMZ (1812-1871)

"FOUR SEASONS" MEUBLE D’APPUI Signed +PTM[ ?QVKSMT[MV Z]M ;IQV\ 4W]Q[ )] 5IZIQ[ and dated France 0MQOP\" ! KU QV # ?QL\P" KU QV # ,MX\P" ! KU QV -`KMX\QWVIT TIZOM 4W]Q[ @>1 [\aTM [QLMJWIZL \WXXML _Q\P UW]TLML *ZvKPM UIZJTM UILM QV IUJWVa burl and ebony veneer. Opening with three frieze drawers decorated with ormolu foliage motifs, above NW]Z NZWV\ LWWZ[ IT\MZVI\ML _Q\P OQTLML JZWVbM ÅO]ZIT J][\[ ZMXZM[MV\QVO \PM .W]Z ;MI[WV[ ;\IVLQVO WV six foliate cast feet.

FURNITURE

BIBLIOGRAPHY: Les ébénistes du XIXe siècle ,MVQ[M 4MLW]` 4MJIZL -L LM T¼)UI\M]Z ! X

270

271

273

KRIEGER

Ref: 0210/13

+IJQVM\ UISMZ 1V\MZQWZ LM[QOVMZ (2nd half of the 19th century) attributed to

A LOUIS XVI STYLE CHEST-OF-DRAWERS France Circa 1880 Height : 101 cm (39,7 QV # Wid\P " ! KU ,7 QV # ,MX\P " KU !,6 in.)

FURNITURE

) Ã…VM OQT\ JZWVbM UW]V\ML UIPWOIVa KWUUWLM o ^IV\I]` M`MK]\ML IN\MZ I 5WLMT Ja )LIU ?MQ[_MQTMZ <WXXML _Q\P I *ZWKI\MTTM L¼-[XIOVM UIZJTM _PQKP [PIXM Ã…\[ XMZNMK\Ta \PM KWUUWLM [PIXM IJW^M I XIVMTTML NZQMbM LMKWZI\ML _Q\P LZIXM[ IVL [KZWTT[ WV O]V JIZZMT XTIY]M[ KWVKMITQVO I TIZOM LZI_MZ WXMVQVO _Q\P I PQLLMV TWKS [a[\MU ?Q\P \PZMM NWTQI\M JWZLMZML XIVMTTML K]XJWIZL[ JMTW_ IVL I OQTLML JZWVbM ÆW_MZa \QML ZQJJWV UMLITTQWV WV \PM KMV\ZIT LWWZ [PW_QVO I trophy with doves. Raised on six ormolu tapering toupie feet.

274

275

A.-E. BEURDELEY

Ref: 0702/35

+IJQVM\ UISMZ IVL *ZWVbM KI[\MZ (1847-1919)

SUMPTUOUS PAIR OF LOUIS XVI STYLE "MEUBLE D’APPUI" France Circa 1890 Height : 103 cm (40,5 QV # ?QL\P " KU ,8 QV # ,MX\P " KU QV Sumptuous pair of Louis XVI style sideboards made in mahogany and amaranth with a splendid LMKWZI\QWV WN ÆWZIT UW\QN XZMKQW][ _WWL[ UIZY]M\Za <WXXML _Q\P I UW]TLML >MZLM )V\QKW UIZJTM []ZUW]V\QVO I TIZOM KMV\MZQVO LZI_MZ IJW^M \PZMM LWWZ[ IT\MZVI\ML _Q\P Æ]\ML >MZLM )V\QKW UIZJTM KWT]UV[ \WXXML _Q\P KWZQV\PQIV KIXQ\IT[ MIOVQÅKMV\ WZVIUMV\I\QWV UILM WN finey chiselled and gilded bronze lion muzzles, foliage and fruits garlands. Resting on four gilt-bronze foliate cast feet.

FURNITURE

Similar cabinet made by Alfred-Emmanuel Beurdeley and presented in: 4¼IUM]JTMUMV\ L¼IZ\ NZIVtIQ[ ! , Camille Mestdagh, Les Ed. de l’Amateur, Paris, 2010, p°271.

277

279

BEFORT JEUNE

Ref: 0702/36

+IJQVM\ UISMZ K

attributed to

IMPORTANT "BOULLE" CABINET France Circa 1870 Height : 130,5 cm (51,2 QV # ?QL\P " KU ,3 QV # ,MX\P " KU ,8 in.)

FURNITURE

7XMVQVO _Q\P \PZMM NZWV\ LWWZ[ -JWVa ^MVMMZ QVTIQL _Q\P I JZI[[ *W]TTM UIZY]M\Za WV \WZ\WQ[M[PMTT QV[XQZML Ja 2MIV *uZIQV¼[ WZVIUMV\I\QWV [\]LQM[ )LWZVML _Q\P WZUWT] UW]V\[ []KP I[ UI[S[ TMINa TQWV KTI_[ IVL ÅO]ZIT KI[\[ ZMXZM[MV\QVO Spring and Winter. Standing on six feet.

280

281

C.-G. WINCKELSEN

Ref: 0702/42

+IJQVM\ UISMZ (1812-1871)

EXCEPTIONAL LOUIS XVI STYLE SECRETARY Signed +PTM[ ?QVKSMT[MV Z]M ;IQV\ 4W]Q[ )] 5IZIQ[ France +QZKI Height : 138 cm (54,3 QV # ?QL\P "

KU ,6 QV # ,MX\P " KU QV

Exceptional Louis XVI style upright secretary, veneered with amaranth and ambony burl, ornated with centering Japanese lacquer panels and beautifully mounted with chiselled and gilded bronzes. The NZWV\ XIVMT WXMV[ WV\W I [Q` LZI_MZ[ Ã…\\ML QV\MZQWZ UILM QV [aKWUWZM _Q\P IUIZIV\P IVL MJWVa Ã…TTM\[ Topped with statuary Carrare marble.

FURNITURE

<PQ[ _WZS _I[ QV[XQZML Ja I UWLMT UILM Ja )LIU ?MQ[_MQTMZ IZW]VL ! VW_ M`PQJQ\ML I\ \PM 6M_ AWZS 5M\ZWXWTQ\IV 5][M]U WN )Z\

284

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A.-E. BEURDELEY

Ref: 0702/71

+IJQVM\ UISMZ IVL JZWVbM KI[\MZ (1847-1919) attributed to

SUMPTUOUS LOUIS XVI STYLE SECRETARY France Circa 1890 0MQOP\ " KU QV # ?QL\P " KU ! QV # ,MX\P " KU ,7 in.) Exceptional Louis XVI style upright secretary, made in mahogany and elm burl veneer. The eared ZMK\IVO]TIZ *ZWKI\MTTM L¼-[XIOVM UIZJTM \WX IJW^M I NITT NZWV\ XIVMT WXMVQVO WV\W IV I^MV\]ZQVM mother of pearl and lacquer decorated ebony interior. The front and sides ornated with Japan lacquer XIVMT[ LMKWZI\ML _Q\P TIVL[KIXM IVL Ã…O]ZIT [KMVM[ <PM IVOTM[ [M\ _Q\P ÆW_MZ Ã…TTML JI[SM\ KIZaI\QL[ IJW^M I [PIXML IXZWV Ã…\\ML _Q\P I LZI_MZ ZM[\QVO WV \IXMZQVO Æ]\ML TMO[ RWQVML Ja I XQMZKML TWWX stretcher and four top feet.

FURNITURE

This upright secretary is characteristic of the late 19th century production of Beurdeley which specialized in producing furniture and objects inspired by the Louis XVI models in the Garde-meuble national. It JWZZW_[ LQZMK\Ta NZWU \PM _WZS WN )LIU ?MQ[_MQTMZ _PW UILM IZW]VL ! I [QUQTIZ KIJQVM\ VW_ M`PQJQ\ML I\ \PM 6M_ AWZS 5M\ZWXWTQ\IV 5][M]U WN )Z\ <_W IXXIZMV\Ta M`IUXTM[ WN \PQ[ UWLMT _Q\P LQ‫ٺ‬MZMV\ TIKY]MZ XIVMT[ _MZM [WTL I\ +PZQ[\QM [ 4WVLWV in March 2008 and July 2011.

288

289

291

H. DASSON

Ref: 0702/72

+IJQVM\ UISMZ !

VERY FINE LOUIS XVI STYLE SECRETARY Signed Henry Dasson France Circa 1880 Height : 138 cm (54,3 QV # Wid\P " ! KU ,4 QV # ,MX\P " KU QV

FURNITURE

) ^MZa Ã…VM 4W]Q[ @>1 [\aTM ]XZQOP\ [MKZM\IZa M`MK]\ML QV IUJWVa IVL XITQ[IVLMZ ^MVMMZ Ã…VMTa decorated with painted medallions presenting mythological scenes. Mahogany insider. Fine chiselled IVL OQTLML JZWVbM UW]V\[ *ZWKI\MTTM L¼-[XIOVM UIZJTM [\ZM\KPMZ IVL \WX <PQ[ _WZS _I[ QV[XQZML by the 18th KMV\]Za UWLMT[ M`MK]\ML Ja )LIU ?MQ[_MQTMZ

292

293

M. GOURDIN

Ref: 1530/1

+Irpenter (1724-1797) After

SET OF FOUR ARMCHAIRS "A CHASSIS" France Circa 1880 Height. : 106 cm (42 in.) ; Length. : 83 cm (32,5 in.) ; Depth. : 65 cm (25,5 in.) A very fine set of four Regency style « à la Reine » armchairs made in carved and gilded wood, unpholstered with green velvet. Each armchair has a a carved shaped giltwood frame with flower and console legs.

FURNITURE

A set of four armchairs stamped by M.Gourdin, kept in the Louvre museum (inv. OA 10499), were used as models for our armchairs.

294

295

P. DUBOIS

Ref: 2911/16

Sculptor (1829-1905)

J.A.J. FALGUIÈRE Sculptor (1831-1900)

F. BARBEDIENNE Bronze caster (1810-1892)

MAGNIFICENT CONSOLE France Circa 1880

FURNITURE

Total height with mirror: 383 cm (151 in.) +WV[WTM " 0MQOP\ " ! KU QV # WidtP " ! KU QV # ,MX\P " KU QV 0MQOP\ _Q\P XMLM[\IT[ " KU QV · ?QL\P WN XMLM[\IT[ \WX[ " ` KU ` ! QV <PQ[ UIOVQÃ…KMV\ _PQ\M KIZZIZM IVL JTM] \]ZY]QV UIZJTM 4W]Q[ @>1 [\aTM KWV[WTM Q[ MUJMTTQ[PML _Q\P KIZ^ML IVL OQTLML JZWVbM WZVIUMV\[ <PM JMT\ ILWZVML _Q\P I Æ]\ML NZQMbM UI[S[ WN *IKKP][ IVL ZW[M\\M[ Q[ [\IVLQVO WV [Q` [XQZITTa Æ]\ML NMM\ _Q\P NWTQIOM WV \PM M`\ZMUQ\QM[ <PM XIZ\ UMIV\ \W JM XTIKML against the wall is divided in several pannels framed with moulded and beaded bronze. Above the console stands a giltwood and white-painted mirror, richly decorated at its top with a carved PMIL WN )XWTTW ÆIVSML Ja IKIV\P][ TMI^M[ IVL \ZMQTTQ[ <PM UQZZWZ Q[ NZIUML Ja \_W XI\QVI\ML JZWVbM NMUITM Ã…O]ZM[ MIKP PWTLQVO [M^MV TQOP\ KIVLMTIJZI IVL [\IVLQVO WV XMLM[\IT[ ZQKPTa ILWZVML _Q\P TI]rel garlands and bronze frames. These are casts by F.Barbedienne, after models by J.A.J. Falguière and 8 ,]JWQ[ \PMa IZM [QOVML \W \PM JI[M WVM ».)4/>1-:- IVL . *):*-,1-66- .76,-=:¼ \PM W\PMZ »8 ,=*71;¼ IVL ». *):*-,1-66-¼ <PM WZQOQVIT UWLMT[ WN \PM[M JZWVbM[ _MZM [PW_V I\ \PM -`XW[Q\QWV =VQ^MZ[MTTM JMNWZM JMQVO QV[\ITTML I\ \PM +Pp\MI] LM +WUXQvOVM NWZ \PM MVRWaUMV\ WN Napoleon III and Empress Eugénie. PROVENANCE: The masterful console was commissionned to Barbedienne around 1880 to garnish the interiors of the Conte de Chambrun at the Hôtel de Bourbon-Condé, 12 rue Monsieur, 7th arrondissement, Paris. This console was part of the sale of the KW]V\¼[ IZ\ IVL N]ZVQ\]ZM KWTTMK\QWV[ \PI\ \WWS XTIKM WV \PM \P WN 2]VM ! IN\MZ \PM KW]V\¼[ LMI\P TQ[\ML I[ TW\ Vˆ QV the sale catalogue).

!

G. GROHÉ

Ref: 1307/81b

+IJQVM\ UISMZ (1810-1870)

M. LIÉNARD Sculptor-Designer (1808-1885)

EXCEPTIONAL CONSOLE Signed GrohĂŠ Ă Paris Console exhibited by G. GrohĂŠ Awarded a Gold Medal at the Industrial Products Exhibition of 1844 France Circa 1844

FURNITURE

Height : 103 cm (40,5 QV # Wid\P " KU ! QV # ,MX\P " KU !,7 in.) Napoleon III mahogany console ornamented with gilt bronze mounts and underlined by a copper \PZMIL :ML OZQW\\M UIZJTM \WX .ZQMbM WZVIUMV\ML _Q\P IKWZV IVL NWTQIOM UW\QN[ KMV\ZML Ja I cartouche forming a heart. Legs ornamented with putti and scrolling foliage. Center decorated with ZQJJWV[ NMUQVQVM UI[S[ IVL VI\]ZITQ[\QK JW]Y]M\[ *I[M WZVIUMV\ML _Q\P I \_Q[\ _Q\P W^M[ IKIV\P][ TMI^M[ IVL ÆW_MZ PMIL[ UW\QN[ 5QZZWZ JIKSXTI\M :M[\QVO WV \W]XQM NMM\ This console, very illustrative of Second Empire style, can be related to a large ebony and rosewood piece of furniture executed by GrohĂŠ for the Salon des Guise in Chantilly castle (MusĂŠe CondĂŠ, Chantilly). BIBLIOGRAPHY: +WTTMK\QWV 5IKQM\ ^WT *QJTQW\PvY]M LM[ )Z\[ ,uKWZI\QN[ 8IZQ[ ,M]`QvUM )TJ]U 4QuVIZL LM[[QV +, *QJTQW\PvY]M LM[ )Z\[ ,uKWZI\QN[ 8IZQ[ L’Ameublement moderne par MM. Prignot,LiĂŠnard, Coignet et plusieurs autres artistes spĂŠciaux ^WT +PIZTM[ +TIM[MV 8IZQ[ Les ĂŠbĂŠnistes du XIXe siècle, Denise Ledoux-Lebard, Ed. de l’Amateur, 1984, p. 237. P. LiĂŠnard, A. Doussamy, Portefeuille de LiĂŠnard: motifs inĂŠdits applicables aux arts industriels et somptuaires.

Engraving published in MusÊe des Familles, Lectures du Soir, t. XI, juillet 1844, p° 317.

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301

KRIEGER

Ref: 0702/64

+IJQVM\ UISMZ 1V\MZQWZ LM[QOVMZ (active in the 2nd half of the 19th century) attributed to

EMPIRE STYLE CONSOLE France +QZKI 0MQOP\ " KU QV # Wid\P " ! KU ,8 QV # ,MX\P " KU QV

FURNITURE

Rare Empire style sideboard console made in mahogany, enriched with superb bronze ornaments SMX\ _Q\P \PMQZ WZQOQVIT OQTLQVO <WXXML _Q\P +QXWTQV UIZJTM

<PQ[ KWV[WTM Q[ \W JM TQVSML \W \PM WVM UILM Ja 8QMZZM <PWUQZM IZW]VL IVL VW_ M`PQJQ\ML QV \PM 4W]^ZM 5][M]U 1V^ 7) !! !

304

305

RARE REGENCE STYLE CONSOLE AND MIRROR

Ref: 1514/0

A BEAUTIFUL PIER TABLE AND ITS MIRROR France Circa 1880 0MQOP\ " KU QV # Wid\P" KU ! QV A beautiful Louis XV style carved and giltwood console consisting of a belt, richly carved with acanthus NWTQIOM ÆW_MZ[ IVL [KZWTT[ IVL LMKWZI\ML _Q\P I KMV\MZQVO [PMTT []XXWZ\QVO I ^MQVML UIZJTM \WX 1\ ZM[\[ on two cabriole legs, decorated with acanthus leaves and further scrolls, joined by a stretcher centering I TIZOM KIZ^ML IVL XQMZKML XI\\MZV ILWZVML _Q\P ÆW_MZ[

FURNITURE

The mirror, with a rectangular plate bordered by two giltwood mouldings, is surmounted by a rich top with giltwood acanthus and shell.

308

309

J. DEGOULLONS, A. ET M. LEGOUPIL

Ref: 1507/0

« Sculpteurs des Bâtiments du Roi » after

IMPORTANT CENTRE TABLE France Circa 1880 0MQOP\ " KU QV # ?QL\P " KU QV # ,MX\P " KU QV A large Regence style centre table in richly carved walnut, adorned with shells and foliate patterns. The four jambs are enriched with female heads and rely on height feet connected by a richly carved stretcher.

FURNITURE

<PM UWLMT WN \PQ[ \IJTM · WZ KWV[WTM · Q[ _MTT SVW_V JMKI][M KWUQVO NZWU \PM +Pp\MI] LM *MZKa VMIZ 8IZQ[ IVL XZM[MZ^ML I\ \PM 5][uM L] 4W]^ZM <PQ[ KWV[WTM _I[ JW]OP\ QV Ja \PM /IZLM 5M]JTM _PMV \PM M[\I\M IVL KPp\MI] LM *MZKa _MZM dismantled. The whole decoration and furniture had been commissioned by Charles-Henri II de Malon de Bercy, under supervision of the architect Jacques de la Guêpière between 1712 and 1714. All carved wood furniture was created under direction of the famous Sculpteurs des Bâtiments du Roi: Jules Degoullons, André and Matthieu Legoupil, Marin Bellan, and Pierre Taupin. The cartouche adorning the console evocates the compositions of the designer Pierre Le Pautre in his Livre de Tables, tables that was used in the galleries to exhibit precious vases, bronzes or minerals.

<PQ[ KWV[WTM MV\MZML \PM KWTTMK\QWV WN \PM /IZLM 5M]JTM QV IVL _I[ \PMV M`PQJQ\ML QV \PM 5][uM L] /IZLM 5M]JTM (1879-1900) before being preserved in the Musée du Louvre since 1901. During this time, Parisian craftspeople were allowed to copy it : that is the history of our table.

310

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FURNIITURE FURNITURE E

313

NICOLAS HEURTAUT

Ref: 1307/83

+IJQVM\ UISMZ IVL ;K]TX\WZ (1720-1771)

IMPORTANT LOUIS XV PERIOD SALON SET Stamped N. Heurtaut France +QZKI Couch / Height: 113 cm (44,5 QV # ?QL\P" KU QV # ,MX\P" KU ,2 in.) )ZUKPIQZ[ 0MQOP\" !! KU ! QV # ?QL\P" KU QV # ,MX\P" KU ,6 in.) Foot Stool (19th century) / Height: 50 cm (19,7 QV # ?QL\P" KU ,4 QV # ,MX\P" KU ,4 in.)

FURNITURE

IUXWZ\IV\ 4W]Q[ @> ;ITWV [M\ KWUXZQ[QVO IV QUXWZ\IV\ [WNI [Q` o TI :MQVM IZUKPIQZ[ IVL I NWW\ [\WWT 5ILM WN OQTLML _WWL [K]TX\ML _Q\P IKIV\P][ TMI^M[ PMIZ\[ ÆW_MZ[ [KZWTT[ IVL [PMTT[ UW\QN[ :M[\QVO WV [KZWTTML KIJZQWTM TMO[ <PM _PWTM [M\ Q[ ]XPWT[\MZML _Q\P I Ã…VM th century Aubusson tapestry, in perfect condition, displaying scenes from the tales of Jean de La Fontaine. MUSEOLOGY: - Domaine de Villarceaux, in Chaussy, the castle built for the Marquis de la Buissière, displays beautiful pieces, among these I Ã…VM KWV[WTM Ja 6QKWTI[ 0M]Z\I]\ <PM .ZQKS +WTTMK\QWV" KPIQZ[ IVL [WNI[ LI\QVO NZWU IXXZW`QUI\Q^MTa ]XPWT[\MZML _Q\P *MI]^IQ[ \IXM[\Za _WTT IVL [QTS IKY]QZML QV ! +TM^MTIVL 5][M]U WN )Z\" KPIQZ[ ` ` ! KU LWVI\ML Ja 5Z[ ;M^MZIVKM ) 5QTTQSQV QV ! ! - Musée du Louvre: gilded beech wood armchairs(1755/1759) coming from the Martial-Louis de Beaupoil de SaintAulaire (bishop of Poitiers in 1759) collection, purchased by the museum in 1975. +Pp\MI] LM >MZ[IQTTM[" ®o TI :MQVM¯ IZUKPIQZ[ LQ[XTIaML QV \PM /ZIVL +IJQVM\ WN ®TI ,I]XPQVM¯# LWVI\ML Ja 7Z\Qb Patino in 1982 BIBLIOGRAPHY: Bill G. B. Pallot, «Le menuisier Nicolas Heurtaut chez le Prince de Conti et le Comte d’Artois», L’Estampille/L’Objet d’Art, Vˆ XX *QTT / * 8ITTW\ ®=V [QvOM o []KKv[ LM 6QKWTI[ 0M]Z\I]\¯ L’Estampille/L’Objet d’Art, 1994. Catalogue des Collections: Domaine de Villarceaux <PM .ZQKS +WTTMK\QWV +TM^MTIVL 5][M]U WN )Z\ 5][uM L] 4W]^ZM M\ +Pp\MI] de Versailles.

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315

FURNITURE

317

A. LEVRAUX

Ref: 0702/65

+IJQVM\ UISMZ (19th century)

SET OF FOUR LOUIS XVI STYLE ARMCHAIRS Stamped A. Levraux Paris France +QZKI Height : 75 cm (29,5 QV # ?QL\P " KU ,8 QV # ,MX\P " KU ,6 in.)

FURNITURE

) ^MZa Ã…VM [M\ WN NW]Z 4W]Q[ @>1 [\aTM IZUKPIQZ[ UILM QV KIZ^ML IVL OQTLML _WWL ]XPWT[\MZML _Q\P red velvet.

318

319

G. JACOB

Ref: 2602/29

Sculptor (1739-1814) after

RARE ARMCHAIR FOR CHILDREN France Circa 1880 0MQOP\ " KU ,4 QV. # ?QL\P " KU ,2 QV. # ,MX\P : KU !,7 QV. :IZM KIZ^ML IVL OQTLML _WWL IZUKPIQZ _Q\P I UMLITTQWV JIKS :QKPTa ILWZVML _Q\P NZQMbM[ WN interlacings, beads, and piastres, completed with rosettes and acanthus leaves. Standing on console feet.

FURNITURE

This armchair seems freely inspired by XVIIIth century transition style designs of seats, and notably by \PW[M WN /MWZOM[ 2IKWJ ! _PW JMKIUM UI[\MZ QV 1VLMML \PM LM[QOV WN \PM KWV[WTM feet reminds very much of the curved feet with a convolution invented by Georges Jacob.

Chaise à la Reine, sculpted beech, stamped G.Jacob, Collection of the Museum of Decorative Arts, Paris reproduced in G.Janneau, Les Sièges, Ed. Jacques Fréal, 1794, n°249

320

321

G. JACOB

Ref: 0702/111

+IJQVM\ UISMZ (1739-1814) after

PAIR OF DIRECTOIRE STYLE ARMCHAIRS France Circa 1870

0MQOP\ " !! KU ! QV # ?QL\P " KU QV # ,MX\P " KU ,8 in.)

FURNITURE

) ^MZa ÅVM XIQZ WN KIZ^ML IVL \QV\ML _ITV]\ IZUKPIQZ[ _Q\P KIZ^ML [XPQVOM[ NWZ \PM IZUZM[\ []XXWZ\[ <PM KQZK]UNMZMVKM WN \PM [MI\JIKS IVL \PM [MI\ JMT\ IZM LMTQKI\MTa KIZ^ML _Q\P JMIL[ ZW[M\\M[ IVL TQVS[ :M[\QVO WV \IXMZML IVL Æ]\ML TMO[ \WXXML _Q\P KIZ^ML ZQVO[

Those armchairs are close in design to the chair model made in 1790 by the KIJQVM\ UISMZ /MWZOM[ 2IKWJ ! IVL VW_ LQ[XTIaML I\ \PM 8IZQ[ Decorative Arts Museum (Inv. Mob Nat Gme 1552).

322

F. LINKE

Ref: 1307/86

+IJQVM\ UISMZ *ZWVbM KI[\MZ !

VERY FINE FLAT DESK AND BOOKCASE Signed on each Linke France Circa 1890 .TI\ ,M[S" 0MQOP\" KU QV # Leng\P" KU , QV # ,MX\P" KU ,8 in.) *WWSKI[M" 0MQOP\ " KU QV # Wid\P " KU QV # ,MX\P " ! KU !,3 in.) ) :uOMVKM [\aTM J]ZMI] XTI\ QV SQVO_WWL IVL [I\QV_WWL ^MVMMZ WXMVQVO _Q\P \PZMM NZQMbM LZI_MZ[ +PQ[MTML WZUWT] UW]V\[ ZMXZM[MV\QVO IKIV\P][ TMI^M[ IVL [I\aZ UI[S[ -V []Q\M JWWSKI[M SQVO_WWL ^MVMMZML WXMVQVO _Q\P \_W OTIbML LWWZ[ NZIUML Ja I \]TQX_WWL ZQJJWV Bent sides with tulipwood cube motif parquetry.

FURNITURE

BIBLIOGRAPHY: Les ébénistes du XIXe siècle, Ledoux-Lebard, p. 439.

:-4)<-, ?7:3" <PQ[ ÆI\ LM[S IVL Q\[ UI\KPQVO JWWSKI[M IZM ^MZa KTW[M \W .ZIVtWQ[ 4QVSM¼[ XMZ[WVIT N]ZVQ\]ZM XZM[MV\ML QV PQ[ XMZ[WVIT W‫ٻ‬KM QV François Linke (1855 ! <PM *MTTM -XWY]M WN .ZMVKP .]ZVQ\]ZM +P 8IaVM JIKS KW^MZ QTT][\ZI\QWV

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FURNITURE

327

A.-E. BEURDELEY

Ref: 0801/8

+IJQVM\ UISMZ *ZWVbM KI[\MZ (1847-1919)

MAGNIFICENT BUREAU PLAT Signed A.E.Beurdeley France +QZKI 0MQOP\ " KU ! QV # 4MVO\P " KU QV # ,MX\P " ! KU QV

FURNITURE

-`KMX\QWVIT SQVO_WWL IVL [I\QV_WWL ^MVMMZ LW]JTM [QLML LM[S WXMVQVO _Q\P \PZMM NZQMbM LZI_MZ[ UW]V\ML _Q\P ZMUIZY]IJTM KPQ[MTML WZUWT] ZMXZM[MV\QVO [PMTT[ NWTQIOM IVL ÆW_MZ OIZTIVL[ :MXZM[MV\I\Q^M of French taste, it is by his quality one of the most beautiful examples of A.E. Beurdeley’s manufacturing prowess.

:-4)<-, ?7:3" <PQ[ ÆI\ LM[S Q[ QV[XQZML Ja \PM WVM M`MK]\ML Ja \PM KIJQVM\ UISMZ 2W[MXP *I]UPI]MZ which _I[ W‫ٺ‬MZML Ja 3QVO 4W]Q[ @> \W -UXZM[[ -TQ[IJM\P 1 WN :][[QI QV 1\ Q[ VW_ exhibited in the Los Angeles Getty Center.

328

329

LOUIS XV STYLE FLAT DESK

Ref: 0702/113

France Circa 1880 Height: 81 cm (31,8 QV # 4MVO\P" KU QV # ,MX\P" ! KU ,8 in.) ) ZIZM LW]JTM [QLM 4W]Q[ @> [\aTM ÆI\ LM[S UILM WN SQVO_WWL IVL [I\QV_WWL ^MVMMZ# WXMVQVO _Q\P \PZMM LZI_MZ[ LMKWZI\ML _Q\P I JMI]\QN]T ÆW_MZ UW\QN MVL K]\ _WWL UIZY]M\Za ?Q\P Ã…VM KPI[ML IVL OQTLML bronze enrichments made of rococo motifs. Topped with a tooled red leather writing surface. Raised on four ormolu-mounted cabriole legs. After the famous 18th KMV\]Za UWLMT SVW_V I[ \PM +PWQ[M]T LM[S UILM Ja 2IKY]M[ ,]JWQ[ ! – (Reproduced in Le mobilier Français du XVIIIème siècle XIZ 8 3RMTTJMZO -L LM T¼IUI\M]Z ! ! Xˆ !

FURNITURE

<PM +PWQ[M]T ÆI\ LM[S [\IUXML Ja 2IKY]M[ ,]JWQ[ IZW]VL 1750. Provenance: Château du Raincy. Now preserved at the Paris 4W]^ZM 5][M]U 7)

332

333

G. DURAND

Ref: 1307/89

+IJQVM\ UISMZ (1839-1920)

attributed to

IMPORTANT LOUIS XV STYLE BUREAU PLAT France +QZKI 0MQOP\ " ! KU QV # 4MVO\P " ! KU QV # ,MX\P " KU !,7 in.)

FURNITURE

3QVO_WWL IVL [I\QV_WWL ^MVMMZ WXMVQVO _Q\P \PZMM NZQMbM LZI_MZ[ 5W]V\ML _Q\P :WKIQTTM [\aTM KPQ[MTML WZUWT] ZMXZM[MV\QVO [PMTT[ NWTQIOM IVL ÆW_MZ OIZTIVL[ :IQ[ML WV NW]Z KIJZQWTM TMO[ WZVIUMV\ML _Q\P chiseled ormolu.

:-4)<-, ?7:3" <PQ[ ÆI\ LM[S M`MK]\ML Ja \PM KIJQVM\ UISMZ 2W[MXP *I]UPI]MZ _I[ W‫ٺ‬MZML Ja 3QVO 4W]Q[ @> \W -UXZM[[ -TQ[IJM\P 1 of Russia in 1745. It is now exhibited in the Los Angeles Getty Center.

337

A FINE LOUIS XVI STYLE FLAT DESK

Ref: 1608/14

France Circa 1880 0MQOP\ " KU QV # ?QL\P" KU QV # ,MX\P " KU QV ) UIPWOIVa IVL [I\QV_WWL ^MVMMZML ÆI\ LM[S <PM ÅVM JZW_V TMI\PMZ TQVML \WX IJW^M \PZMM NZQMbM LZI_MZ[ ITTW^MZ LMKWZI\ML _Q\P OQT\ JZWVbM WZVIUMV\[ []KP [KZWTT[ IKIV\P][ TMI^M[ IVL ÆW_MZ[ 3MaTWKS[ QV [PIXM WN JMILML UMLITTQWV[ []ZUW]V\ML Ja ZQJJWV \QML OIZTIVL[ :IQ[ML WV NW]Z \IXMZQVO legs embellished with beaded mounts.

FURNITURE

:-4)<-, ?7:3" MIPWOIVa ÆI\ LM[S M`MK]\ML Ja -UUIV]MT Alfred Beurdeley (1847-1919) around 1880, after a model by Guillaume Benneman (1750-1811) LMTQ^MZML QV \W 3QVO 4W]Q[ @>1¼[ TQJZIZa I\ the Fontainebleau Palace (now exhibited in the Louvre Museum, inv. OA5329). (Reproduced in 4¼)UM]JTMUMV\ L¼IZ\ NZIVtIQ[ · ! , Camille Mestdagh, Les Editions de l’Amateur, Paris, 2010, p°255).

340

341

H. DASSON

Ref: 0702/60

*ZWVbM KI[\MZ IVL +IJQVM\ UISMZ ! attributed to

LOUIS XV STYLE LADY DESK France Circa 1880 0MQOP\ " KU ! QV # ?QL\P " KU !,3 QV # ,MX\P " KU QV

FURNITURE

) ^MZa ÅVM 4W]Q[ @> [\aTM TILa ÆI\ LM[S M`MK]\ML QV XITQ[IVLMZ <PM K]Z^ML [PIXML TMI\PMZ QV[M\ \WX above a frieze opening with three drawers decorated all sides with a losange motif marquetry. Raised WV NW]Z KIJZQWTM Å^M [QLML TMO[ *MI]\QN]T OQTLML JZWVbM WZVIUMV\I\QWV WN IKIV\P][M[

342

343

H. DASSON

Ref: 0702/61

*ZWVbM KI[\MZ IVL +IJQVM\ UISMZ ! attributed to

A VERY FINE LADY DESK France Circa 1880 Height : 75 cm (29,5 QV # ?QL\P " ! KU ,8 QV # ,MX\P " KU ,8 in.) / 78 cm (30 ,7 in.) with WXMVML ÆIX

FURNITURE

) ^MZa MTMOIV\ 4W]Q[ @> [\aTM TILa ÆI\ LM[S UILM QV IUIZIV\P IVL ZW[M_WWL ^MVMMZ <PM K]Z^ML shaped leather inset top above a front frieze opening with three drawers and a pull-out leather lined ÆIX 5W]V\ML _Q\P NWTQIOM IVL LWTXPQV UW\QN OQT\ JZWVbM WZVIUMV\[ :IQ[ML WV NW]Z KIJZQWTM TMO[

<PQ[ _ZQ\QVO \IJTM Q[ \W JM TQVSML \W \PM WVM UILM IZW]VL by *MZVIZL 11 >IV :QM[MV *]ZOP ! IVL VW_ M`PQJQ\ML QV \PM 4W]^ZM 5][M]U 1V^ 7)

344

C.-G. WINCKELSEN

Ref: 0702/62

+IJQVM\ UISMZ (1812-1871)

EXQUISITE FLAT DESK Signed +PTM[ ?QVKSMT[MV Z]M ;IQV\ 4W]Q[ )] 5IZIQ[ and dated France Height : 75 cm (29,5 QV # ?QL\P " KU !,3 QV # ,MX\P " KU ,4 in.)

FURNITURE

) 4W]Q[ @>1 [\aTM LW]JTM [QLML ÆI\ LM[S UILM QV aUIZIV\P IVL tP]RI J]ZT ^MVMMZ XZM[MV\QVO I TIZOM KMV\MZQVO LZI_MZ IVL \_W N]Z\PMZ [QLML LZI_MZ[ ?Q\P I ZMK\IVO]TIZ WZUWT] JIVLML \WX QV[M\ _Q\P I TMI\PMZ []ZNIKM IVL I \PZMM [QLML XQMZKML OQT\ JZWVbM NZQMbM <PQ[ _WZS _I[ QV[XQZML Ja \PM th century models executed by Jean-Henri Riesener.

347

A RARE MAZARIN DESK

Ref: 2911/4

France Circa 1880 0MQOP\ " KU ,3 QV # 4MVO\P " KU ,2 QV # ,MX\P " KU QV

FURNITURE

<PQ[ QUXWZ\IV\ 5IbIZQV LM[S ^MVMMZML _Q\P I ¹*W]TTMº UIZY]M\Za UILM WN ZML \WZ\WQ[M[PMTT KWXXMZ and tin opens at the front with seven drawers and one door. It stands on two sets of drawers laying on four feet gathered by a stretcher and adorned with lion feet. The top is richly decorated with arabesques inspired by the drawings of Jean Ier Berain (ornemanist, « dessinateur de la chambre et du cabinet L] ZWQ ¯ IVL XZM[MV\[ Ua\PWTWOQKIT KPIZIK\MZ[ ]VLMZ I KIVWXa I\ \PM KMV\ZM <PMa IZM []ZZW]VLML _Q\P UWVSMa[ IVL PQOPTQOP\ML Ja I LIbbTQVO ZML OZW]VL UILM WN \WZ\WQ[M[PMTT <PM NZWV\ IVL \PM [QLM[ [PW_ IZIJM[Y]M[ ILWZVML _Q\P JQZL[ IVL [UITT UI[S[ I[ _MTT I[ KPIZIK\MZ[ XTIaQVO OIUM[

<PM ¹5IbIZQVº [PIXM IXXMIZML I\ \PM MVL WN \PM \P KMV\]Za Ã…Z[\Ta ILWZVML _Q\P I _WWLMV ÆWZIT UIZY]M\Za 8QMZZM /WTM K \PMV _Q\P I UIZY]M\Za UILM WN \WZ\WQ[M[PMTT KWXXMZ IVL [WUM\QUM[ \QV )VLZu +PIZTM[ *W]TTM I[ W]Z XQMKM WN N]ZVQ\]ZM _Q\VM[[M[ <PMQZ V]UMZW][ LZI_MZ[ IVL \PM _Q\PLZI_V KMV\ZIT XIZ\ ITTW_ML NWZ I KWUNWZ\IJTM ][M WN \PQ[ SQVL WN LM[S[ 0W_M^MZ they were also considered as ceremonial pieces of furniture since the marquetry decorates all sides of \PM LM[S _Q\P IV QUXWZ\IV\ XIZ\ OQ^MV \W \PM IZIJM[Y]M[ ,]ZQVO \PM !\P KMV\]Za ¹*W]TTMº UIZY]M\Za _I[ ^MZa U]KP IXXZMKQI\ML Ja KWTTMK\WZ[ IVL _I[ ZM][ML Ja KIJQVM\ UISMZ[ []KP I[ *MNWZ\ 2M]VM 1880), Joseph Cremer (1811-1878) or Monbro Aîné (1807-1884).

348

G. RAFFAELLI

Ref: 2110/03

Mosaicist

attributed to

RARE PEDESTAL TABLE Maple, amaranth, marble, pietre dure, micro-mosaic France Circa 1825 0MQOP\ " KU !,5 QV # ,QIUM\MZ " !! KU ! QV A Charles X period center table veneered with maple, resting on a central foot ended with three imposing claw-feet. The base and the belt of the table are adorned with an amaranth marquetry decoration showing palms, vases and foliage garlands. ) ZMUIZSIJTM UIZJTM IVL ¹XQM\ZM L]ZMº UIZY]M\Za \WX [PW_QVO I TIZOM ZW[M\\M UW\QN IJW^M \PM \IJTM <PM ZW[M\\M Q[ UILM WN LQ‫ٺ‬MZMV\ UIZJTM IVL ¹XQM\ZM L]ZMº XQMKM[ KZMI\QVO \P][ I ]VQY]M KWVKMV\ZQK LMKWZI\QWV <PM XWTaKPZWUM UIZJTM[ IZM [SQTN]TTa X]\ \WOM\PMZ IVL XIZ\QKQXI\M \W \PM LMKWZI\QWV WN this table top and gives it all its value. A centering micro mosaic medallion represents a dancing putto.

FURNITURE

A similar table top was made by /QIKWUW :I‫ٺ‬IMTTQ QV and acquired by The Hon. John and 4ILa )]O][\I 3MVVMLa -Z[SQVM /QIKWUW :I‫ٺ‬IMTTQ XZW^QLML I LM\IQTML description of all of the marbles with this table top. Of the 148 specimens used, 40 were Pietre Dure, 31 were Oriental, 12 were Antique, 7 were Egyptian, 5 were Chinese, 4 were German and 2 were Siberian.

352

L.-E. LEMARCHAND

Ref: 1560/0

+IJQVM\ UISMZ (1795-1872)

A BOULLE CENTER TABLE Stamped Lemarchand, Ebéniste de la Couronne, 17 rue des Tournelles Paris. France Circa 1850 -JWVa LIZSMVML XMIZ_WWL OQT\ JZWVbM [PMTT JZI[[ IVL \QV QV[KZ]\I\QWV[ ZML UWZWKKW TMI\PMZ 0MQOP\" KU QV # ,QIUM\MZ " KU ! QV

FURNITURE

) TIZOM KMV\MZ \IJTM QV JTIKS _WWL IVL UM\IT UIZY]M\Zy _Q\P [PMTT QV \PM IZIJM[Y]M *W]TTM [\aTM covered with a red morocco leather. It rests on a three-scrolled gilt bronze adorned foot on three wheels. The table top is supported by six numbered drawers with gilt bronze frames.

354

355

FURNITURE

357

CHARLES X KIDNEY-SHAPED TABLE

Ref: 2911/12

France Circa 1825 0MQOP\ " ! KU QV # ?QL\P " KU ,7 QV # ,MX\P " KU ,7 QV ) ^MZa Ã…VM +PIZTM[ @ _ZQ\QVO \IJTM ^MVMMZML _Q\P TMUWV_WWL IVL IUIZIV\P <PM SQLVMa [PIXML \WX is veneered with lines of amaranth and a central medallion with stylized palm leaves. The belt presents a frieze of amaranth marquetry. This table opens with two compartmentalized drawers and with a _ZQ\QVO [PMTN KW^MZML _Q\P ZML TMI\PMZ 1\ [\IVL[ WV WXMV_WZS [QLM[ TQVSML _Q\P IV @ [\ZM\KPMZ

FURNITURE

This piece of furniture is typical of the Charles X period, which favoured the production of small \IJTM[ IVL XZQ^QTMOML \PM ][M WN KWV\ZI[\QVO ^MVMMZ[ XZM[MV\QVO I LIZS UIZY]M\Za WV I TQOP\ JIKSOZW]VL or vice versa.

358

MERCIER FRÈRES

Ref: 1486/0

+IJQVM\ UISMZ[ )K\Q^M[ [QVKM attributed to

AN IMPORTANT EMPIRE STYLE DINING ROOM France Circa 1895 ,IZSMVML _WWL OQT\ JZWVbM ^MVMMZML UIZJTM 0MQOP\" KU QV # ?QL\P" KU QV ; DMX\P" KU QV -A mahogany table ornated on the belt with beautiful putti, laurel leaves, stars and palmettes motifs gilded bronze mount. <PM \IJTM XTI\M Q[ []XXWZ\ML Ja I KWV[WTM [PIXML NW]Z ÆIX KMV\MZ NWW\ WZVI\ML _Q\P OQTLML JZWVbM palmettes motifs and frame, the set resting on four leaf-motif rounded feet.

FURNITURE

0MQOP\ " KU QV # ?QL\P " ! KU QV # 4MVO\P " ! KU QV (Max. length with the 4 extensions: 327 cm (128,7 in.) - Each extension: 129 x 52 cm (50,8 x 20,5 in.) -A credence mahogany sideboard composed of: Two main panels and two recesses on the lower part, as well as four drawers on the belt, covered by a vert de mer marble top. <PM [M\ Q[ WZVI\ML _Q\P Ã…VMTa KPQ[MTTML IVL OQTLML JZWVbM _QVOML TQWV[ IVL [XPQV`M[ I[ _MTT I[ TI]ZMT crowns. 0MQOP\ " KU QV # Wid\P " KU QV # Dep\P " KU QV -A two-body mahogany sideboard, composed of: Two main panels and two recesses on the lower part, as well as four drawers on the belt, covered by a sea green marble table plate. The upper part includes two panels and two doors forming a display case. <PM [M\ Q[ WZVI\ML _Q\P Ã…VMTa KPQ[MTTML IVL OQTLML JZWVbM _QVOML TQWV[ [XPQV`M[ IVL ^QK\WZQM[ I[ _MTT as laurel crowns. 0MQOP\ " KU ! QV # Wid\P " KU ! QV # Dep\P " KU QV ) [M\ WN \MV KPIQZ[ IVL \_W IZUKPIQZ[ QV UIPWOIVa _Q\P [Y]IZM JIKS[ WZVI\ML _Q\P Ã…VMTa KPQ[MTTML IVL OQTLML JZWVbM XITUM\\M[ ZW[M\\M[ ZQVO [PIXML [IJW\[ IVL TQWV NMM\ +W^MZML _Q\P I JTIKS LQIUWVL [PIXM[ WV J]ZO]VLa JIKSOZW]VL PWZ[MPIQZ OIZVQ[P

FURNITURE

FURNITURE

H.-A. FOURDINOIS +IJQVM\ UISMZ (1830-1907)

EXCEPTIONAL BEDROOM SET THE BED EXHIBITED AT THE UNIVERSAL EXHIBITION,

PARIS, 1889

France Circa 1889 An exceptional Louis XVI style bedroom set in carved mahogany and veneered of sycamore with JZI[[ ÅTM\[ IVL OQT\ JZWVbM WZVIUMV\[ <PM [M\ KWV[Q[\[ QV I _IZLZWJM WXMVQVO _Q\P \PZMM UQZZWZ LWWZ[ framed by carved columns and enriched with gilt bronze putti forming candelabra. The en-suite dressing table adorned with carved columns, as well, opens with four ranges of drawers with chiselled handles. The onyx top supports a large pediment with three mirrors enriched with columns, frieze, XQTTIZ[ IVL KIXQ\IT[ IVL ÆW_MZ[ _ZMI\P <PM KIZ^ML JML _Q\P Q\[ WZQOQVIT \PZMM WK\IOWVIT NIJZQK XIVMT[ is accompanied by two side tables, one squared and the other oval, both with onyx top. Then, there are a table with two chairs.

FURNITURE

The bedroom set was certainly exhibited by Fourdinois at the 1889 Universal Exhibition in Paris. ) JML " PMQOP\ " KU QV # _QL\P " KU QV M`\ KU QV QV\ TMVO\P " " KU QV M`\ ! KU (78 in.) int. ) LZM[[QVO \IJTM Ã…\\ML _Q\P [PMT^M[ IJW^M I KPM[\ WXMVQVO _Q\P \_W TIZOM LZI_MZ[ IVL Ã…^M [UITTMZ WVM[ 0MQOP\ " ! KU ,5 QV # _QL\P " KU QV # LMX\P " KU ,4 QV ) _IZLZWJM WXMVQVO _Q\P \PZMM LWWZ[ MIKP NZIUQVO I UQZZWZ. <PM [QLM LWWZ[ []ZUW]V\QVO \_W LZI_MZ[ IZM Ã…\\ML QV[QLM with mirrors and sliding drawers. 0MQOP\ " KU ! ,4 QV # _QL\P " KU !,3 QV # LMX\P " KU ,6 QV -A squarred side table opening with a small door and a drawer. 0MQOP\ " KU ,6 QV # _QL\P " KU ,5 QV # LMX\P " KU QV -A oval side table opening with a drawer. 0MQOP\ " KU ,2 QV # _QL\P " KU ,5 QV # LMX\P " KU ,7 QV -A table, opening with two drawers. 0MQOP\ " KU !,5 QV # _QL\P " KU !,7 QV # LMX\P " KU QV -Two chairs.

FURNITURE

!

PAIR OF COLUMNS

Ref: 1307/29b

Italy Circa 1880 Height : 111 cm (43,7 QV # ,QIU " KU ,2 in.)

FURNITURE

8IQZ WN MJWVQbML _WWL KWT]UV[ _Q\P I ^MZa Ã…VM [\ZI_ UIZY]M\Za NZQMbM WZVIUMV\ML _Q\P OMWUM\ZQKIT patterns.

370

371

LOUIS XVI STYLE WALL-SIDE PEDESTAL

Ref: 0702/26

France Circa 1880 Height: 133,5 cm (52,4 QV # ?QL\P" KU QV # ,MX\P" ! KU ,4 in.)

FURNITURE

) 4W]Q[ @>1 [\aTM _ITT [QLM mIPWOIVa ^MVMMZML XMLM[\IT UW]V\ML _Q\P Ã…VM OQT\ JZWVbM WZVIUMV\[ <WXXML _Q\P *ZvKPM UIZJTM

372

BEFORT JEUNE

Ref: 0702/66

+IJQVM\ UISMZ (1816-C.1880)

attributed to

"BOULLE" WALL-SIDE PEDESTAL France Circa 1870 Height : 125 cm (49,2 QV # ?QL\P " ! KU !,3 QV # ,MX\P " KU ,6 in.)

FURNITURE

) 4W]Q[ @1> [\aTM _ITT [QLM eJWVa ^MVMMZML XMLM[\IT QVTIQL _Q\P I JZI[[ *W]TTM UIZY]M\Za IVL UW]V\ML _Q\P OQT\ JZWVbM WZVIUMV\[ <WXXML _Q\P *ZvKPM UIZJTM

374

375

A PAIR OF WALL-CONSOLES

Ref: 1531/0

Italy +QZKI 0MQOP\ " KU QV ; ?QL\P" KU QV

FURNITURE

Lovely pair of half-moon shaped consoles in sculpted and gilded wood. Decorated by a pearl, laurel, and acanthus leaves fresco. Four scrolled feet support each marble tops.

377

PAIR OF “ART DECO� STANDS

Ref: 1525/1

France Circa 1935 0MQOP\ " KU 6 QV # ?QL\P " KU 6 QV

FURNITURE

Beautiful pair of Rio rosewood veneered squared stands, decorated with ivorine patterns and covered in shagreen.

378

379

ART NOUVEAU TWO-PANELS SCREEN

Ref: 1604

France Circa 1900 Height : 155 cm (61 in.) ; Width : 127 cm (50 in.)

FURNITURE

Rare screen composed of two scrolled panels resting on four foot pads. The rich ornementation represents wood marquetry aquatic flora, with applied water leaves. A brass monogram is embedded in the wood marquetry, on the bottom right of the screen.

379 bis

A SET OF FOUR VENETIAN PALACE DOORS

Ref: 0702/66

Italy Late 19th century 0MQOP\ " KU 125,2 in # ?QL\P " KU 64,6 in Provenance : Venetian Palace

FURNITURE

Exceptional set of two double doors and two false double doors, made in lacquered and gilded wood, LMKWZI\ML _Q\P OQTLML UW\QN[ IVL XIQV\ML XWTaKPZWUM ÆW_MZ J]VKPM[

380

381

382

FURNITURE

383

G.-J.-A. DAVIOUD (1823-1881) Architect

attributed to

PAIR OF INDOOR GATES Polished wrought iron and gilt repoussé iron France, Circa 1880 0MQOP\ " KU QV # <W\IT TMVO\P " KU QV 8ZW^MVIVKM " <W_V PW][M VMIZJa 5WVKMI] 8IZS 8IZQ[ Rare pair of indoor gates in polished wrought iron and gilt repoussé iron. They are composed of \_W ^MZ\QKIT Ã…`ML NZIUM[ WZVI\ML _Q\P [KZWTT[ \WXXML _Q\P I [PMTT UW\QN IVL \_W UW^QVO LWWZ[ _Q\P I concave shape. An oval medallion with interlaced initials ED decorates the middle of each door. The gates are adorned with gilt iron foliage covering the scrolls and the frame.

FURNITURE

19TH CENTURY WROUGHT IRON <PQ[ XIQZ WN QVLWWZ OI\M[ Q[ UILM WN _ZW]OP\ QZWV _PQKP Q[ I \ZILQ\QWVIT QZWV_WZS \MKPVQY]M ,]ZQVO \PM [MKWVL PITN WN \PM !\P KMV\]Za QZWV_WZS _I[ NI[\ OZW_QVO QV .ZIVKM \PIVS[ \W [\IVLIZLQbI\QWV cast iron development - to the detriment of wrought iron - and the decreasing costs resulting from it. 1ZWV_WZS LMKWZI\QWV QVKZMI[ML QV \PM KQ\QM[ IVL JMI]\QÃ…ML UIVa J]QTLQVO[ I\ \PI\ \QUM However, these gates are made according to the technique of wrought iron, which is longer and more M`XMV[Q^M \W UISM" \PM QZWV [PIN\[ IZM PW\ _WZSML IVL \PM QZWV Q[ _ZW]OP\ I\ \PM LM[QZML [PIXM <PM[M OI\M[ IZM JMI]\QÃ…ML _Q\P NWTQIOM [KZWTT[ UILM WN OQT\ QZWV TQSM \PM WVM[ XTIKML QV \PM 5WVKMI] 8IZS IVL made around the same time after a design by Gabriel-Jean-Antoine Davioud (1823-1881). This famous IZKPQ\MK\ \WWS XIZ\ \W \PM ]ZJIV LM^MTWXUMV\ UILM Ja *IZWV /MWZOM[ -]OvVM 0I][[UIVV NWZ _PWU he made plans for monuments and gardens in Paris.

/I\M[ WN 5WVKMI] 8IZS Ja ,]KZW[ NZWU I LM[QOV Ja ,I^QW]L ZMXZWL]KML QV /IbM\\M LM[ *MI]` )Z\[

384

385

A FINE INTERIOR GATE

France Circa 1880 0MQOP\ " KU , QV # <W\IT 4MVO\P " KU ! ,2 QV Made in polished wrought-iron, interior gate composed of two gate-sides and an arched door, with an elegant decor made of scrolls, enriched with gilt bronze ornaments such the laurel garlands and tied ribbons.

FURNITURE

PROVENANCE: Private Mansion in Paris

387

388

FURNITURE

389

ARTISTS AND

MANUFACTURES 8

ARTISTS AND MANUFACTURES Edouard Agneesens (1842-1885)

Edouard Joseph Alexandre Agneesens, as a portrait painter, occupies an important place among the realistic movement, with important compositions carefully elaborated yet natural. As soon I[ , \PM Ã…Z[\ [QOV[ WN mental illness appear, and will persist until his premature death at 43 years old.

Désiré Attarge (c.1820-1878)

, )\\IZOM _WV IT[W \PM +ZWbI\QMZ 8ZQbM QV IVL _PQKP _I[ I_IZLQVO \PM .ZIVKM JM[\ KPI[MZ IVL _I[ WVKM IOIQV I_IZLML I\ \PM =VQ^MZ[IT -`PQJQ\QWV _Q\P I ;QT^MZ UMLIT I[ *IZJMLQMVVM¼[ KW _WZSMZ 2]Za¼[ ZMXWZ\ _I[ \PMV ^MZa M`XTQKQ\" 1\¼[ QUXW[[QJTM \W [PW_ UWZM \I[\M QV KWUXW[Q\QWV IVL UWZM UIM[\ZQI QV \PM UISQVO WN \PM[M TMI^M[ IVL MTMOIV\ ÆW_MZ[ ITT KPI[ML _Q\P [W M`\ZMUM LMTQKIKa <PM []KKM[[ WN *IZJMLQMVVM¼[ Ã…ZU JZW]OP\ PQU UIVa W‫ٻ‬KQIT KWUUQ[[QWV[ []KP QV IJW]\ I[ *IZJMLQMVVM []XXTQML 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 IVL th century, tapestries appeared displaying characters from History, ZMTQOQWV TQ\MZI\]ZM WZ Ua\PWTWOa 1V 0MVZQ 1> NWZJIL \PM QUXWZ\ WN NWZMQOV \IXM[\ZQM[# QV +WTJMZ\ OZIV\ML \ZILQVO TQKMV[M \W \PM )]J][[WV _WZS[PWX[ _PQKP NZWU VW_ WV W_VML \PM XZM[\QOQW][ \Q\TM WN :WaIT 5IV]NIK\]ZM 1V \PM -LQ\ LM 6IV\M[ ZM^WKI\QWV PIL ]VNWZ\]VI\M KWV[MY]MVKM[ NWZ .ZMVKP \IXM[\Za" numerous protestant craftsmen from Aubusson emigrated to Germany or Switzerland. However, French state supported \PM )]J][[WV IVL .MTTM\QV _WZS[PWX[ Ja [MVLQVO LM[QOV[ I LaMZ IVL I XIQV\MZ ,]ZQVO th century, Louis XV established \PM ;I^WVVMZQM UIV]NIK\]ZM \W KZMI\M KIZXM\[ ?Q\P \PM ZQ[M WN \PQ[ VM_ NI[PQWV )]J][[WV IT[W [\IZ\ML XZWL]KQVO KIZXM\[ 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 QV \PM -I[\ J]\ TQSM UIVa WN PQ[ :WUIV KWV\MUXWZIZQM[ WN \PM TI\M VQVM\MMV\P KMV\]Za PM LZM_ U]KP PQ[ inspiration from the travelers reports, such as photographs, objects and prints. Aureli studied painting at \PM )KILMUQI LQ ;IV 4]KI ]VLMZ \PM LQZMK\QWV WN 8QM\ZW /IJIZQVQ ! IVL +M[IZM 5IKKIZQ ! ! 0M WN\MV M`PQJQ\ML PQ[ _WZS QV :WUM <]ZQV IVL *WTWOVI JM\_MMV IVL ! IVL QV 8IZQ[ I\ \PM ! =VQ^MZ[IT Exhibition and Salons of 1891, 1893 and 1897. He also presented historical paintings at the International Exhibition of QV 5]VQKP IVL I\ \PM ! +PQKIOW ?WZTL .IQZ )XIZ\ NZWU M`W\QK U][QKIT QV[\Z]UMV\[ TQWV WZ TMWXIZL [SQV JTIVSM\[ and Moorish ceramics, the same greenhouse plants are to be seen in his paintings. They were probably permanently LMKWZI\QVO PQ[ [\]LQW QV :WUM TWKI\ML >QI 5IZO]\\I ;WUM WN PQ[ _WZS[ IZM VW_ M`PQJQ\ML QV \PM /ITTMZQI 6IbQWVITM d’Arte Moderna and the Aula del Consiglio Provincial in Rome.

Baccarat (Since the 18th century)

<PM NIUW][ KZa[\IT UIV]NIK\]ZM WN *IKKIZI\ \PI\ LI\M[ JIKS \W \PM th KMV\]Za _I[ I_IZLML Q\[ Ã…Z[\ UMLIT QV L]ZQVO \PM -`XW[Q\QWV LM[ 8ZWL]Q\[ LM T¼1VL][\ZQM NWZ \PM JZQTTQIVKM IVL \PM [PIZXVM[[ WN Q\[ KZa[\IT IVL JMKIUM \PMV \PM UW[\ ZMVW_VML .ZMVKP KZQ[\ITTMZQM *IKKIZI\ _I[ ]VLW]J\MLTa \PM WVTa .ZMVKP UIV]NIK\]ZM \PI\ M`PQJQ\ML [\MILQTa IVL UIOVQÃ…KMV\Ta Q\[ XZWL]K\[ I\ \PM ^IZQW][ =VQ^MZ[IT -`PQJQ\QWV[ IVL M[XMKQITTa JM\_MMV IVL 1V ITT ZMXWZ\[ WVM KIV ZMIL IJW]\ \PM XMZNMK\QWV WN \PM UI\MZQIT IVL WN Q\[ K]\ <W SMMX Q\[ _MIT\Pa KTQMV\MTM IUWVO _PQKP \PM :WaIT NIUQTa *IKKIZI\ U][\ LQ[KW^MZ VM_ [\aTM[ 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 _WZSML NWZ NIUW][ IZ\Q[\[ []KP I[ )]O][\M +Tu[QVOMZ )TJMZ\ -ZVM[\ +IZZQMZ *MTTM][M IVL 4W]Q[ *IZZQI[ ! )\ \PM 4WVLWV =VQ^MZ[IT -`PQJQ\QWV WN *IZJMLQMVVM M`PQJQ\ML [WUM WXIY]M KTWQ[WVVu MVIUMT _WZS[ _PQKP _MZM NWZ UW[\ WN \PMU LM[QOVML Ja +WV[\IV\ ;u^QV IVL _WV UMLIT[ QV \PZMM LQ‫ٺ‬MZMV\ KI\MOWZQM[" .]ZVQ\]ZM ;QT^MZ[UQ\P _WZS IVL )Z\Q[\QK JZWVbM[ KWUJQVQVO NWZ [WUM 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 -`PQJQ\QWV \W I XZQVKM WN QVL][\Za IVL \PM SQVO WN JZWVbM KI[\QVO

391

Maison Barbot (19th century)

The Barbot company, installed Chapon street in Paris between 1840 and 1850, then Rambuteau street QV ;IQV\ 5I]Z [\ZMM\ QV ! ÅVITTa *]Ka [\ZMM\ IZW]VL ! [XMKQITQbML QV \PM UISQVO WN KTWKS[ made in inlaid wood or bronze. They went in partnership with D’Aureville et Chameroy who supplied the KTWKS_WZS[

L. Bazzani ! 4]QOQ *IbbIVQ _I[ JWZV QV *WTWOVI _PMZM PM [\]LQML I\ \PM )KILMUa WN .QVM )Z\[ 0Q[ Ã…Z[\ [\MX[ QV \PM IZ\Q[\QK _WZTL _MZM \ISMV I[ I [\IOM LM[QOVMZ NWZ \PM *WTWOVI \W_V \PMI\ZM QV QV VW\IJTM KWTTIJWZI\QWV with Tito Azzolini and Francesco Bertolotti. He traveled in France and Germany in order to perfect his IZ\ 1V PM [M\\TML QV :WUM _PMZM PM _WZSML I[ I LMKWZI\WZ TIVL[KIXM XIQV\MZ IVL [\IOM LM[QOVMZ NWZ \PM 7XMZI 0M _WZSML _Q\P -TMVI .ZIKI[[QVQ ;MZIÃ…VQ WV ^IZQW][ QV\MZQWZ LM[QOV[ ]V\QT 0M MY]ITTa distinguished himself with his religious paintings during the Roman Exhibition of Catholic Art in 1870, where he was awarded a medal of encouragement. Pope Pius 9th even commissioned him to decorate the Basilica of San Lorenzo. He painted frescoes for numerous public and private buildings such as the hall of the Roman Palace of Justice. Towards 1883 he exhibited paintings of Pompeian architecture successively in Rome, Monaco, Berlin and Turin. Each of these KWUXW[Q\QWV[ WN [\]LQML XMZ[XMK\Q^M IVL \PMI\ZQKIT KWV\MV\ _I[ WN \PM Ã…VM[\ Y]ITQ\a 0M [\]LQML 8WUXMQIV IZKPQ\MK\]ZM which he illustrated with precision, as in his series of watercolours painted in 1891 or the paintings he did in 1900 including ¹<PM 0W][M WN \PM <ZIOQK 8WM\ QV 8WUXMQQº -IKP WN PQ[ ZMXZM[MV\I\QWV[ WN 8WUXMQIV TQNM Q[ \PWZW]OPTa ZM[MIZKPML _PQKP OQ^M[ PQ[ _WZS IV ITUW[\ PQ[\WZQKIT ^IT]M Antoine-Louis Barye

)V\WQVM 4W]Q[ *IZaM Q[ I UIRWZ IZ\Q[\ NZWU \PM !\P KMV\]Za " PM _I[ WVM WN \PM Ã…Z[\ IVL OZMI\M[\ IVQUIT sculptors and produced a considerable number of bronzes. He also promoted and greatly developed collectable bronzes. Put into apprenticeship at a very young age with the metal engraver Fourier, he pursued PQ[ \ZIQVQVO _Q\P \PM [K]TX\WZ *W[QW QV _Q\P \PM XIQV\MZ /ZW[ QV IVL I\ \PM -KWTM LM[ *MI]` )Z\[ in 1818. Between 1823 and 1831, he collaborated with the goldsmith Fauconnier, delivering models of small animals to be used in table centrepieces. During this time, he became familiar with the craft of chiselling and casting. )N\MZ LQ‫ٻ‬K]T\ JMOQVVQVO[ L]ZQVO \PM aMIZ[ PM ZMKMQ^ML OTWZQW][ KWUUMV\[ NZWU \PM X]JTQK I\ \PM ;ITWV QV _Q\P his plaster: Tiger devouring a Gavial. If for some academicians wild life was not to be considered a subject for Fine Arts, W\PMZ KZQ\QK[ XZIQ[ML \PM TQNM NWZKM \PI\ KIUM NZWU ) 4 *IZaM¼[ _WZS[ <PM IZ\Q[\ \PMV \WWS XIZ\ QV [M^MZIT ;ITWV[ L]ZQVO the years 1830. In 1838, he created a bronze foundry. From then on to 1850, he stopped exhibiting at the Salons. At the \QUM PM ZM\]ZVML PM _I[ P]OMTa []KKM[[N]T I\ \PM -`XW[Q\QWV =VQ^MZ[MTTM WN _Q\P PQ[ _WZS 2IO]IZ LM^W]ZQVO I PIZM He received the Great Medal of Honour and the Cross of the Legion of Honor. Simultaneously, the State commissioned [M^MZIT _WZS[ NZWU PQU " I TW_ ZMTQMN TQWV NWZ \PM JI[M WN \PM KWTWVVM LM 2]QTTM\ XTIKM LM TI *I[\QTTM I TQWV NWZ \PM <]QTMZQM[ /IZLMV[ MIOTM[ NWZ \PM 1MVI *ZQLOM IVL NW]Z UWV]UMV\IT IVQUIT[ NWZ \PM 4WVOKPIUX 8ITIKM QV 5IZ[MQTTM ! 6]UMZW][ _WZS[ M`PQJQ\ML I\ \PM ;ITWV[ _MZM MLQ\ML QV JZWVbM *IZaM MY]ITTa UWLMTTML I OZMI\ V]UJMZ of small animals directly for edition: wild animals, elephants, horses, stags, dogs, rabbits, and birds. After living with Millet, :W][[MI] IVL ,QIb QV *IZJQbWV PM KIUM JIKS \W 8IZQ[ IVL QV PM [WTL I JZWVbM KWXa WN MIKP WN PQ[ _WZS[ KQZKI _WZS[ \W \PM )UMZQKIV IUI\M]Z ? < ?IT\MZ[ NWZ \PM +WZKWZIV /ITTMZa QV ?I[PQVO\WV \PM KWTTMK\QWV Q[ VW_ I\ \PM ?IT\MZ[ )Z\ /ITTMZa WN *IT\QUWZM <PM KWV\MV\ WN PQ[ _WZS[PWX _I[ [WTL QV IN\MZ PM LQML IVL \PM KMTMJZI\ML 5IQ[WV Barbedienne acquired 125 models with their reproduction rights.

Antoine-Henri Beau (1855-1937) Antoine-Henri Beau, born in 1855 in Paris, studied at the École Polytechnique, where he graduated in MTMK\ZQKIT MVOQVMMZQVO QV 0M JMKIUM I UIV]NIK\]ZMZ WN TQOP\QVO Ã…`\]ZM[ IVL Z]V PQ[ KWUXIVa 0MVZQ Beau, located 11 rue Francois-Millet at Auteuil. The art of lighting went through a considerable change _Q\P \PM QVL][\ZQITQ[I\QWV WN OIb XZQWZ \W \PM QV\ZWL]K\QWV WN MTMKZQKQ\a .ZMVKP KQ\QM[ IVL [ITWV[ ITQSM _MZM equiped with candelabras. But it was not until 1890 that apartements were supplied with electricity, yet \W ZMUIQV I OZMI\ T]`]Za NWZ Y]Q\M [WUM \QUM 0MVZQ *MI] UILM \PM Ã…Z[\ IXXTQKI\QWV[ WN MTMK\ZQKQ\a NWZ TQOP\QVO KQ\QM[ IVL 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 K

.ZWU \W 5I\PQM] *MNWZ\ K IT[W VIUML *MNWZ\ <PM AW]VO _WZSML I[ I ¹*W]TTMº style furniture craftsman at Neuve-Saint-Gilles Street in Paris.

392

Jean Bérain

2MIV *MZIQV \PM -TLMZ ;IQV\ 5QPQMT 5M][M · 2IV]IZa 8IZQ[ _I[ I LZI]OP\[UIV IVL LM[QOVMZ XIQV\MZ IVL MVOZI^MZ WN WZVIUMV\ \PM IZ\Q[\QK NWZKM QV \PM :WaIT W‫ٻ‬KM WN \PM 5MV][ 8TIQ[QZ[ du Roi where all the designs originated for court spectacle, from fêtes to funerals, and many designs for N]ZVQ[PQVO[ VW\ KW^MZML Ja \PM *p\QUMV\[ L] :WQ <PM ¹*MZIQVM[Y]Mº [\aTM WN TQOP\ IZIJM[Y]M[ IVL XTIaN]T grotesques was an essential element in the style Régence that led to the French rococo.

Alfred-Emmanuel Beurdeley (1847-1919)

*M]ZLMTMa Q[ WVM WN \PM UW[\ [QOVQÃ…KIV\ KWUXIVQM[ QV IZ\ KIJQVM\ UISQVO IVL LMKWZI\QWV QV \PM [MKWVL half of the 19th century. Three generations succeed: Jean (1772-1853), who set up in Paris under the .QZ[\ -UXQZM# PQ[ [WV 4W]Q[ )TNZML )]O][\M _PW UISM[ \PM ZMVW_V WN \PM NIUQTa Ã…ZU IVL Q[ \PMV KWV[QLMZML I[ WVM WN \PM OZMI\M[\ KIJQVM\ UISMZ ]VLMZ \PM ;MKWVL -UXQZM# Ã…VITTa \PM OZIVL[WV )TNZML -UUIV]MT 4W]Q[ ! ! _PW UIQV\IQV[ \PM PQOP NIUM WN \PM Ã…ZU \PIVS[ \W PQ[ PQOP [\IVLIZL Y]ITQ\a N]ZVQ\]ZM 1V )TNZML *M]ZLMTMa ZMXTIKML PQ[ NI\PMZ 4W]Q[ )]O][\M I[ WVM WN \PM UIQV KIJQVM\ UISMZ[ WN \PM Second Empire, specialising in 18th century furniture and particularly in the Louis XVI style. If Louis-Auguste was the star _PMVM^MZ PM M`PQJQ\ML IVL _I[ UW[\ NI^WZML Ja \PM ZWaIT IVL QUXMZQIT NIUQTQM[ )TNZML _I[ I [SQTTML JZWVbM KI[\MZ I[ _MTT I[ I _MTT SVW_V IZ\ KWTTMK\WZ ?Q\P ,I[[WV /ZWPu ;I]^ZM[a IVL .W]ZLQVWQ[ \PM UW[\ NIUW][ IZ\Q[\[ WN \PM XMZQWL PM \WWS part in the 1878 Paris Universal Exhibition where he won the gold medal. Crowned in glory he went so far as to open a [PWX QV 6M_ AWZS 0Q[ XIZ\QKQXI\QWV QV \PM )U[\MZLIU =VQ^MZ[IT -`PQJQ\QWV LZM_ KWV[QLMZIJTM I\\MV\QWV \W PQ[ _WZS IVL )TNZML *M]ZLMTMa .IJZQKIV\ LM JZWVbM[ L¼IZ\ _I[ \PMV I_IZLML \PM 7ZLZM 6I\QWVIT LM TI 4uOQWV L¼0WVVM]Z .ZIVKM¼[ PQOP\M[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV ?Q\P \PQ[ PM _WV \PM ZM[XMK\ WN JW\P \PM OW^MZVUMV\ IVL \PM KWV\MUXWZIZa IZ\ KZQ\QK[ His last presentation was during the 1889 Universal and International Exhibition, at this time the director of the Exhibition _ZW\M QV PQ[ ZMXWZ\" <PM \ITMV\ WN 5Z *M]ZLMTMa Q[ [MTN M^QLMV\ _PMV WVM QV[XMK\[ PQ[ N]ZVQ\]ZM

Pierre-Marie Beyle (1838-1902) 8QMZZM 5IZQM *MaTM ! _I[ JWZV QV 4aWV 0M KIUM \W 8IZQ[ \W NWTTW_ PQ[ [\]LQM[ IVL QV PM JMKIUM I NZMMTIVKM QTT][\ZI\WZ _WZSQVO NWZ Ã…^M aMIZ[ \W P]UWZW][ XMZQWLQKIT[ <PMV PM XIQV\ML KQZK][ [KMVM[ KIX\]ZML ITWVO \PM _Ia _PQTM NWTTW_QVO Q\QVMZIV\ \ZW]JILW]Z[ IVL XZM[MV\ML NWZ \PM Ã…Z[\ \QUM PQ[ _WZS[ I\ \PM ;ITWV WN .WTTW_QVO I \ZQX \W )TOMZQI QV \PM [ *MaTM [MV\ \W \PM ;ITWV PQ[ XIQV\QVO[ 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 UIQV []JRMK\[ _MZM \PM ,QMXXM KWI[\ IVL \PM TQ^M[ WN Ã…[PMZUMV *MaTM XIZ\QKQXI\ML QV \PM =VQ^MZ[IT -`PQJQ\QWV WN ! IVL [\QTT [MV\ _WZS[ \W \PM ;ITWV ]V\QT ! 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. 0M WJ\IQVML I \PQZL KTI[[ UMLIT I\ \PM ;ITWV IVL I JZWVbM UMLIT I\ \PM ;ITWV WN ! Dedicated to the circus, the composition of this painting, painted the year of the death of the artist, of ÆI_TM[[ M`MK]\QWV Q[ LQ[\QVO]Q[PML Ja ÅVM IVL LMTQKI\M \WVM[ <PM M`XZM[[QWV WN NIKM[ I[ \PM KIZM OQ^MV \W 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 .TWZMVKM QV 0M [\]LQML PQ[ IZ\ QV )V\_MZX _Q\P \PM IZKPQ\MK\ IVL [K]TX\WZ 2IKY]M[ ,] *ZWM]KY JMNWZM 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, IVL [\I\]M[ QV \PM 4WOOQI LMQ 4IVbQ 1V \PM MY]M[\ZQIV [\I\]M WN 3QVO 0MVZQ 1> KWUUQ[[QWVML \W 2MIV LM *W]TWOVM Ja 9]MMV 5IZQM LM 5MLQKQ[ _I[ QVI]O]ZI\ML QV 8IZQ[ WV \PM 1TM LM TI +Q\u [\I\]M LM[\ZWaML L]ZQVO \PM Revolution).

Louis Boizot (1743-1809)

4W]Q[ *WQbW\ I .ZMVKP [K]TX\WZ _I[ I X]XQT WN \PM [K]TX\WZ 5QKPMT )VOM ;TWL\b I[ PM _WV QV \PM Ã…Z[\ XZQbM NWZ [K]TX\]ZM <PQ[ []KKM[[ ITTW_ML PQU \W OW \W :WUM QV _PMZM PM [\IaML NWZ Ã…^M aMIZ[ I\ \PM .Zench )KILMUa )XIZ\ \PM 1UXMZQIT +I\PMZQVM 11 WN Russia commissions, Boizot worked mainly in Paris by creating sculpted decorations for public buildings such as the Palais Bourbon (1772) or the Saint-Sulpice Church (1777). However, Boizot acquired a certain notoriety when he succeeded to Falconet in 1774 at the head of sculpture whorkshops of the Sèvres Manufacture where until 1785 he created small allegorical models according to the new neo-classical style of the time.

393

Lucien Bonvallet ! !

4]KQMV *WV^ITTM\ _I[ I LM[QOVMZ 0M M`XW[ML PQ[ _WZS[ WV +IZLMQTPIK¼[ [\IVL I\ \PM ! 8IZQ[ =VQ^MZ[IT Exhibition, and at the Autumn Salon of 1919.

André-Charles Boulle

)VLZu +PIZTM[ *W]TTM Q[ KWV[QLMZML \W JM \PM \Z]M QV^MV\WZ WN th century French furniture. ;WWV IN\MZ PM _I[ LQ[KW^MZML Ja +WTJMZ\ *W]TTM JMKIUM \PM ¹Ã…Z[\ KIJQVM\ UISMZ WN \PM SQVOº PQ[ N]TT \Q\TM JMQVO ¹IZKPQ\MK\ XIQV\MZ UW[IQK [K]TX\WZ MVOZI^MZ UIZY]M\Za KZIN\[UIV IVL QV^MV\WZ WN Ã…O]ZM[º <P][ [\IZ\ML NWZ PQU \PM JMOQVVQVO WN I XMZQWL WN OZMI\ ZMVW_V ?Q\P PQ[ ZWaIT XZQ^QTMOM *W]TTM _I[ IJTM \W KWUJQVM LQ‫ٺ‬MZMV\ IK\Q^Q\QM[ ][]ITTa ZM[\ZQK\ML Ja KWZXWZI\QWV[ 0MVKMNWZ\P PM _WZSML I[ I UI[\MZ \WZ\WQ[M[PMTT IVL JZWVbM UIZY]M\Za KZIN\[UIV _Q\P []KP QVVW^I\QWV[ I[ UW\QN[ JW\P QV \PM NWZMOZW]VL IVL QV \PM JIKSOZW]VL 0M IT[W QVVW^I\ML Ja UISQVO I OMVMZW][ ][M WN JZWVbM \W LMKWZI\M J]\ IT[W \W XZW\MK\ \PM XQMKM[ WN N]ZVQ\]ZM <PM[M QVVW^I\QWV[ brought him fame throughout centuries.

Jean Brandely

1V KWTTIJWZI\QWV _Q\P \PM LM[QOVMZ 2MIV *ZIVLMTa IK\Q^M NZWU ]V\QT ,QMPT ZMVW^I\ML PQ[ decorative repertory and created astonishing pieces of furniture in the Grecian style, which had a dazzling []KKM[[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ QV _PMZM PQ[ KIJQVM\[ IT[W _WV I [QT^MZ UMLIT +MZ\IQV UW\QN[ _MZM [W \aXQKIT WN ,QMPT¼[ _WZS \PI\ \PMa ZMKMQ^ML M`\MV[Q^M KWUUMV\IZa Ja \PM IZ\ KZQ\QK 2 5M[VIZL QV PQ[ JWWS ® 4M[ 5MZ^MQTTM[ LM T¼-`XW[Q\QWV =VQ^MZ[IT LM ¯ ^WT 11 XX ! 0M _ZQ\M[ WN I \IJTM WN _PQKP ® \PM XMVLIV\ JMIZQVO PWWS[ IVL \PM NIV [PIXML ZILQI\QVO UW\QN _PQKP WZVIUMV\[ \PM MV\IJTI\]ZM IZM MVOZI^ML _Q\P TW^M ¯ X IVL I RM_MTTMZa KI[M _PMZM ® <PM PMIL QV Ã…VM /ZMKQIV [\aTM UISM[ ]X \PM M[[MV\QIT XIZ\ WN \PM Ã…VM OQT\ bronze ornementation » (p. 149).

Henry Cahieux (active since 1850)

Henry Cahieux, head decorator for the artistic bronze founder Ferdinand Barbedienne, was destined for a JZQTTQIV\ KIZMMZ I[ \M[\QÃ…ML Ja \PM _WZS[ WN IZ\ PM [MV\ \W \PM ;ITWV[ WN IVL 5W[\ WN \PM[M XQMKM[ _MZM QV \PM /ZMKQIV [\aTM _PQKP _I[ ^MZa NI[PQWVIJTM I\ \PM \QUM >QK\WZ +PIUXQMZ¼[ IZ\QKTM 1VL][\ZQIT )Z\Q[\[ _PQKP IXXMIZML QV \PM ,MKWZI\Q^M )Z\[ :M^QM_ ,MKMUJMZ MKPWML \PM OMVQ][ WN \PM IZ\Q[\"

*IZJMLQMVVM PIL R][\ TW[\ QV \ISMV Ja KPWTMZI QV \PM XZQUM WN TQNM \PQ[ aW]VO UIV _Q\P []KP I XZWUQ[QVO N]\]ZM _PW[M _WZS[ QVN][ML _Q\P OZIKMN]T \I[\M [PW_ML PQU \W JM I UI[\MZ )\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ \PM[M TIUX[ _PQKP Ã…O]ZML I[ \PM TI[\ \M[\QUWVa WN 0MVZa +IPQM]` _WV I UMLIT WN PWVW]Z NWZ *IZJMLQMVVM¼[ [\IVL 0Q[ []KKM[[QWV QV \PM Ã…ZU _I[ I[[]ZML Ja 4W]Q[ +WV[\IV\ ;u^QV _Q\P OZMI\ []KKM[[

Joséphine Calamatta (1817-1893)

Joséphine Calamatta was born Joséphine Raoul-Rochette in Paris, the granddaughter of the sculptor 2MIV )V\WQVM 0W]LWV _I[ I X]XQT WN \PM XIQV\MZ 0QXXWTa\M .TIVLZQV ! IVL WN PMZ P][JIVL 4]QOQ +ITIUI\\I ! IV MVOZI^MZ IVL XZWNM[[WZ I\ \PM .QVM )Z\[ )KILMUa QV *Z][[MT[ PQU[MTN I [\]LMV\ WN 2MIV )]O][\M ,WUQVQY]M 1VOZM[ ;W VI\]ZITTa 2W[uXPQVM +ITIUI\\I 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 _ZQ\MZ /MWZOM ;IVL IVL I\\MVLML PMZ PWUM QV 6WPIV\ ;PM [\IZ\ML \W M`PQJQ\ I\ \PM ;ITWV WN _PMZM [PM won a 3rd class medal for The Virgin and Child Jesus. A 2nd KTI[[ UMLIT KWVÃ…ZUML PMZ \ITMV\ I\ \PM ;ITWV NWZ Woman at her toilet IVL +PIZTM[ *I]LMTIQZM Y]W\ML PMZ QV PQ[ +ZQ\QY]M WN \PM .IQZ _ZQ\QVO \PI\ [PM _I[ SVW_V NWZ \PM [M^MZQ\a WN PMZ [\aTM IVL PMZ 8ZM :IXPIMTQ\M[ \MVLMVKQM[ 2W[uXPQVM +ITIUI\\I M`PQJQ\ML ¹PWZ[ KWVKW]Z[º I\ \PM ;ITWV NZWU ;PM entered into religion at the end of her life.

Antoine-Vital Cardeilhac (19th century)

)V\WQVM >Q\IT +IZLMQTPIK NW]VLML QV I KWUXIVa [XMKQITQbML QV K]\TMZa IVL ÆI\_IZM <PZW]OPW]\ \PM 19th century, the company had passed from father to son, with Armand-Edouard and Ernest then, and KWV\QV]ML \W []KKM[[N]TTa XZWL]KM XQMKM[ PQOPTa QV[XQZML NWZ UW[\ WN \PMU NZWU QZWV_WZS UWLMT[ ZQKPTa WZVIUMV\ML _Q\P ÅVM UW\QN[ <PM[M _WZS[ WN ^IZQML NWZU[ IVL [\aTM[ _MZM ITT KWV[QLMZML ZMUIZSIJTM NWZ \PMQZ KPQ[MTTQVO <PM +IZLMQTPIK ÅZU _I[ \PMV QVM^Q\IJTa VW\QKML QV VI\QWVIT IVL QV\MZVI\QWVIT M`PQJQ\QWV[ for the high quality of products available to the public and received numerous awards, such as the bronze medal in 1823, [QT^MZ UMLIT[ QV IVL I[ _MTT I[ I\ \PM NIUW][ 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV <PMa _MZM ÅVITTa I_IZLML I OWTL medal at the Universal Exhibition of 1878, giving the Cardeilhac company an unprecedented boom. After more than a KMV\]Za WN XZW^MV []KKM[[ QV \PM OZMI\ ]VQ^MZ[IT M`PQJQ\QWV[ \PM NIUW][ [QT^MZ[UQ\P +PZQ[\WÆM \WWS W^MZ +IZLMQTPIK J][QVM[[ in 1951.

394

Albert-Ernest Carrier-Belleuse (1824-1887)

)TJMZ\ -ZVM[\ +IZZQMZ *MTTM][M VQKS VIUML \PM +TWLQWV WN \PM !th KMV\]Za , _I[ I ^MZa XZWTQÃ…K [K]TX\WZ 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 MIZTa ¼[ PM _WV []KKM[[ _Q\P PQ[ [K]TX\]ZM[ XZM[MV\ML I\ \PM .ZMVKP )Z\Q[\[ ;ITWV IVL XIZ\QK]TIZTa L]ZQVO \PM ;ITWV _PMZM PM _I[ I_IZLML I UuLIQTTM L¼PWVVM]Z IVL \PM 4uOQWV L¼PWVVM]Z NWZ PQ[ 5M[[QIP <PM VM_ 8IZQ[ ZMLM[QOVML Ja \PM *IZWV 0I][[UIVV L]ZQVO 6IXWTMWV 111ZL¼[ ZMQOV KWUUQ[[QWVML UIVa WN +IZZQMZ *MTTM][M¼[ UI[\MZXQMKM[" I\ \PM 4W]^ZM XITIKM _Q\P \PM PQOP ZMTQMN 4¼)JWVLIVKM WV \PM .TWZM 8I^QTQWV 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 \PM =VQ^MZ[IT -`PQJQ\QWV IV IZ\ KZQ\QK XZIQ[ML +IZZQMZ *MTTM][M IVL ILLML" -^MV \PM -VOTQ[P KWUM NZWU 4WVLWV \W I[S PQU \W _WZS NWZ \PMU 0Q[ J][\[ V]LM[ OZW]X KWUXW[Q\QWV[ I[ _MTT I[ PQ[ KIVLMTIJZI[ ^I[M[ IVL KTWKS[ ITT KPI[ML ZMUIZSIJTa PIL I KWV[QLMZIJTM []KKM[[ L]ZQVO \PM ;MKWVL -UXQZM

Alexandre Chertier (active from 1855 until 1878)

Alexandre Chertier, active between 1855 and 1878, began in the 1850s as a silversmith to Louis Bachelet IK\Q^M NZWU \W SVW_V I[ I OZMI\ 8IZQ[QIV [QT^MZ[UQ\P 0M \PMV NW]VLML PQ[ W_V KWUXIVa WN 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.

+PIZTM[ +PZQ[\WÆM

+PIZTM[ +PZQ[\WÆM JMOIV PQ[ KIZMMZ Ja UIVIOQVO I RM_MTZa ÅZU IVL I NM_ aMIZ[ TI\MZ PM [M\ ]X PQ[ W_V J][QVM[[" \PM +PZQ[\WÆM [QT^MZ[UQ\P KWUXIVa 0Q[ [WV 8I]T ! IVL PQ[ VMXPM_ 0MVZQ *W]QTPM\ ! \WWS W^MZ \PM J][QVM[[ IN\MZ PQ[ LMI\P )N\MZ PQ[ []KKM[[ I\ \PM 8IZQ[ 8ZWL]K\[ WN 1VL][\Za Exhibition of 1839, he bought the patents of gold and silver-plating by electrolysis from both Ruolz and -TSQVO\WV _PQKP MVIJTML PQU IOIQV \W _QV \PM OWTL UMLIT I\ \PM 8ZWL]K\[ WN 1VL][\Za -`PQJQ\QWV 0M _I[ VIUML [QT^MZ [UQ\P \W \PM ZWaIT NIUQTa IVL PQ[ []KKM[[ _I[ KWVÅZUML L]ZQVO \PM ;MKWVL -UXQZM _PMV PM _I[ regularly awarded prizes at the Universal Exhibitions.

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

Renowned founder installed since 1843, No. 29 Sévigné Street in Paris, cast as soon as 1855 for the most _MTTSVW_ UI[\MZ[ WN .ZIVKM [K]TX\]ZM []KP ) - +IZZQMZ *MTTM][M 4M BW]I^M 2 8ZILQMZ 4M[ <ZWQ[ /ZpKM[ Vénus consolant l’Amour) or J.B. Carpeaux since 1875 (L’Enfant au cor), as well as the famous Parisian [QT^MZ[UQ\P +PZQ[\WÆM +WTQV ][ML \W [\IUX PQ[ JZWVbM[ WN \PM UMV\QWV -UQTM +WTQV +ie NZWU ]V\QT ! <PI\ UIZS JMKIUM TI\MZ 5 +WTQV +ie NZWU ! ]V\QT ! \PMV )VKQMVVM 5IQ[WV +WTQV ie Jollet & C NZWU ! ]V\QT ! ?WZTL_QLM ZMVW_VML -UQTM +WTQV [MV\ \W \PM +PQKIOW =VQ^MZ[IT -`PQJQ\QWV WN ! JZWVbM _WZS[ WN IZ\ _Q\P IUWVO \PMU WZUWT] UW]V\ML UIZJTM ]ZV[ IVL KTWKS[ <PM +WTQV +WUXIVa KW]V\ML \PMV I\ \PM 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 Onyx5IZJTM[ +W ¯ ZMNMZQVO \W \PM Y]IZZQM[ WN WVa` \PM Ã…ZU M`XTWQ\ML VMIZ 7ZIV [M\ ]X *W]TM^IZL LM[ 1\ITQMV[ N.24, in Paris. Founded in the middle of the 19th KMV\]Za \PI\ Ã…ZU ZMUIQVML WXMVML ]V\QT \PM JMOQVVQVO WN \PM \P KMV\]Za 7Va` IT\PW]OP SVW_V [QVKM IV\QY]Q\a _I[ VW\ ZMLQ[KW^MZML ]V\QT ! QV 7ZIV 8ZW^QVKM )TOMZQI Ja ,MTUWV\M I UIZJTM _WZSMZ IVL N]TTa M`XTWQ\ML Ja 8ITT] QV \PM TI\M ¼[ <PM Ã…ZU / >QW\ Cie XZWL]KML IN\MZ UWLMT[ KZMI\ML Ja \PM UW[\ _MTT SVW_V [K]TX\WZ[ []KP I[ +WZLQMZ +WZV] IVL +IZZQMZ *MTTM][M T]`]W][ furniture and art objects, incorporating onyx marbles and bronze, which awarded Viot medals at the various exhibitions, []KP \PM /WTL 5MLIT I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV

Charles Cordier (1827-1905)

+PIZTM[ 0MVZQ 2W[MXP +WZLQMZ MV\MZML \PM 8IZQ[ ;KPWWT WN .QVM )Z\[ QV IVL \PMV TMN\ QV WZLMZ \W [\]La ]VLMZ \PM NIUW][ [K]TX\WZ .ZIVtWQ[ :]LM 0Q[ ÅZ[\ []KKM[[ _Q\P \PM J][\ WN I ;]LIVM[M I\ \PM 1848 Salon was explained by Cordier himself in the following manner: "My subject was new and fashionable; <PM ZM^WT\ IOIQV[\ [TI^MZa IVL IV\PZWXWTWOa 1 ZMVW^I\ML \PM ^IT]M WN [K]TX\]ZM IVL QVVW^I\ML \PM [\]La WN LQ‫ٺ‬MZMV\ ZIKM[ \P][ enlarging the circle of beauty". <_W aMIZ[ TI\MZ MVKW]ZIOML Ja \PM ZMKMX\QWV OQ^MV PQ[ _WZS PM M`MK]\ML <PM )NZQKIV >MV][ <PM[M \_W JZWVbM[ _MZM JW]OP\ Ja 9]MMV >QK\WZQI I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 4WVLWV <PM .ZMVKP government commissioned replicas for the anthropological gallery of the Natural History Museum in Paris which wished \W QVI]O]ZI\M IV M\PVWOZIXPQKIT OITTMZa \W XZM[MV\ LQ‫ٺ‬MZMV\ ZIKQIT \aXM[ +WZLQMZ \PMZMNWZ JMOIV \W KWV[\Q\]\M I KWTTMK\QWV WN [K]TX\]ZM[ IVL QV PM ZMY]M[\ML I UQ[[QWV \W )TOMZQI QV WZLMZ \W ZMXZWL]KM \PM ^IZQW][ UWZXPWTWOQM[" 3IJaTM[ 2M_[ 5WWZ[ )ZIJ[ *MZJMZ[ IVL 6MOZWM[# [WUM QV UIZJTM IVL W\PMZ[ QV JZWVbM <PQ[ ^WaIOM _I[ WN KIXQ\IT QUXWZ\IVKM \W PQ[ _WZS VW\ 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 395

111 IVL -]OMVQM IZQ[\WKZI\[ I[ _MTT I[ \PM _MIT\Pa PQOP [WKQM\a QV [MIZKP WN M`W\Q[U TWWS M[XMKQITTa \W [MM \PM XQK\]ZM[Y]M wealth and sensuality that emerg from these multi-ethnic cultures.

Eugène Cornu (1827-1899)

<PM [K]TX\WZ -]OvVM +WZV] _WZSML KTW[MTa _Q\P / >QW\ IVL +ie, set up Boulevard des Italiens N. 24, in Paris. They produced luxurious furniture and art objects, incorporating onyx marble and bronze, with [WUM\QUM[ MVIUMT I KWUJQVI\QWV \PMV KWV[QLMZML I[ I VW^MT\a IVL JMKWUM Y]QKSTa PQOPTa XZQbML IUWVO _MIT\Pa KWTTMK\WZ[ <PMa JW\P [PW_ML I\ \PM =VQ^MZ[IT -`PQJQ\QWV PMTL QV 8IZQ[ I Ã…VM XIQZ WN WVa` JZWVbM IVL MVIUMT ^I[M[ [QOVML / >QW\ M\ +ie -`XW[Q\QWV LM -]OvVM +WZV] 1V^MV\M]Z # +I\ITWO]M 7‫ٻ‬KQMT LM T¼-`XW[Q\QWV OZW]XM 111 KTI[[M @1> UM]JTM[ LM T]`M Vˆ NWZ _PQKP +WZV] IVL >QW\ _WV \PM /WTL 5MLIT :IXXWZ\[ L] 2]Za 1V\MZVI\QWVIT -`XW[Q\QWV =VQ^MZ[MTTM LM o 8IZQ[ \ 111 OZW]XM 111 KTI[[M @> KPIX{\ZM 11 ‹ Xˆ

Joseph-Désiré Court !

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 NZWU _PWU PM TMIZVML \PM XW_MZ WN KWTWZ ?Q[PQVO IJW^M ITT \W ^Q[Q\ :WUM \W KWUXTM\M PQ[ IZ\ 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, ,MI\P WN +IM[IZ QV .IJZM U][M]U QV 5WV\XMTTQMZ _PI\ SVM_ I KWV[QLMZIJTM QUXIK\ IVL _I[ IKY]QZML Ja \PM .ZMVKP 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. 0M PIL I [XMKQIT \ITMV\ NWZ XWZ\ZIQ\ IVL \PM WZLMZ[ ÆWWLML QV PQ[ [\]LQW QVKT]LQVO \PW[M NZWU [W^MZMQOV[ []KP I[ 3QVO 4W]Q[ 8PQTQXXM PQ[ [Q[\MZ 5ILIUM )LMTI|LM \PM 3QVO IVL 9]MMV WN ,MVUIZS \PM <[IZ 6QKWTI[ 1 WN :][[QI IVL 8WXM 8Q][ 1@ Joseph-Desire Court got the Legion of Honour in 1838. Returning to his hometown, he in 1853 was appointed curator of \PM .QVM )Z\[ U][]MU QV :W]MV 0M M`PQJQ\ML VM^MZ\PMTM[[ ZMO]TIZTa I\ \PM 8IZQ[ ;ITWV ]V\QT

Jules-Félix Coutan

Jules-Félix Coutan (1848-1939) had a highly successful career as a sculptor and designer, which began with his winning Prix de Rome in 1872 whilst studying under Pierre-Jules Cavelier (1814-1894) at the 8IZQ[ .QVM )Z\[ ;KPWWT 0M [XMV\ \PMV \PM VM`\ NW]Z aMIZ[ I\ \PM .ZIVKM )KILMUa QV :WUM IVL SVM_ PQ[ JZQTTQIV\ LMJ]\ I\ \PM ;ITWV WN I_IZLQVO PQU \PM Ã…Z[\ KTI[[ UMLIT 0Q[ [QOVQÃ…KIV\ KWV\ZQJ]\QWV \W \PM decoration of the 1889 Paris Universal Exhibition, with his Fountain of Progress, earned Coutan a gold medal and the Grand Prix d’Honneur at the 1900 Paris Universal Exhibition for his monumental portico for the Sèvres manufacture pavilion. He went on to contribute to the sculptural decoration of many of Paris’ most important buildings, such as the Main City Hall, the National Library and the Courthouse. His international portfolio included a pediment in 6M_ AWZS¼[ /ZIVL +MV\ZIT ;\I\QWV IVL I UWV]UMV\ \W +IZTW[ 8MTTQOZQVQ QV *]MVW[ )QZM[ 0M _I[ LQZMK\WZ WN LM[QOV I\ \PM Sèvres Porcelain factory in the 1890s, before replacing Alexandre Falguière (1831-1900) at the Paris Fine Arts Academy in 1900. His vision was both classical and naturalistic in style and his career was highlighted by numerous accolades.

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

In order to compete with the English production, the Creil (Oise) and Montereau (Seine-et-Marne) UIV]NIK\]ZM[ JMOIV XZWL]KQVO -VOTQ[P [\aTM _PQ\M XI[\M MIZ\PMV_IZM I[ [WWV I[ \PM th century. At 5WV\MZMI] -VOTQ[P XW\\MZ[ ZMN]OMM[ QV .ZIVKM [PIZML \PMQZ [SQTT[ _Q\P 4W]Q[ 4MJWM]N ! =VLMZ the Second Empire, technical innovations, added to the enthusiasm of the middle classes in the decorative IZ\[ XZW^QLML I XZWL]K\QWV WN Ã…VM [\IVLIZL UWZM IKKWUXTQ[PML IVL UWZM LQ^MZ[M <PM _PQ\M KTIa _I[ \PMV ZMTIaML Ja \PM WXIY]M XWZKMTIQV \PMV _PQ\MZ PIZLMZ IVL \W]OPMZ ?Q\P \PM UMZOMZ WN 5IV]NIK\]ZM[ WN 5WV\MZMI] IVL +ZMQT QV 4MJM]N _MV\ QV\W XIZ\VMZ[PQX _Q\P 5QTTQM\ UIZS[ 4MJM]N 5QTTQM\ IVL +W NZWU \W NWTTW_ML Ja 4MJM]N IVL +W NZWU \W *W\P XIZ\VMZ[ _MZM KWV[\IV\Ta [MMSQVO \W LQ[KW^MZ VM_ IVL ^IZQW][ \MKPVQY]M[ IVL patterns of decoration. This golden age lasted until the early 20th century as the economic crisis appeared. A restructuring XZWKM[[ _I[ [\IZ\ML IVL 5WV\MZMI] _I[ XZMNMZZML \W +ZMQT <PM \ISMW^MZ Ja \PM +PWQ[a 5IV]NIK\]ZM QV ! KWV\QV]ML \PM UI[[ XZWL]K\QWV ]V\QT ! _PMV 5WV\MZMI] LMÃ…VQ\MTa KTW[ML LW_V Q\[ _WZS[PWX[

Charles Cressent

+PIZTM[ +ZM[[MV\ NIUW][ .ZMVKP KIJQVM\ UISMZ IVL [K]TX\WZ 0M _I[ \I]OP\ Ja PQ[ NI\PMZ .ZIVtWQ[ +ZM[[MV\ a sculptor in Amiens, and became a maître ébéniste on 9 January 1708. He subsequently became a pupil WN .ZIVtWQ[ /QZIZLWV IVL JMKIUM I UI{\ZM [K]TX\M]Z QV \PM )KILuUQM LM ;IQV\ 4]K 8IZQ[ WV )]O][\ 0M WJ\IQVML \PM \Q\TM WN -JuVQ[\M L] :uOMV\ QV ! _PQKP ITTW_ML PQU \W \ZILM I[ I KIJQVM\ UISMZ free from guild restrictions. The richest French patrons, the Portuguese Court and many German princes JW]OP\ N]ZVQ\]ZM NZWU PQU 0Q[ _WZS Q[ WN M`KMX\QWVIT Y]ITQ\a IVL MXQ\WUQbM[ \PM :uOMVKM IVL MIZTa 4W]Q[ @> [\aTM[ \W which he remained faithful throughout his career. The forms of his pieces were perfectly curved and rendered sumptuous !

Ja IJ]VLIV\ ^QZ\]W[W JZWVbM UW]V\[ IVL MUXPI\QKITTa [MZZI\ML IOZI‫ٺ‬M WZVIUMV\[ IVL UW]TLQVO[ 0Q[ TI^Q[P UW]V\[ \W 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)

+PIZTM[ +]UJMZ_WZ\P _I[ \PM [WV WN IV -VOTQ[P W‫ٻ‬KMZ IVL I .ZMVKP UW\PMZ IZZQ^QVO QV 8IZQ[ I\ PQ[ MIZTa age. Student of the sculptor James Pradier (1790-1852), he joined the Fine Arts School in 1829 and won \PM :WUM OZIVL XZQbM QV J]\ PM _I[ LQ[Y]ITQÅML JMKI][M WN PQ[ VW .ZMVKP VI\QWVITQ\a +]UJMZ_WZ\P exhibited at the Paris Salon of living artists from 1833 to 1848, mostly busts of women and children as well I[ ITTMOWZQKIT [\I\]M[ WN KTI[[QKIT [\aTM 0M UILM \PM [\I\]M[ WN 9]MMV 5IZQM )UuTQM IVL \PM ,]SM 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 !

)TJMZ\ 4W]Q[ ,IUUW][M _I[ I .ZMVKP [K]TX\WZ LM[QOVMZ IVL KMZIUQ[\ _PW _WZSML I[ PQ[ NI\PMZ [K]TX\WZ 8QMZZM )LWTXPM ,IUUW][M I\ \PM ;v^ZM[ XWZKMTIQV 5IV]NIK\]ZM 0M ÅZ[\ ZMKMQ^ML \ZIQVQVO QV \PM _WZS[PWX WN \PM [K]TX\WZ .ZIVtWQ[ 2W]‫ٺ‬ZWa _PMZM PM UILM [K]TX\]ZM[ NWZ \PM 4W]^ZM XITIKM .ZWU \W PM [\]LQML I\ \PM jKWTM 6I\QWVITM LM[ )Z\[ ,uKWZI\QN[ QV 8IZQ[ \PMV [\]LQML I\ \PM jKWTM LM[ *MI]` )Z\[ 0M JMOIV \W M`XW[M I\ \PM ;ITWV WN ! _Q\P I XTI[\MZ J][\ 1V PM NW]VLML I _WZS[PWX QV ;v^ZM[ IVL SMX\ Q\ ]V\QT PQ[ LMI\P QV ! <PMZM PM UILM IVL LMKWZI\ML XWZKMTIQV XQMKM[ I[ _MTT I[ 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 !

0MVZa ,I[[WV I[ I KIJQVM\ UISMZ IVL JZWVbM KI[\MZ M`MK]\ML QV PQ[ 8IZQ[ _WZS[PWX []UX\]W][ KWXQM[ of royal 18th KMV\]Za UWLMT[ IVL [WUM XQMKM[ WN PQ[ W_V UWLQÃ…ML th century design. For his pieces of N]ZVQ\]ZM PM ][ML \PM ^MZa Ã…VM[\ WZUWT] UW]V\[ _Q\P PQOP Y]ITQ\a UMZK]ZQIT OQTLQVO 0M UIQVTa XZWL]KML in the Louis XV and Louis XVI style. His participation at the Paris 1878 Universal Exhibition was highly ZMUIZSML _Q\P I 4W]Q[ @>1 [\aTM \IJTM ITT UILM WN JZWVbM IVL KWV[QLMZML I[ I KPI[QVO UI[\MZXQMKM IVL I KWXa WN \PM NIUW][ 3QVO 4W]Q[ @> LM[S WZQOQVIT XQMKM M`PQJQ\ML I\ >MZ[IQTTM[ _PQKP _I[ IT[W ILUQZML Ja KZQ\QK[ )\ \PM ! =VQ^MZ[IT -`PQJQ\QWV PM _WV I OZIVL 8ZQ` NWZ PQ[ W]\[\IVLQVO N]ZVQ\]ZM ,I[[WV KTW[ML LW_V PQ[ J][QVM[[ QV !

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 XIQV\MZ[ IVL [K]TX\WZ[ ?Q\P \PM PMTX WN PQ[ JZW\PMZ[ 1[QLWZM IVL j\QMVVM 2MIV *IX\Q[\M PM \WWS W^MZ QV ! I [UITT _WZS[PWX NWZ XWZKMTIQV IVL [XMKQITQbML QV Ã…VM KPQVI XIQV\QVO >MZa Y]QKSTa \PM XZWL]K\[ WN \PM UIV]NIK\]ZM SVM_ I OZMI\ ZMX]\I\QWV M[XMKQITTa _PMV QV ,MKMUJMZ \PM -UXZM[[ 2W[MXPQVM KW]TL []XXWZ\ PQU <PM NIK\WZa \WWS \PM VIUM WN ¹5IV]NIK\]ZM WN 0MZ 5IRM[\a \PM -UXZM[[ 8 4 ,IOW\a QV 8IZQ[º NZWU IVL IN\MZ \PM NITT WN \PM .QZ[\ -UXQZM ¹5IV]NIK\]ZM WN 0:0 \PM ,]KPM[[ WN )VOW]TMUM 8 4 ,IOW\aº \W 1V 8 4 ,IOW\a _WZSML KTW[MTa _Q\P .ZIVtWQ[ 5I]ZQKM 0WVWZu LMIL QV I XWZKMTIQV UISMZ _PW [M\ Z]M LM +PM^ZM][M QV 8IZQ[ )N\MZ LI\M WN \PM MVL WN \PMQZ I[[WKQI\QWV ,IOW\a KWV\QV]ML ITWVM _Q\P PQ[ W_V _WZS[PWX[ QV Paris, until 1823 when Pierre-Louis retired and sold the factory to Dominique Denuelle who founded the Manufacture La ;MaVQM _Q\P I XZWL]K\QWV \PI\ LMÃ…VQ\MTa _I[ ZMTWKI\ML QV 4QUWOM[ QV IJW]\ !

Théodore Deck (1823-1891)

<PM ZMVW_VML KMZIUQ[\ <PuWLWZM ,MKS JWZV QV /]MJ_QTTMZ QV UILM PQ[ IXXZMV\QKM[PQX QV \PM Hügelin earthenware factory in Strasbourg. After a European tour of initiation he arrived in Paris in 1847. 0M UILM PQ[ Ã…Z[\ X]JTQK IXXMIZIVKM QV I\ \PM 8IZQ[QIV )Z\[ IVL 1VL][\Za ;ITWV _PMZM PM _WV I [QT^MZ UMLIT NWZ \PM _WZS[ PM M`PQJQ\ML 0Q[ ZMX]\I\QWV \P][ I[[]ZML ,MKS JMKIUM XZWNW]VLTa QVÆ]MVKML Ja \PM Japanese style, which was very fashionable at the time. He adopted the naturalistic oriental motifs with OZMI\ XZMKQ[QWV -UQTM :MQJMZ ! KPQMN LM[QOVMZ NWZ +PZQ[\WÆM IT[W UILM [SM\KPM[ NWZ ,MKS <PM NIUM PM UMZQ\ML \PZW]OP TWVO PW]Z[ WN _WZS _I[ I[[]ZML Ja PQ[ []KKM[[ I\ =VQ^MZ[IT -`PQJQ\QWV[ QV _PQKP PM XIZ\QKQXI\ML" >QMVVI QV _PMZM ITT PQ[ ZQ^IT[ _MZM TMN\ NIZ JMPQVL# 8IZQ[ QV _PMZM PM _WV \PM /ZIVL 8ZQbM NWZ PQ[ XWZ\ZIQ\[ WV OWTL JIKSOZW]VL[ ;PW_MZML _Q\P XZIQ[M Ja \PM KZQ\QK[ I\ \PM +MV\ZIT =VQWV WN ,MKWZI\Q^M )Z\[ -`PQJQ\QWV QV \PM /IbM\\M LM[ *MI]` )Z\[ 8IZQ[ ^WT @@@> X ZMXWZ\ML \PI\ 5Z ,MKS UI[\MZ WN UI[\MZ[ Q[ \PM OZMI\M[\ OTWZa WN .ZMVKP KMZIUQK[ His life was devoted to the amelioration of earthenware technology by a succession of achievements. He thus improved the ZMVLQVO WN KWTW]Z[ WVM WN _PQKP I VM_ \]ZY]WQ[M JT]M JMKIUM SVW_V I[ *TM] LM ,MKS <PMWLWZM ,MKS PIL \ITMV\ IVL PM SVM_ Q\ 0M LQL VW\ SMMX Q\ \W PQU[MTN PW_M^MZ J]\ [PIZML Q\ _Q\P W\PMZ[ IVL PMTXML \W XZWUW\M aW]VO IZ\Q[\[ _PW TIKSML means. He thus became an example for the renaissance of ceramic art during the second half of the 19th century. All his \MKPVQY]M[ _MZM UILM X]JTQK IVL KQZK]TI\ML QV I JWWS WV MIZ\PMV_IZM 0Q[ /MVQ][ ZMKWOVQbML IVL XZWUW\ML \W \PM OZILM WN 7‫ٻ‬KQMZ LM TI 4uOQWV L¼PWVVM]Z , PM _I[ VWUQVI\ML LQZMK\WZ WN \PM ;v^ZM[ 8WZKMTIQV .IK\WZa QV 397

Eugène Delaplanche !

<PM [K]TX\WZ -]OvVM ,MTIXTIVKPM _I[ I X]XQT WN .ZIVKQ[Y]M ,]ZM\ OIQVML \PM 8ZQ` LM :WUM QV [XMVLQVO I\ \PM >QTTI 5MLQKQ QV :WUM 0M _I[ I ^MZa \ITMV\ML IZ\Q[\ U]KP IXXZMKQI\ML ]VLMZ \PM ;MKWVL -UXQZM 0Q[ JM[\ _WZS Q[ VI\]ZITQ[\QK J]\ I\ \PM [IUM \QUM KTI[[QKIT LQOVQÃ…ML IVL [QUXTM QV TQVM IVL [PW_[ [W]VL UI[\MZa WN \MKPVQY]M ?Q\P [WUM WN PQ[ KWTTMIO]M[ PM _I[ IOIQV[\ \PM :MITQ[U 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.

Jean-Louis-François Demay

Born in 1798 in Mirecourt (Meurthe-et-Moselle Dept.), died in 1850 in Paris, Jean-Louis-Francois Demay was a painter specializing in genre scenes and landscapes. As a self-trained artist, Demay participated in the 8IZQ[ ;ITWV NZWU ]V\QT 0M \PMV ZMXZM[MV\ML TQ^MTa [KMVM[ LMXQK\QVO UIZSM\[ NIQZ[ NM[\Q^IT[ IVL peasant life, at the time of the French Restoration (1815-1830).

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 NIUQTa _WZS[PWX M[\IJTQ[PML QV I\ Z]M >Q^QMVVM QV 8IZQ[ <PM J][QVM[[ _I[ I\ \PQ[ \QUM XZW[XMZW][ IVL NW]Z P]VLZML _WZSMZ[ _WZSML \W [I\Q[Na \PM V]UMZW][ KWUUQ[[QWV[ NZWU 3QVO 4W]Q[ 8PQTQXXM IVL \PM upper classes. He made bronze furnishings, candelabras and centrepieces. He collaborated with a number WN IZ\Q[\[ IUWVO[\ _PWU +IZZQMZ *MTTM][M ! IVL +WV[\IV\ ;u^QV 0M \]ZVML W]\ [M^MZIT KTWKS[ NWZ \PM <]QTMZQM[ 8ITIKM QV I[ _MTT I[ I »OTWJM¼ KTWKS _Q\P ZW\I\QVO LQIT[ NWZ \PM /ZIVL ;ITWV WN \PM +Pp\MI] WN *IOI\MTTM ,MVQvZM¼[ _WZS _I[ ^MZa WN\MV ZMUIZSML ]XWV I\ \PM =VQ^MZ[IT -`PQJQ\QWV[ [W U]KP [W QV NIK\ \PI\ \PM -UXWZMZ 6IXWTMWV 111 JW]OP\ I\ \PM 8IZQ[ -`PQJQ\QWV WN I KTWKS [M\ 0Q[ ZMVW_V _I[ Ja \PQ[ XWQV\ QV\MZVI\QWVIT )UWVO[\ PQ[ UW[\ XZM[\QOQW][ KWUUQ[[QWV[ ,MVQvZM XZWL]KML in 1854 a spectacular bronze centerpiece 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)

)ZZQ^QVO QV 8IZQ[ QV IJW]\ +PIZTM[ /]QTTI]UM ,QMP NW]VLML PQ[ KIJQVM\ UISQVO IVL LMKWZI\QWV Ã…ZU I\ ! Z]M 5QKPMT TM +WU\M QV 0Q[ _WZS[PWX[ XZWL]KML MTMOIV\ TQ\\TM XQMKM[ WN N]ZVQ\]ZM QV ZW[M_WWL and thuja and novelties with bronze and porcelain embellishments (see "Les ébénistes du XIXème siècle",D. 4MLW]` 4MJIZL -L LM T¼IUI\M]Z ! X 1\ _I[ PQ[ T]`]Za JW`M[ PW_M^MZ TQY]M]Z KMTTIZM\\M[ KQOIZ 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 -`PQJQ\QWV QV 1V KWTTIJWZI\QWV _Q\P \PM LM[QOVMZ 2MIV *ZIVLMTa IK\Q^M NZWU ]V\QT ,QMPT ZMVW^I\ML PQ[ decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ QV _PMZM PQ[ KIJQVM\[ IT[W _WV I [QT^MZ UMLIT +MZ\IQV UW\QN[ _MZM [W \aXQKIT WN ,QMPT¼[ _WZS \PI\ \PMa ZMKMQ^ML M`\MV[Q^M KWUUMV\IZa Ja \PM IZ\ KZQ\QK 2 5M[VIZL QV PQ[ JWWS "Les Merveilles de l’Exposition Universal de 1867" (vol. II, pp. 133 & 149). He writes of a table of which "the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love " (p. 133) and a jewelry case where <PM PMIL QV Ã…VM /ZMKQIV [\aTM UISM[ ]X \PM M[[MV\QIT XIZ\ WN \PM Ã…VM OQT\ JZWVbM WZVMUMV\I\QWV (p. 149). For this Universal Exhibition Diehl also formed a partnership with two famous sculptors: Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet with marquetry and silver plated bronzes (Orsay Museum, Paris, Inv. O.A. 10440). Diehl was again rewarded with I UMLIT WN PWVW]Z I\ \PM =VQWV +MV\ZIT -`PQJQ\QWV WN ! IVL I XZWOZM[[ UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV >QMVVI QV ;QLMJWIZL QV JTIKSMVML XMIZ _WWL IVL TMUWV _WWL _Q\P OIT^IVQK JZWVbM[ LM[QOVML Ja 2 *ZIVLMTa _Q\P I TW_ ZMTQMN Ja - /]QTTMUQV 7Z[Ia 5][M]U 8IZQ[ 1V^ 7 ) 7 ;PW_MZML _Q\P XZIQ[M Ja \PM KZQ\QK[ ,QMPT Q[ KWV[QLMZML I[ WVM WN the most innovating artists of the 19th KMV\]Za 0Q[ Ã…VIT IXXMIZIVKM _I[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ _PMZM PM XZM[MV\ML W]\[QLM \PM KWUXM\Q\QWV PQ[ UW[\ ZMKMV\ KZMI\QWV[ QVKT]LQVO I _WZS \IJTM QV UIZY]M\Za _PQKP _Q\P Q\[ VI\]ZITQ[\QK OZI[[PWXXMZ UW\QN IV\QKQXI\ML )Z\ 6W]^MI] 5][uM LM T¼jKWTM LM 6IVKa 6IVKa

Maison Dienst (19th century)

<PM ,QMV[\ KWUXIVa XZIK\QKML QV 8IZQ[ 6W Z]M L] .I]JW]ZO ;IQV\ )V\WQVM NZWU IVL []J[MY]MV\Ta \W 6W ! IVL ]V\QT -]OvVM ,QMV[\ \WWS W^MZ QV PQ[ NI\PMZ¼[ N]ZVQ[PQVO Ã…ZU \PMV _Q\P the sign ®<W \PM 3QVO WN ;QIU¯ 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 KPIZUQVO LM[QOV I :MVIQ[[IVKM Ã…ZMXTIKM IVL [WUM VQKM [MI\[¯. The jury of the exhibition honoured Eugène Dienst and reported that they regretted that ®5Z ,QMV[\ LWM[V¼\ PI^M ZMKITTML ][ \PI\ PM _I[ I \ITMV\ML KIJQVM\ UISMZ I[ _MTT I[ I [K]TX\WZ¯.

398

Gustave Doré (1832-1883)

Gustave Doré was a French illustrator, engraver, painter and sculptor, born in Strasbourg in 1832 and dead QV 8IZQ[ QV 0M _I[ QV\MZVI\QWVITTa ZMKWOVQbML L]ZQVO PQ[ TQNM\QUM M[XMKQITTa \PZW]OP PQ[ UIVa JWWS QTT][\ZI\QWV[ TQSM \PM ?WZS[ Ja :IJMTIQ[ WZ <PM ,Q^QVM +WUMLa Ja ,IV\M /][\I^M ,WZu IT[W M`KMTTML QV 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 UISM[ I [\]VVQVO _WZS +I[\ QV JZWVbM Ja <PQuJI]T\ .ZvZM[ QV \PQ[ ^I[M LMLQKI\ML \W _QVMUISMZ[ _I[ XZM[MV\ML I\ \PM 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). /][\I^M ,WZu [IQL WN \PQ[ _WZS \PI\ Q\ _I[ \PM OZMI\M[\ M‫ٺ‬WZ\ WN PQ[ TQNM IVL LQL VW\ IKKMX\ IVa UWVMa NWZ Q\ /][\I^M ,WZu PI[ TMN\ I KWV[QLMZIJTM V]UJMZ WN _WZS[ 0MVZQ 4MJTIVK PI[ QLMV\QÃ…ML QV PQ[ KI\ITWO ! QTT][\ZI\QWV[ LZI_QVO[ 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 ;ITWV -LW]IZL ,ZW]W\ I[[MZ\ML PQ[ [\aTM IVL PQ[ [SQTT QV [K]TX\]ZM[ UIQVTa KI[\ QV JZWVbM 0M [K]TX\ML WVTa WVM TIZOM [K]TX\]ZM <PM )UI\M]Z I UIZJTM _WZS XZM[MV\ML I\ \PM ! ;ITWV IVL \PMV I\ \PM =VQ^MZ[IT -`PQJQ\QWV WN ! _PMZM PM ZMKMQ^ML IV PWVWZIJTM UMV\QWV ,ZW]W\ NWK][ML QV PQ[ _WZS WV UW^MUMV\ IVL M`XZM[[QWV \PZW]OP PQ[ Ã…O]ZM[ XW[QVO _Q\P XZMKIZQW][ JITIVKM OQ^QVO \PMU U]KP OZIKM 0M NW]VL PQ[ []JRMK\[ QV I _QLM ZMXMZ\WQZM XTMV\a of genre, sport and Orientalist scenes. But the theme in which the artist excelled was the representation of mythological Ã…O]ZM[ UISQVO PQU I TMILQVO Ã…O]ZM WN \PM [K]TX\]ZM WN \PM TI\M !th and early 20th century.

Paul Dubois (1827-1905)

8I]T ,]JWQ[ MV\MZML \PM 8IZQ[ *MI]` )Z\[ ;KPWWT QV 0M M`PQJQ\ML I\ \PM ;ITWV \PM +PIV\M]Z .TWZMV\QV QTT][\ZI\QVO .TWZMV\QVM [K]TX\]ZM WJ[MZ^ML IN\MZ PQ[ RW]ZVMa QV 1\ITa <PQ[ _WZS KI[\ \PI\ \QUM QV [QT^MZML JZWVbM _I[ M`PQJQ\ML I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV VW_ XZM[MZ^ML I\ \PM 7Z[Ia 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 IT[W I UMUJMZ WN \PM 1V[\Q\]\M IVL ÅVITTa PMILUI[\MZ I\ \PM *MI]` )Z\[ ;KPWWT QV

Gervais Durand (1839-1920)

<PM KIJQVM\ UISMZ /MZ^IQ[ ,]ZIVL XIZ\QKQXI\ML QV \PM ! =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _I[ I_IZLML I [QT^MZ UMLIT ) 8QKIZL¼[ M`PQJQ\QWV ZMXWZ\ [\I\ML \PI\ 5Z ,]ZIVL KIJQVM\ UISMZ I[ [SQTN]T I[ UWLM[\ LQ[XTIa[ NWZ \PM Ã…Z[\ \QUM ^MZa Ã…VM N]ZVQ\]ZM _PQKP PI[ JMMV LM[QOVML IVL UILM Ja PQU 0M Q[ _ITSQVO QV \PM NWW\[\MX[ WN OQIV\[ []KP I[ *M]ZLMTMa IVL ,I[[WV ,]ZIVL UILM ITUW[\ M`KT][Q^MTa ZMXZWL]K\QWV[ WN 18th century masterpieces.

Ferdinand Duvinage

)[ MIZTa I[ .MZLQVIVL ,]^QVIOM _I[ I LMITMZ WN XIQV\QVO[ IVL NIV[ 1V PM \MIUML ]X _Q\P Alphonse Giroux for running the company installed Boulevard des Capucines. This partnership allowed PQU \W TIJMT 5IQ[WV /QZW]` 8IZQ[ IVL \PMV )VKQMVVM 5IQ[WV /QZW]` WV PQ[ _WZS[ UW]V\[ 7V 5Ia .MZLQVIVL ,]^QVIOM ÅTML I ÅZ[\ XI\MV\ NWZ "a kind of mosaic inlaying made of partitioned metal to be used on furniture and art objects". <PQ[ XI\MV\ ÅTML Ja ,]^QVIOM Q[ ZMITTa WZQOQVIT <PM XZWKM[[ PM QV^MV\ML Q[ "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, ZMXZM[MV\ \PM JZIVKPM[ IVL [\MU[ WN XTIV\[ <PM ÅZ[\ XI\MV\ Q[ KWUXTMUMV\ML Ja \_W ILLQ\QWV[ 1VLMML QV .MJZ]IZa ,]^QVIOM QUIOQVML ZMXTIKQVO Q^WZa Ja QUQ\I\QVO _WWL []KP I[ JW`_WWL ) NM_ UWV\P[ TI\MZ QV 6W^MUJMZ PM W‫ٺ‬MZML further to enrich the decoration of ivory partitioned furniture and objects by adding "applied metal or other material depicting JQZL[ IVQUIT[ [PZ]J[ ÆW_MZ[ NWTQIOM NZ]Q\ M\K QVTIQL _Q\P XMIZT[ IVL XZMKQW][ [\WVM[ This type of ornamentation was however TQ\\TM ][ML Ja ,]^QVIOM UW[\ WN \PM \QUM PQ[ XZWL]K\QWV[ _MZM KWVÅVML \W \PM \MKPVQY]M LM[KZQJML QV \PM ÅZ[\ XI\MV\ <PM 2IXIVM[M [\aTM LMKWZ[ _MZM IT_Ia[ I[[WKQI\ML _Q\P VI\]ZM _Q\P JQZL[ IVL XTIV\[ 1V :W[ITQM ,]^QVIOM VIUML "the Duvinage widow" \WWS W^MZ \PM J][QVM[[ IN\MZ \PM LMI\P WN PMZ P][JIVL IVL \WWS I XI\MV\ QV NWZ I UIZY]M\Za WN 2IXIVM[M QV[XQZI\QWV ILLQVO XMIZT LMKWZI\QWV \W \PM XZM^QW][ XI\MV\ ?M LW VW\ ]V\QT VW_ SVW_ IVa N]ZVQ\]ZM WJRMK\ WZ XIVMT _Q\P pearl decoration. ;QOVML _WZS[ MUJMTTQ[PML _Q\P \PM[M LM[QOV[ _MZM ÅZ[\ M`PQJQ\ML \W OZMI\ IKKTIQU I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV , 3Q[T]S /ZW[PMQL 5IQ[WV /QZW]` IVL Q\[ 7ZQMV\IT 5IZY]M\Za <MKPVQY]M Furniture History: The Journal of The Furniture History Society, 1998, Vol. 34). ,QZMK\ML \PMV Ja ) 8PQTQXXM IVL - )ZV]\ NZWU ]V\QT \PM /QZW]` KWUXIVa KTW[ML LMÅVQ\Q^MTa LW_V QV 399

George Richards Elkington

<PM OZMI\ *QZUQVOPIU Ã…ZU WN -TSQVO\WV[ _I[ TIZOMTa \PM KZMI\QWV WN /MWZOM :QKPIZL[ -TSQVO\WV _PW _WZSML NZWU QV *QZUQVOPIU I[ I UIV]NIK\]ZMZ WN [QT^MZ UW]V\ML [KMV\ JW\\TM[ *a ! \PM J][QVM[[ PIL M`XIVLML []‫ٻ‬KQMV\Ta NWZ I JZIVKP \W PI^M JMMV M[\IJTQ[PML QV 4WVLWV 1V \PM TI\M ¼[ \PM -TSQVO\WV[ JMOIV UISQVO M`XMZQUMV\[ \W IXXTa \PM XZQVKQXTM[ WN MTMK\ZW UM\ITT]ZOa \W OQTLQVO IVL XTI\QVO _Q\P [QT^MZ IVL QV \PM XI\MV\ _I[ I\ TI[\ \ISMV W]\ -TSQVO\WV[ W_ML \PMQZ ZQ[M \W I XW[Q\QWV amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most NIUW][ LM[QOVMZ[ \PMV MUTWaML JW\P WN \PMU .ZMVKP )TJMZ\ ?QTU[ !! IVL 5WZMT 4ILM]QT _PW PMTXML \W UISM -TSQVO\WV[¼ ZMX]\I\QWV _Q\P \PMQZ MTIJWZI\M M`PQJQ\QWV XQMKM[

L’Escalier de Cristal (19th century)

4¼-[KITQMZ LM +ZQ[\IT 8IZQ[QIV Ã…ZU KZMI\ML IJW]\ Ja 5UM ^M]^M ,M[IZVI]L NIUW][ ]VLMZ \PM .ZMVKP :M[\WZI\QWV NWZ Q\[ LMKWZI\Q^M WJRMK\[ KWUJQVQVO KZa[\IT IVL JZWVbM ;PM _I[ I_IZLML I OWTL 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 TI\MZ QV XIZ\VMZ[PQX _Q\P PQ[ [WV QV TI_ \W [M\ ]X QV 4IPWKPM M\ 8IVVQMZ 1V -UQTM 8IVVQMZ TML ITWVM \PM Ã…ZU IVL 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 6M_ AWZS IVL NWZ QV[\IVKM I OWTL UMLIT I\ \PM ! 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV 6]UMZW][ IZ\Q[\[ []KP -UQTM /ITTu 4W]Q[ 5IRWZMTTM IVL /IJZQMT >QIZLW\ _WZSML NWZ \PM 4¼-[KITQMZ LM +ZQ[\IT¼[ _WTL_QLM ZMVW_V IVL QV\ZWL]KML \PMV [WUM WN \PMQZ OZMI\M[\ 2IXIVM[M [\aTM KZMI\QWV[ ILWZVML _Q\P KTWQ[WVVu MVIUMT[ 2IXIVM[M UW\QN[°

Gilbert Fabre (active around 1900)

Gilbert Fabre is listed at the turn of the 20th century among manufacturers of quality bronzes. They IT[W XZWL]KML UIVa KTWKS[ IVL UIV\TM LMKWZI\QWV[ _PW[M _WZS[ _MZM UIV]NIK\]ZML Ja \PM _MTTSVW_V ;IU]MT 5IZ\Q QV[\ITTML :]M +PIZTW\ QV 8IZQ[ QV /QTJMZ\ .IJZM QV ! ! [WTL PQ[ J][QVM[[ \W +PIZLWV company, an art foundry from Belgium in 1878 then.

Étienne-Maurice Falconet !

Étienne-Maurice Falconet, adapted the classical style of the French Baroque to an intimate and decorative :WKWKW QLMIT 0M _I[ XI\ZWVQbML Ja 5UM LM 8WUXILW]Z IVL Q[ JM[\ SVW_V NWZ PQ[ [UITT [K]TX\]ZM[ WV 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 [WWV IN\MZ JMOIV \W MVRWa ZWaIT IVL W‫ٻ‬KQIT XI\ZWVIOM 1V 5UM LM 8WUXILW]Z IXXWQV\ML .ITKWVM\ LQZMK\WZ WN \PM [K]TX\]ZM [\]LQW[ I\ \PM ;v^ZM[ XWZKMTIQV NIK\WZa ?PQTM LQZMK\WZ PM M`MK]\ML UIVa UWLMT[ NWZ \PM NIK\WZa IVL XZWL]KML [UITT [K]TX\]ZM[ WN Ua\PWTWOQKIT Ã…O]ZM[ []KP I[ >MV][ IVL +]XQL IVL I [MZQM[ WN V]LM NMUITM JI\PMZ[ 0M IT[W M`MK]\ML I NM_ UWV]UMV\IT IVL ZMTQOQW][ _WZS[ 1V PM _I[ []UUWVML \W :][[QI Ja +I\PMZQVM 11 I\ \PM []OOM[\QWV WN PQ[ NZQMVL ,MVQ[ ,QLMZW\ \W XZWL]KM I JZWVbM MY]M[\ZQIV [\I\]M WN 8M\MZ \PM /ZMI\ NWZ ;\ 8M\MZ[J]ZO <PM ZM[]T\QVO _WZS dedicated in 1782, is one of the most powerful and original equestrian portraits of the age. Falconet left Russia in 1778, and, [WWV IN\MZ PM []‫ٺ‬MZML I LMJQTQ\I\QVO [\ZWSM \PI\ TMN\ PQU ]VIJTM \W [K]TX\ 0M Q[ IT[W ZMUMUJMZML NWZ PQ[ _ZQ\QVO[ QVKT]LQVO :uÆM`QWV[ []Z TI [K]TX\]ZM # ¹:MÆMK\QWV[ WV ;K]TX\]ZMº XZWL]KML I\ ,QLMZW\¼[ ZMY]M[\ NWZ \PM -VKaKTWXuLQM

Alexandre Falguière (1831-1900)

)TM`IVLZM .ITO]QvZM [\]LQML [K]TX\]ZM ]VLMZ 2W]‫ٺ‬ZWa I\ \PM 8IZQ[ jKWTM LM[ *MI]` )Z\[ JMOIV PQ[ KIZMMZ I\ \PM 8IZQ[ ;ITWV QV IVL _WV I[ [WWV I[ ! \PM 8ZQ` LM :WUM .ITO]QvZM JMKIUM ^MZa Y]QKSTa []KKM[[N]T IVL _I[ [M^MZIT \QUM[ I_IZLML UMLIT[ I\ \PM ;ITWV []KP QV _Q\P PQ[ UIZJTM [K]TX\]ZM <IZKQ[Q][ \PM +PZQ[\QIV *Wa 5IZ\aZ WZ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _WV \PM Ã…Z[\ UMLIT QV PQ[ KI\MOWZa <PIVS[ \W \PI\ []KKM[[ PM _I[ QUUMLQI\MTa KWUUQ[[QWVML Ja XZQ^I\M KWTTMK\WZ[ I[ _MTT I[ Ja \PM .ZMVKP ;\I\M _PWU I[SML PQU QV \W ZMITQbM \PM <ZQWUXPM LM TI :uX]JTQY]M XTIKML QV I\ \PM []UUQ\ WN \PM 8IZQ[ )ZKP WN <ZQ]UXP \ISMV LW_V QV )N\MZ PI^QVO KZMI\ML QV \PM KWV^MV\QWVIT KTI[[QKIT UW]TL .ITO]QvZM \]ZVML PQ[ art to Realism, as shows this bust of Diana, very close in style to portraits of Parisian ladies. Falguière was considered as one of the inventors of Realism in sculpture, in the 19th century French school and was then awarded 1870 the Ordre national LM TI 4uOQWV L¼PWVVM]Z .ZIVKM¼[ PQOP\M[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV

Maison Forest (19th Century)

Maison Forest was established since 1883 in Paris, at 14 rue Pierre-Picard, then at 31 rue Cambaceres. The N]ZVQ\]ZM XZWL]KML Ja \PM Ã…ZU [\IVL[ W]\ NWZ Q\[ PQOP Y]ITQ\a OQT\ JZWVbM UW]V\[ IVL N]Z\PMZUWZM NWZ Q\[ VW\IJTM uJuVQ[\MZQM IVL Ã…VM LMKWZI\QWV 5IQ[WV .WZM[\ XZM[MV\ML \PMQZ XZWL]K\[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV held in Chicago in 1893.

400

Maison Fourdinois (founded in 1835)

<PM .W]ZLQVWQ[ KWUXIVa _I[ NW]VLML QV Ja \PM KIJQVM\ UISMZ )TM`IVLZM /MWZOM[ .W]ZLQVWQ[ !! <PM =VQ^MZ[IT -`PQJQ\QWV PMTL QV 4WVLWV QV _I[ ]VLW]J\MLTa \PMQZ ÅZ[\ OZMI\ IZ\Q[\QK IVL X]JTQK []KKM[[ ?QVVQVO \PM /ZMI\ UMLIT NWZ I VMW :MVIQ[[IVKM J]‫ٺ‬M\ \ZQOOMZML I KWUXM\Q\QWV IUWVO W\PMZ KIJQVM\UISMZ[ I[ \PM XZM[[ _I[ ]VIVQUW][Ta OZMM\QVO \PMQZ []KKM[[ 0Q[ [WV 0MVZQ )]O][\M ! _I[ \I]OP\ LM[QOV Ja \PM IZKPQ\MK\ ,]JIV \PMV Ja \PM [QT^MZ[UQ\P 5WZMT QV 4WVLWV JMNWZM _WZSQVO _Q\P \PM JZWVbM NW]VLMZ 8IQTTIZL 0M RWQVML \PM ÅZU QV 0Q[ \ITMV\ IVL \PM PQOP Y]ITQ\a WN PQ[ LM[QOV[ LZM_ I\\MV\QWV I\ \PM ?WZTL -`PQJQ\QWV QV 4WVLWV _PMZM \PM R]Za I_IZLML PQU \_W UMLIT[ NWZ -`KMTTMVKM QV +WUXW[Q\QWV IVL -`MK]\QWV 0MVZQ )]O][\M VW_ [WTM QV KPIZOM JZW]OP\ \PM ÅZU \W \PM []UUQ\ WN Q\[ IKPQM^MUMV\[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ Ja _QVVQVO \PM /ZIVL 8ZQ` KTI[[M[ IVL I[ _MTT I[ I\ \PM -`PQJQ\QWV <PM XMZQWL UIZS[ \Z]Ta \PM XMIS NWZ \PM .W]ZLQVWQ[ PW][M _PQKP ZMUIQV[ NWZ UIVa KIJQVM\ UISMZ[ _PM\PMZ .ZMVKP -VOTQ[P WZ American, an example to follow.

Charles-Auguste Fraikin (1817-1893)

+PIZTM[ )]O][\M .ZIQSQV \PM [WV WN I VW\IZa I\\MVLML \PM )KILMUa QV )V\_MZX NZWU ! \W JMNWZM ZMKMQ^QVO PQ[ LQXTWUI I[ I XPIZUIKQ[\ QV 1V PM LQ[KW^MZML \PM _WZS WN /]QTTI]UM /MMN[ 1883), one of the greatest Belgian sculptors in the early 19th century, and decided to abandon pharmacy NWZ [K]TX\]ZM 8QMZZM 8]aMVJZWMKS VW\QKML PQ[ \ITMV\ IVL \WWS PQU WV QV PQ[ [\]LQW .ZIQSQV _I[ MVKW]ZIOML Ja \PM NIUW][ XIQV\MZ .ZIVtWQ[ 2W[MXP 6I^Mb ! \PM LQZMK\WZ WN \PM *Z][[MT[ :WaIT .QVM IZ\[ )KILMUa IVL [\]LQML \PMZM ]VLMZ 4W]Q[ 2uPW\\M 0M M`PQJQ\ML NWZ \PM ÅZ[\ \QUM QV 1839 in Brussels where, six years later, his Cupid held Captive won a gold medal and considerable success. Two versions in UIZJTM _MZM WZLMZML Ja 3QVO 4MWXWTL 1 NWZ \PM :WaIT .QVM IZ\[ 5][M]U[ QV *Z][[MT[ IVL Ja /ZIVL ,]KPM[[ WN :][[QI NWZ \PM 0MZUQ\IOM QV ;IQV\ 8M\MZ[J]ZO .ZIQSQV _I[ \PMV L]ZQVO ITT PQ[ TQNM PWVW]ZML NWZ PQ[ LMTQKI\M IVL [ML]K\Q^M KTI[[QKQ[U I_IZLQVO PQU U]KP []KKM[[ IVL UIVa XZQ^I\M IVL W‫ٻ‬KQIT KWUUIVL[

Emmanuel Frémiet

6MXPM_ IVL X]XQT QV Ja [K]TX\WZ .ZIVtWQ[ :]LM _PW \WWS XIZ\ QV \PM LMKWZI\QWV WN \PM )ZK LM <ZQWUXPM QV 8IZQ[ -UUIV]MT .ZuUQM\ ! M`XMZQMVKML I LQ‫ٻ‬K]T\ [\IZ\ IVL _WZSML I\ \PM bWWTWOQKIT ;\]LQM[ IVL QV 8IZQ[ 0M _I[ ZMUIZSML I\ \PM ;ITWV WN \PM TQ^QVO IZ\Q[\[ WN _Q\P I XTI[\MZ study La gazelle, and won a third-class medal with a Hunting dog at the Salon of 1849. The French state orders were then more numerous, such the one made in 1853 by Emperor Napoleon III for a collection of statues of various imperial troopers. Participating in the Paris Universal Exhibitions, he presented in 1855 _Q\P []KKM[[ *I[[M\[ LWO[ ® :I^IOMW\ IVL :I^IOMWLM¯ IVL +PMN /I]T[ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV .ZuUQM\ exhibited once again in Vienna in 1873. He succeeded sculptor Antoine-Louis Barye in 1875 as professor of animals drawing at the Museum of Natural History and was then out as one of the masters of animal sculpture along with Auguste +IQV ! IVL )TNZML 2IKY]MUIZ\ ! )\ \PM =VQ^MZ[IT -`PQJQ\QWV WN ! QV 8IZQ[ .ZuUQM\ M`PQJQ\ML +ZMLW _PQKP _I[ I ZM[W]VLQVO []KKM[[ _Q\P \PM X]JTQK )\ \PM =VQ^MZ[IT -`PQJQ\QWV WN ! PM Ã…VITTa _WV \PM ¹/ZIVL 8ZQ`º )UWVO PQ[ UI[\MZXQMKM[ IVQUIT []JRMK\ -UUIV]MT .ZuUQM\ UILM [M^MZIT MY]M[\ZQIV [\I\]M[ KWUJQVQVO I \PWZW]OP VI\]ZITQ[U NWZ PWZ[M[ \W IKILMUQK TQSMVM[[ WN \PMQZ ZQLMZ[ +PM^ITQMZ WN \PM 4MOQWV WN 0WVWZ QV - .ZuUQM\ _I[ IXXWQV\ML /ZIVL 7‫ٻ‬KMZ QV \PM 7ZLMZ QV !

Gagneau(19thcentury)

Famous lighting manufacture established in Paris, participated in many exhibitions, such as the Industry Products exhibitions 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 6IVKa ! )[ I KMZIUQ[\ KIZXMV\MZ IVL OTI[[UISMZ Q[ WVM WN \PM NW]VLQVO IZ\Q[\[ WN )Z\ 6W]^MI] 0Q[ NI\PMZ Charles Gallé (1818-1902), already a major artist, had successfully launched the family business in the XZWL]K\QWV WN XW\\MZa )N\MZ [KPWWT QV 6IVKa -UQTM /ITTu _MV\ \W ?MQUIZ QV IVL [\]LQML \PMZM mineralogy. He then went to Meisenthal for learning glass and ceramics crafts. He added to this a good SVW_TMLOM WN _WWL_WZSQVO IVL WN VI\]ZIT [KQMVKM[ \PM NIUQTa XI[[QWV M[XMKQITTa NWZ XTIV\[ \PI\ TML PQU \W LZI_QVO 1V _WZSQVO PIZL PM \WWS W^MZ PQ[ NI\PMZ¼[ IK\Q^Q\QM[ IVL LM^MTWXXML \PM Ã…ZU 8IZ\QKQXI\QVO QV \PM =VQ^MZ[IT Exhibition, he was awarded four gold medals. His fame spread to the world then. At the 1889 Universal Exhibition, -UQTM /ITTu _I[ I_IZLML \PM /ZIVL 8ZQbM IVL _I[ UILM IV 7‫ٻ‬KMZ WN \PM 4MOQWV WN 0WVWZ

Jean-Baptiste Gamichon ( ?-1832) ?I[ []KKM[[Q^MTa M[\IJTQ[PML Z]M 5I]KWV[MQT !! Z]M LM +TuZa IVL NI]JW]ZO ;IQV\ ,MVQ[ 0M ][ML \_W [\IUX[ WVM _Q\P PQ[ VIUM IVL \PM W\PMZ QV[KZQJML o 8IZQ[ XTIKML WV \WX WN MIKP 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 MV^WQ[ LIV[ TM[ LuXIZ\MUMV\[ o 8IZQ[ 1V PM M`PQJQ\ML N]ZVQ\]ZM QV UIXTM TMUWV_WWL IV IUIZIV\P 401

at the Exposition des Produits de l’Industrie.

François Gautier (19th century)

.ZIVKWQ[ /I]\QMZ NW]VLML PQ[ JZWVbM _WZS[PWX QV IVL [M\\TML I\ Z]M LM[ .W[[M[ 5WV\UIZ\ZM QV 8IZQ[ 0M _I[ I_IZLML I Ã…Z[\ KTI[[ UMLIT QV _Q\P \IJTM KMV\ZMXQMKM[ Ã…O]ZM OZW]X[ [\I\]M[ IZ\ IVL JZWVbM N]ZVQ\]ZM UW]V\[ 0M M`PQJQ\ML IOIQV QV IVL [WWV IN\MZ [WTL PQ[ KWUXIVa \W 2 )TJQVM\ IVL / +W]TWV \PMV QV[\ITTML I\ Z]M LM +PWQ[M]T QV 8IZQ[ IVL [XMKQITQbML QV JZWVbM KTWKS[ IVL KPQUVMa KTWKS [M\[ 1V \PMa JW\P M`PQJQ\ML JZWVbM IZ\_WZS[ KTWKS[ IVL KIVLMTIJZI[ WN ^IZQW][ [\aTM[

)LWTXPM >QK\WZ /MW‫ٺ‬ZWa ,MKPI]UM (1810-1892)

)LWTXPM >QK\WZ /MW‫ٺ‬ZWa ,MKPI]UM ! _I[ I .ZMVKP LM[QOVMZ IVL [K]TX\WZ 0M [\]LQML I\ \PM drawing free-program school before joining in 1831, the Paris Fine Arts School. He became a pupil of \PM ZMVW_VML [K]TX\WZ[ ,I^QL L¼)VOMZ[ IVL 2IUM[ 8ZILQMZ ! 0M LM^W\ML PQU[MTN XZQUIZQTa \W LMKWZI\Q^M IZ\[ JMNWZM _WZSQVO NWZ UMLQM^IT IZ\ <P][ PM LZM_ IVL UWLMTTML M`\ZMUMTa ZMÃ…VML [QT^MZ_IZM _Q\P ^MZa Ã…VM MVIUMTTML XIZ\[ 0M \PMV _WZSML \W ZM[\WZM /W\PQK UWV]UMV\[ [\WVM [\I\]M[ WN \PM )XW[\TM[ WN the Sainte-Chapelle and Notre-Dame de Paris).

Gien (19th century)

1V \PM -VOTQ[P J][QVM[[UIV <PWUI[ -LUM 0]TU KITTML ¹0ITTº _PW _IV\ML \W QV\ZWL]KM Ã…VM 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 _I[ QV Ã…VIVKQIT LQ‫ٻ‬K]T\QM[ IVL Y]QKSTa XI[[ML WV W_VMZ[PQX WN \PM J][QVM[[ [M^MZIT \QUM[ L]ZQVO \PM XMZQWL \W ) VM_ XIZ\VMZ 2MIV .uTQ` *IX\MZW[[M[ _PW ZMKMV\Ta JW]OP\ \PM WTL KMZIUQK[ NIK\WZa WN *ZQIZM \PMV KIUM QV JZQVOQVO VM_ KIXQ\IT \W \PM UIV]NIK\]ZM <PM KWUXIVa M^MV\]ITTa JMKIUM SVW_V I[ ¹/QMV .IQMVKMZQMº QV WV \PM WKKI[QWV WN Q\[ \ZIV[NWZUI\QWV QV\W I X]JTQK KWUXIVa 8ZWL]K\QWV Ã…Z[\ JMOIV _Q\P N]VK\QWVIT \IJTM_IZM IVL \PMV _MV\ WV \W UISM NIVKQMZ LQVVMZ_IZM LMKWZI\Q^M XQMKM[ IVL \IJTM_IZM MUJTIbWVML _Q\P VW\IJTM NIUQTQM[¼ KWI\[ WN IZU[ KITTQVO 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 ,WUM NZWU \W 8 /QZWTI LM^MTWXML \PMV PQ[ J][QVM[[ QV 5QTIV >QITM =UJZQI !

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, Alphonse/][\I^M IVL )VLZu ! <PM NI\PMZ JMKIUM I KTW[M I[[WKQI\M WN \PM ZWaIT NIUQTa IVL [XMKQITQbML QV \PM UIV]NIK\]ZM WN ZMÃ…VML Q\MU[ NWZ OQN\[ _QVVQVO I [QT^MZ UMLIT I\ \PM QV 3QVO[ 4W]Q[ @>111 IVL \PMV +PIZTM[ @ _MZM JW\P []XXTQML _Q\P OQN\[ NWZ <PM +PQTLZMV WN .ZIVKM Ja /QZW]` 5ISQVO XZWOZM[[Q^MTa [UITT N]ZVQ\]ZM \PMa _MZM UMV\QWVVML NWZ \PM Ã…Z[\ \QUM QV QV \PM KTI[[ KIJQVM\ UISMZ[ QV \PM 8IZQ[ )TUIVIKP 1\ _I[ )TXPWV[M /][\I^M PW_M^MZ _PW ZMITTa M`XIVLML \PM IK\Q^Q\QM[ WN \PM Ã…ZU I[ Q[ \M[\QÃ…ML Ja \PM ZMXWZ\ WN \PM R]Za I\ \PM ! 8ZWL]K\[ WN 1VL][\Za -`PQJQ\QWV I_IZLQVO PQU IVW\PMZ [QT^MZ UMLIT )TXPWV[M _I[ IT[W Y]QKS \W XIZ\QKQXI\M QV \PM NIUW][ IVL [WWV Ã…O]ZML IUWVO \PM JM[\ QV \PM T]`]Za OWWL[ J][QVM[[ )N\MZ J]aQVO I _ZQ\QVO LM[S I\ \PM =VQ^MZ[IT -`PQJQ\QWV 6IXWTMWV 111ZL JW]OP\ [M^MZIT W\PMZ XQMKM[ WN N]ZVQ\]ZM KIVLMTIJZI[ IVL KTWKS[ NZWU /QZW]` NWZ \PM +WUXQvOVM 8ITIKM In 1857 Alphonse Giroux transferred his shop to No. 43, boulevard des Capucines where he continued to do business until _PMV PM KMLML \PM KWUXIVa \W ,]^QVIOM IVL 0IZQVSW]KS

Oscar Gladenbeck (1850-1921)

/TILMVJMKS 0MZUIVV ! _I[ I JZWVbM NW]VLMZ NZWU *MZTQV WN QV\MZVI\QWVIT ZMX]\I\QWV QV \PM [ 0M TML PQ[ KWUXIVa QV _Q\P PQ[ NW]Z [WV[ 7[KIZ ! )TNZML ! ?IT\MZ ! IVL 8I]T ! ! I[ \PM /TILMVJMKS ;WV <PMQZ JZWVbM NW]VLZa XZWL]KML UIVa TIZOM XQMKM[ WZLMZML Ja \PM ;\I\M I[ \PM UWV]UMV\ \W \PM UMUWZa WN -UUIV]MT 3IV\ IVL \PM >QK\WZa WN \PM >QK\WZa +WT]UV QV *MZTQV UWLMTML Ja .ZQMLZQKP ,ZISM /TILMVJMKS Q[ KWV[QLMZML I[ \PM UW[\ QUXWZ\IV\ German foundry that produced monumental sculptures as well as small bronze pieces. The company ceased to be led by \PM NIUQTa /TILMVJMKS QV ! \PMV KMI[ML IK\Q^Q\a QV ! NWTTW_QVO I JIVSZ]X\Ka

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. 402

Michele Grandville

Few crafts have experienced the span of one century - the 19th - the splendor, recognition, and international LQ‫[]ٺ‬QWV \PI\ <IZ[QI ;WZMV\QI ;WZZMV\W 1VTIa MVRWaML <PM JMOQVVQVO WN \PQ[ MVKPIV\QVO IZ\ KIV JM LI\ML \W \PM _Q\P \PM _WZS WN \PM ;WZZMV\QVM )V\WVQW ,IUWZI _PW _I[ []UUWVML Ja .ZIVKQ[ 1 WN *W]ZJWV 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 IVL /]Q[MXXM 5IOOQWTQVQ <PMa TML \PM _Ia NWZ \PM XZWL]K\QWV WN QVTIa WJRMK\[ \PI\ _WV I_IZL[ IVL UMLIT[ IVL ZMIKPML PITN \PM _WZTL¼[ UIZSM\ QV \PM UQL !th 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. =VTQSM W\PMZ QVTIa _WZS[ QV Q\[ ][M WN LQ‫ٺ‬MZMV\ KWTWZML _WWL[ ;WZZMV\QVM QVTIa JI[ML Q\[ KPZWUI\QK M‫ٺ‬MK\[ WV \PM XTIa WN \PM \WVIT KWV\ZI[\[ WN \_W TWKIT _WWL[" _ITV]\ IVL WZIVOM I\ Ã…Z[\ IVL \PMV WTQ^M IVL [WUM W\PMZ QUXWZ\ML _WWL[ *]\ \PM ZMI[WV NWZ \PM PQOP IZ\Q[\QK ^IT]M WN ;WZZMV\QVM QVTIa Q[ Q\[ IJ[WT]\M QVLMXMVLMVKM NZWU KWV\MUXWZIZa NWZU[ WN QVTIa _WZS <PM QVQ\QIT \MKPVQY]M WN UW[IQK TQSM QVTIa M^WT^ML QV\W XIQV\QVO _Q\P _I\MZKWTWZ[ WV \PM _WWL LM[QOV SVW_V I[ MVIUMT WV _WWL IT\PW]OP \PM QVTIa _WZS _I[ [\QTT XMZNWZUML _Q\P OW]OM[ IVL [I_[

Granja Royal Crystal Manufacture

La Real Fábrica de Cristales de La Granja was established in 1727 in San Ildefonso under order of the *W]ZJWV SQVO .MTQXM > WN ;XIQV QV WZLMZ \W N]ZJQ[P \PM ZWaIT XITIKM WN \PM /ZIVRI QV OTIKM[ IVL UQZZWZ[ .ZMVKP OTI[[ UI[\MZ[ KIUM I\ \PM ZWaIT UIV]NIK\]ZM QV IVL \PMV UI[\MZ[ NZWU /MZUIVa IVL *WPMUQI 4QSM \PM *]MV :M\QZW ZWaIT UIV]NIK\]ZM WN XWZKMTIQV \PM ;IV\I *IZJIZI \IXM[\Za UIV]NIK\]ZM \PM /ZIVRI ZWaIT UIV]NIK\]ZM WN KZa[\IT \WWS XIZ\ QV \PM LQ‫[]ٺ‬QWV WN ;XIVQ[P LMKWZI\Q^M IZ\[ QV -]ZWXM L]ZQVO the 18th century. The manufacture was closed in 1808, consequently to the Spanish independence war, before being restored in 1815 under the reign of Fernando VII. The production was active during the whole 19th century, managed by XZQ^I\M W_VMZ[ IVL M`XWZ\ML QV -]ZWXM IVL QV )UMZQKI <W XIa \ZQJ]\M \W \PQ[ \ZILQ\QWV IVL SVW_ PW_ I U][M]U IVL I dedicated centre was founded in 1982.

Jean-Louis Grégoire (1840-1890)

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Guillaume Grohé (1808-1885)

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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 WN PQ[ KPI[QVO _I[ PQOPTa IKKTIQUML JMKI][M WN Q\[ ZMITQ[\QK M‫ٺ‬MK\[" IKK]ZI\M KW[\]UQVO UQV]\M LM\IQTQVO IVL M`XZM[[Q^M NIKM[ 5W[\ WN PQ[ _WZS[ UILM QV JZWVbM IVL KI[\ QV LQ‫ٺ‬MZMV\ [QbM[ _MZM QV[XQZML Ja M`W\QK []JRMK\[ []KP I[ JQJTQKIT PMZWM[ KWVY]Q[\ILWZ[ IVL IJW^M ITT TQNM TQSM 7ZQMV\IT ÅO]ZM[

Eugène Hazart (19th century)

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Emile Hébert (1828-1893)

Emile Hébert studied sculpture with his father and the renowned artist Feuchère. He participated in all major M`PQJQ\[ []KP \PM ;ITWV WN \PM .ZMVKP )Z\Q[\[ NZWU \W ! _Q\P J][\[ IVL Ua\PWTWOQKIT []JRMK\[ WZ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV[ )\ \PM =VQ^MZ[IT -`PQJQ\QWV 0uJMZ\ _I[ I_IZLML I OWTL UMLIT NWZ PI^QVO KWTTIJWZI\ML WV \PM KTWKS LM[KZQJML IJW^M -`XW[Q\QWV =VQ^MZ[MTTM /ZW]XM 111 +TI[[M KI\uOWZQM 403

des bronzes d’art) with Georges Servant (1828-c.1890), whom had a foundry, rue Vieille-du-Temple, in Paris, specialized in VMW /ZMMS IVL VMW -OaX\QIV [\aTM KTWKS[ 0uJMZ\ XIZ\QKQXI\ML _Q\P MY]IT []KKM[[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV _PMZM he won once again a gold medal for some other Egyptian style objects. The report of the jury (Exposition Universelle de :IXXWZ\ []Z TM[ JZWVbM[ L¼IZ\ /ZW]XM 111 +TI[[M X VW\QKML \PI\ \PM KPI[QVO Ja 0uJMZ\ Q[ ]VLMZ XMZNMK\ KWV\ZWT IVL IT_Ia[ IXXZMKQI\ML Ja IZ\Q[\[ 0Q[ IV\QY]M [\aTM Ã…O]ZM[ /ZMMS :WUIV WZ -OaX\QIV IZM [WUM WN PQ[ UW[\ XWX]TIZ _WZS[ NWTTW_QVO \PM \ZILQ\QWV WN M\PVWOZIXPQK LMKWZI\Q^M [K]TX\]ZM QV TI\M !th century France. Hébert became also ZMVW_VML NWZ PI^QVO [K]TX\ML \_W ITTMOWZQM[ 4I +WUuLQM IVL 4M ,ZIUM NWZ \PM NItILM WN \PM 8IZQ[ >I]LM^QTTM <PMI\MZ

Nicolas Heurtaut (1720-1771)

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Henri Houdebine (active since 1845)

The bronze-caster Henri Houdebine founded his company in 1845. He gained a great reputation in the UISQVO WN KTWKS[ IVL LMKWZI\Q^M JZWVbM XQMKM[ 0Q[ _WZS[ IXXZMKQI\ML NWZ \PMQZ PQOP IZ\Q[\QK Y]ITQ\a \WWS QV[XQZI\QWV NZWU ^IZQW][ [\aTM[ QVKT]LQVO \PM VMW /ZMMS [\aTM ^MZa NI[PQWVIJTM _Q\P IZ\Q[\[ QV \PM [ 0Q[ _WZS _I[ QUUMLQI\MLTa []KKM[[N]T _Q\P \PM X]JTQK IVL WVM KIV [Ia NZWU \PI\ WN PQ[ XZWL]K\QWV _I[ M`XWZ\ML 0W]LMJQVM [M\ ]X PQ[ _WZS[PWX[ I\ V]UJMZ Z]M LM <]ZMVVM QV 8IZQ[ L]ZQVO \PM XMZQWL 0M XIZ\QKQXI\ML UIOVQÃ…KMV\Ta QV [M^MZIT =VQ^MZ[IT -`PQJQ\QWV[ []KP \PW[M PMTL QV 8IZQ[ QV _PMZM PM _I[ awarded a 2nd KTI[[ UMLIT NWZ PQ[ [\I\]M\\M[ IVL LQ[XTIa K]X[ QV 4WVLWV QV IVL IOIQV QV 8IZQ[ QV IVL ! _PMZM PM _WV I /WTL UMLIT NWZ PQ[ ITT \PM _WZS[ PM M`PQJQ\ML 0W]LMJQVM XIZ\QKQXI\ML Ã…VITTa QV \PM +PQKIOW =VQ^MZ[IT -`PQJQ\QWV WN ! _PMZM PM XZM[MV\ML [XTMVLQL KZM[[M\[ KTWKS[ IVL [WUM [K]TX\]ZM[

Henry Paul Hudelet (1849-1878)

*WZV QV 4IVOZM[ QV ! 0MVZa 8I]T 0]LMTM\ MV\MZML \PM LZI_QVO [KPWWT WN PQ[ \W_V QV IVL KWV\QV]ML PQ[ \ZIQVQVO I\ \PM 8IZQ[ .QVM )Z\[ ;KPWWT QV _PMZM PM [\]LQML ]VLMZ \PM LQZMK\QWV WN \PM [K]TX\WZ )]O][\QV ,]UWV\ 0]LMTM\ XZM[MV\ML QV \PM .QVM )Z\[ KWV\M[\ WN I Mercury IVL IV IKILMUa UILM IN\MZ \PM IV\QY]M \PMV \_W N]Z\PMZ _WZS[ QV \PM KWV\M[\ WN ! _Q\P Achilles and a Bacchante playing with a panther 0]LMTM\ M`PQJQ\ML I\ \PM ;ITWV WN \PM .ZMVKP IZ\Q[\[ QV IVL <PI\ same year, he competed for the Grand Prix de Rome with a bas-relief of .Q[PMZUMV Ã…VLQVO \PM PMIL WN 7ZXPM][ WV \PM JIVS[ WN \PM 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 +WUQVO NZWU I NIUW][ NIUQTa WN XIQV\MZ[ PM TMIZV[ NZWU PQ[ NI\PMZ +TI]LM 0]QTTQW\ I ^MZa _MTT SVW_V [\QTT TQNM XIQV\MZ 1V PM Q[ MTMK\ML I\ \PM )KILuUQM :WaITM LM 8MQV\]ZM ,]ZQVO PQ[ XZM[\QOQW][ KIZMMZ PM _WZS[ NWZ \PM ZWaIT MV\W]ZIOM QV >MZ[IQTTM[ .WV\IQVMJTMI] IVL +WUXQvOVM <PQ[ NMK]VL IZ\Q[\ XIQV\[ _Q\P OZMI\ \I[\M \PM UW[\ [QUXTM []JRMK\[ []KP I[ IVQUIT[ ÆW_MZ[ NZ]Q\[ WZ LMKWZI\Q^M TIVL[KIXM[ .ZWU \W PQ[ [\QTT TQNM XIQV\QVO[ ITTMOWZQM[ IVL LMKWZI\QWV[ IZM M`PQJQ\ML I\ \PM ;ITWV Georges Jacob (1739-1814)

)N\MZ PI^QVO JMMV ZMKMQ^ML 5I[\MZ QV /MWZOM[ 2IKWJ _WZSML NZWU \W \PM .ZMVKP :M^WT]\QWV NWZ \PM +ZW_V .]ZVQ\]ZM :MXW[Q\WZa 1\[ KTQMV\MTM _I[ \PM UW[\ JZQTTQIV\ _Q\P 4W]Q[ @>1 IVL 9]MMV 5IZQM Antoinette, the royal family, especially the Count of Provence, future Louis XVIII, the Count of Artois, N]\]ZM +PIZTM[ @ \PM 8ZQVKM WN +WVLu \PM ,]SM WN 8MV\PQv^ZM I[ _MTT I[ NWZMQOV KW]Z\[ 1V PM KZMI\ML \PM Ã…Z[\ UIPWOIVa KPIQZ[ KITTML ®*ZQ\Q[P KPIQZ[¯ NWZ \PM +W]V\ WN 8ZW^MVKM 0M TI]VKPML \PM 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 _Q\PW]\ JMQVO PIZI[[ML \PIVS[ \W \PM NIUW][ XIQV\MZ ,I^QL 0M ZM\QZML QV ! TMI^QVO PQ[ _WZS[PWX \W PQ[ [WV[ /MWZOM[ 2Z IVL .ZIVtWQ[ 0WVWZu _PW KZMI\ML \PM KWUXIVa 2IKWJ *ZW\PMZ[ I\ 5M[TuM ;\ZMM\ UISQVO ,QZMK\WQZM IVL +WV[]TI\M style furniture and seating. Because of their success, George interrupted retirement to help his sons to supply the imperial ZM[QLMVKM[ WN 6IXWTMWV 1 .ZIVtWQ[ 0WVWZu ILLML \PM VIUM WN ,M[UIT\MZ IN\MZ \PM LMI\P WN PQ[ NI\PMZ QV UMUWZa WN \PM family estate in Burgundy.

Jean-Baptiste-Jules Klagmann

<PM [K]TX\WZ 2MIV *IX\Q[\M 2]TM[ 3TIOUIVV _WZSML \PZW]OPW]\ PQ[ KIZMMZ QV JW\P I UWV]UMV\IT [KITM QV marble and bronze sculpture, and on a smaller scale for goldsmiths. In 1828 he entered the École des Beaux)Z\[ .ZIVKM¼[ TMILQVO VI\QWVIT Ã…VM IZ\[ IKILMUa _PMZM PM _I[ \I]OP\ Ja 2MIV 2IKY]M[ .M]KPvZM .M]KPvZM QV\ZWL]KML 3TIOUIVV \W \PM IZ\ WN \PM :MVIQ[[IVKM _Q\P PQ[ LMKWZI\Q^M ZMXMZ\WZa 3TIOUIVV made his debut at the Salon of 1831 and the French state as soon as 1841 commissioned him to execute the LMKWZI\QWV WN \PM LWWZ[ WN \PM ;ITTM LM ;uIVKM[ I\ \PM ;MVI\M )\ \PM [IUM \QUM 3TIOUIVV _I[ QV^WT^ML ITWVO[QLM .M]KPvZM 404

QV \PM KWUUQ[[QWV NWZ I KMV\ZMXQMKM NZWU \PM ,]K L¼7ZTuIV[ QV IVL \PMV KI[\ Ja 2MIV .ZIVtWQ[ ,MVQvZM VW_ XZM[MZ^ML I\ \PM 8IZQ[ ,MKWZI\Q^M IZ\[ 5][M]U 1V^ 3TIOUIV \P][ ZMITQ[ML TIZOM LMKWZI\Q^M Ã…O]ZM[ NWZ I ^IZQM\a of Parisian buildings, theatres and the Louvre palace, recently enlarged by the Emperor Napoleon III, and continued to XZW^QLM UWLMT[ NWZ OWTL[UQ\P[ []KP I[ .ZIVtWQ[ ,u[QZu .ZWUMV\ 5M]ZQKM [_WZL WN \PM +WU\M LM 8IZQ[ .ZIVtWQ[ ,]ZIVL ^I[M OQ^MV Ja \PM ,]K L¼7ZTuIV[ \W \PM /WWL_WWL ZIKM[ IVL WN KW]Z[M +PIZTM[ +PZQ[\WÆM 1[IIK 8MZMQZM¼[ KMV\MZXQMKM 0W_M^MZ 2 * 3TIOUIVV IT[W XZWL]KML Ã…Z[\ ZI\M _WZS[ QV KWTTIJWZI\QWV _Q\P JZWVbM KI[\MZ[ []KP I[ /]QTTI]UM ,MVQvZM 1V 3TIOUIVV _I[ VWUQVI\ML NWZ \PM KW]VKQT WN \PM /WJMTQV[ *MI]^IQ[ IVL ;v^ZM[ UIV]NIK\WZQM[ IVL _I[ IT[W WVM WN \PM founders of the Central Union of the Arts Applied to Industry.

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

<PM 3ZQMOMZ ÅZU JMOIV _Q\P )V\WQVM 3ZQMOMZ ! \PM KIJQVM\ UISQVO IK\Q^Q\a QV \PM UQLLTM WN \PM !th century, before setting an important inner decoration department which provided much success and prestige \W \PM KWUXIVa ]V\QT IJW]\ ! <PM 3ZQMOMZ ÅZU UILM ITT [SM\KPM[ IVL LM[QOV[ QV ITT SQVL WN [\aTM[ IVKQMV\ WZ KWV\MUXWZIZa )JW]\ WVM \PW][IVL _WZSMZ[ _MZM MUXTWaML I\ Vˆ .I]JW]ZO ;IQV\ )V\WQVM ;\ZMM\ QV 8IZQ[ XZWL]KQVO T]`]ZQW][ I[ _MTT I[ [\IVLIZL N]ZVQ\]ZM *]\ \PM UISQVO _I[ IT_Ia[ WN ^MZa PQOP Y]ITQ\a _Q\P WIS_WWL WZ [MTMK\ML UIPWOIVa KIJQVM\[ LMKWZI\ML _Q\P ÅVMTa KPW[MV ^MVMMZ[ <PM 3ZQMOMZ ÅZU _WV [M^MZIT UMLIT[ IUWVO _PQKP I [MKWVL KTI[[ UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV WN 4WVLWV IVL \WWS XIZ\ QV N]Z\PMZ QV\MZVI\QWVIT M`PQJQ\QWV[ []KP as the one held in Paris in 1855.

Kutani Porcelain

<PM M`XWZ\ WN 3]\IVQ _IZM[ [\IZ\ML IZW]VL I\ \PM JMOQVVQVO WN 5MQRQ ZM[\WZI\QWV 1\ _I[ \PM XMZQWL WN \PM WXMVQVO WN 2IXIV \W \PM W]\[QLM _WZTL -`XWZ\ WN 2IXIVM[M KMZIUQK [\IZ\ML U]KP MIZTQMZ" I\ ÅZ[\ +PQVM[M IVL Dutch merchants were buying mainly Imari ceramics in Japan for resale in Europe. The East India Company [\IZ\ML \W M`XWZ\ 1UIZQ KMZIUQK[ \W_IZL[ -]ZWXM IZW]VL )\ \PQ[ XMZQWL 3]\IVQ XZWL]K\QWV _I[ WVTa starting: European customers were probably more appealed to the colourful copy of China porcelain in which 1UIZQ []KKMMLML <PMZM IZM \_W LQ‫ٺ‬MZMV\ \aXM[ WN 3]\IVQ XWZKMTIQV" \PM WVM XZWL]KML NWZ \PM LWUM[\QK UIZSM\ \PI\ NWTTW_ML the basis of the Japanese taste and the other one made for export adapting to the demand of European customers. Ceramic, M[XMKQITTa \PM [PIXM WN \PM WJRMK\[ PIL \W Å\ -]ZWXMIV VMML[ NWZ QV[\IVKM ÆW_MZ ^I[M[ LQVVMZ XTI\M[ KW‫ٺ‬MM [M\[ M\K QV _PQKP 2IXIV PIL NM_ QV\MZM[\ )[ I UI\\MZ WN NIK\ 2IXIVM[M K][\WUMZ[ QOVWZML \PQ[ XZWL]K\QWV _PQKP _I[ [W LQ‫ٺ‬MZMV\ NZWU _PI\ _I[ made for the Japanese daily use. It is the change in the political landscape that suddenly allowed the opening to the world. Many NWZMQOV KWUXIVQM[ M[\IJTQ[PML W‫ٻ‬KM[ QV 3WJM IVL AWSWPIUI _Q\P \PM IQU WN LWQVO QUXWZ\ IVL M`XWZ\ J][QVM[[ :MXZM[MV\I\Q^M[ NZWU 3IVIbI_I 8ZMNMK\]ZM WXMVML W‫ٻ‬KM[ QV \PM[M XWZ\[" QV ?I\IVW 3QKPQRQ M[\IJTQ[PML I JZIVKP W‫ٻ‬KM QV 3WJM <PM JM[\ 3]\IVQ XW\\MZ[ IVL XIQV\MZ[ _MZM XZM[MV\ I\ \PM 1V\MZVI\QWVIT M`PQJQ\QWV PMTL QV 8IZQ[ QV OZMI\Ta [\QU]TI\QVO \PM XZWL]K\QWV ?I\IVW 3QKPQRQ _I[ \PM JQOOM[\ 3]\IVQ UMZKPIV\ JMQVO WVM WN \PM ÅZ[\ \W []KKMML QV QV LWQVO LQZMK\ M`XWZ\ [PQXUMV\ \W Europe and to sale locally in Paris.

Lacarrière - Delatour (19th century)

1\ _I[ I\ JQ[ Z]M ;\M -TQ[IJM\P \PI\ 4IKIZZQvZM I [QUXTM KZIN\[UIV WXMVML I _WZS[PWX \PI\ _I[ [WWV 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 [XMKQIT VW\M QV \PM KI\ITWO]M LMKTIZQVO \PI\" \PMQZ M`PQJQ\QWV XZW^M[ \PMQZ KZIN\ \W JM ^MZa X]ZM IVL XZMKQ[M \PMQZ \I[\M ^MZa []ZM QV JZWVbM[ ][ML NWZ QV\MZQWZ TQOP\QVO 4IKIZZQvZM ,MTI\W]Z +ie participated in the creation of the chandelier at the 9]MMV¼[ <PMI\ZM QV 4WVLWV <PMa IT[W XZWL]KML NW]Z\MMV UWV]UMV\IT KIVLMTIJZI[ NWZ \PM 8IZQ[ )TM`IVLZM 111 *ZQLOM 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.

Eugène-Armand Lachaise (1857-1925)

*WZV QV 6M_ AWZS -]OvVM )ZUIVL 4IKPIQ[M _MV\ \W 8IZQ[ \W [\]La XIQV\QVO 1V[\ITTML I\ 6ˆ Avenue des Champs-Elysées, he became the pupil of some renowned artists such as Gustave Boulanger IVL 2]TM[ 4MNMJ^ZM ! *W\P WN \PMU \I]OP\ XIQV\QVO I\ \PM NIUW][ 2]TQIV )KILMUa TWKI\ML WV ,ZIOWV ;\ZMM\ QV 8IZQ[ <PI\ IZ\ [KPWWT _I[ NW]VLML QV QV ZMIK\QWV \W \PM M[\IJTQ[PML jKWTM LM[ *MI]` )Z\[ <PM ZMNMZMVKM JWWS[ UMV\QWV I ZMUIZSML XIZ\QKQXI\QWV WN - ) 4IKPIQ[M QV \PM

;ITWV I\ \PM 8IZQ[ 1VL][\Za 8ITIKM WV \PM +PIUX[ -Ta[uM[ _Q\P I XIQV\ML XWZ\ZIQ\ WN M. Le Commandant G... Lachaise JMKIUM TI\MZ I XZQbML UMUJMZ WN \PM 8IZQ[ ;WKQM\a WN )UMZQKIV 8IQV\MZ[ _PW[M OWIT _I[ \W XZWUW\M )UMZQKIV IZ\Q[\[ VW\ WVTa QV 8IZQ[ J]\ \PZW]OP _WZTL_QLM M`PQJQ\QWV[ 1V \PM ¼[ \PM 2IXIVM[M []JRMK\[ Ja 4IKPIQ[M \ISM XTIKM QV \PM OMVMZIT artistic movement much in fashion in France: Japonism (named also Aesthetic Movement), whose the French leader was indoubtedly Edouard Manet (1832-1883). Having learned painting under the direction of French artists and leading his []KKM[[N]T KIZMMZ QV 8IZQ[ - ) 4IKPIQ[M _I[ VI\]ZITTa KWV[QLMZML I[ I .ZMVKP IZ\Q[\ 0M _I[ M^MV I_IZLML 3VQOP\ WN \PM 4uOQWV L¼PWVVM]Z IVL 7‫ٻ‬KMZ QV \PI\ VI\QWVIT 7ZLMZ L]ZQVO ?WZTL ?IZ 1 4IKPIQ[M LQML QV 8IZQ[ QV !

405

Jules-Isidore Lafrance (1841-1881)

Jules-Isidore Lafrance was a sculptor, himself the son of a sculptor ornamentalist. He studied sculpture ]VLMZ \PM LQZMK\QWV WN .ZIVKQ[Y]M ,]ZM\ IVL 2]TM[ +I^MTQMZ ! 0M JMOIV \W M`PQJQ\ PQ[ _WZS I\ \PM ;ITWV WN :MXMV\IV\ 5IOLITMVM IVL _WV \PM 8ZQ` LM :WUM QV ;IU[WV JZMISQVO \QM[ *IKS NZWU :WUM _PMZM PM _I[ [MZQW][Ta QTT PM [K]TX\ML 5I\PQM] 5WTu 8WZ\ZIQ\ WN 8]OM\ ;\ 2WPV )KPQTTM[ .WZ \PM 8I^QTTWV LM .TWZM I\ \PM 4W]^ZM XITIKM PM ZMKMQ^ML I KWUUQ[[QWV QV \W [K]TX\ \_W ITTMOWZQKIT Ã…O]ZM[ 4I_ IVL 8Z]LMVKM 0M WJ\IQVML I Ã…Z[\ KTI[[ UMLIT QV IVL _WV I UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV of 1878.

Louis-Edouard Lemarchand (1795-1872)

;WV WN +PIZTM[ 2W[MXP 4MUIZKPIVL ! _PW NW]VLML \PM 4MUIZKPIVL KIJQVM\ UISQVO LaVI[\a IZW]VL ! PM KIUM JIKS \W 8IZQ[ QV QV WZLMZ \W PMTX PQ[ NI\PMZ _Q\P \PM [\]LQW IN\MZ PM [\]LQML architecture and spent two years in the military. They were successful and became Fournisseur Breveté L] /IZLM 5M]JTM QV )N\MZ PQ[ _MLLQVO QV 4W]Q[ -LW]IZL [M\\TML PQ[ _WZS[PWX I\ Z]M LM[ <W]ZVMTTM[ 0M RWQVML NWZKM[ QV _Q\P )VLZu 4MUWaVM _PW _QTT JM IV W‫ٻ‬KQIT KIJQVM\ UISMZ ]VLMZ 6IXWTMWV 111 IVL ZM\QZML QV 4MUWaVM NI\PMZ IVL [WV KWV\QV]ML \PM IK\Q^Q\a ]V\QT \PM Ã…ZU _I[ JW]OP\ Ja +PIZTM[ 2MIV[MTUM QV ! 4W]Q[ -LW]IZL ][ML \PM [IUM [\IUX I[ PQ[ NI\PMZ WVTa []XXZM[[QVO PQ[ QVQ\QIT )\ Ã…Z[\ PM KWWXMZI\ML _Q\P PQ[ NI\PMZ L]ZQVO the Restauration to produce furniture in the tradition of the Imperial style. Le Recueil de modèles d’ébénisterie composé XW]Z TI UIQ[WV 4-5):+0)6, uJuVQ[\M L] /IZLM 5M]JTM KWV\QV]uM XIZ <0-1441-: ]VLI\ML IVL SMX\ I\ \PM TQJZIZa 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 XQMKM[ WN N]ZVQ\]ZM UILM WN TQOP\ _WWL IVL UIPWOIVa ) NWZUMZ [WTLQMZ \W \PM -UXMZWZ PM UILM \PM MJWVa KW‫ٻ‬V WN Napoleon.

Lerolle Frères (19th Century)

)TXPWV[M 4MZWTTM _I[ I _MTT SVW_V JZWVbM KI[\MZ JI[ML QV 8IZQ[ ;]KKMMLQVO PQ[ NI\PMZ PM _WZSML QV 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 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV NWZ PI^QVO XZM[MV\ML IUWVO KTWKS[ IVL KPIVLMTQMZ[ \PW[M []XMZJ 1VLQIV Ã…O]ZM[ [K]TX\ML by Charles Cordier.

Adolphe-Alexandre Lesrel (1839-1929)

)LWTXPM )TM`IVLZM 4M[ZMT MV\MZML \PM 8IZQ[ Ã…VM )Z\[ ;KPWWT QV \PM 2MIV 4uWV /uZ€UM¼[ 1904) 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 XI[\ QV \PM PQOPTa LM\IQTML IVL Ã…VQ[PML [\aTM WN PQ[ UI[\MZ ILWX\QVO \PMV PQ[ UM\QK]TW][ IKILMUQK [\aTM characterized by adhering to a strict manner of painting, following narrow compositional rules and delicacy of color. The I\UW[XPMZQK M‫ٺ‬MK\[ IZM \PMV []UX\]W][Ta T]UQVM[KMV\ 4M[ZMT _I[ SVW_V NWZ PQ[\WZQKIT IKK]ZIKa _Q\P I PQOPTa LM\IQTML and polished style. His most often used realistic indoors subjects, much appreciated among his contemporaries, were jovial U][SM\MMZ[ KW]Z\Ta TW^M IVL \PM NZQ^WTQ\a WN \PM ]XXMZ KTI[[M[ UIQVTa LZM[[ML QV 4W]Q[ @111 XMZQWL KW[\]UM[ .IJZQK[ OW_V[ WJRM\[ L¼IZ\ N]ZVQ\]ZM ITT _MZM ZM[MIZKPML \W MV[]ZM \PM PQ[\WZQKIT IKK]ZIKa WN PQ[ _WZS 0Q[ []JRMK\ UI\\MZ IVL \MKPVQKIT ^QZ\]W[Q\a WN PQ[ JZ][P_WZS MV[]ZM[ PQ[ KWV\QV]QVO XWX]TIZQ\a 4M[ZMT M`XW[ML L]ZQVO UIVa aMIZ[ WVM WZ \_W XIQV\QVO[ I\ the famous Paris Salon of the Society of French Artists as soon as 1885 and of the National Fine Arts Society from 1890. <PZW]OPW]\ PQ[ KIZMMZ 4M[ZMT _WV XZQKM[ UMLIT[ I[ _MTT I[ W‫ٻ‬KQIT I_IZL[ )\ \PM ! 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV PM _I[ awarded a honorable mention. In 1907, Lesrel left Paris for Genêts, his native town. He died there in 1929.

Ferdinand Levillain (1837-1905)

.MZLQVIVL 4M^QTTIQV \]LQML ]VLMZ \PM [K]TX\WZ 2W]‫ٺ‬ZWa JMNWZM UISQVO PQ[ LMJ]\ QV I\ \PM .ZMVKP )Z\Q[\[ ;ITWV _PMZM PM KWV\QV]ML \W M`PQJQ\ ]V\QT ! )\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ PM _I[ XZIQ[ML NWZ I 6MW /ZMMS [\aTM JZWVbM K]X PM UILM NWZ \PM Ã…ZU WN *TW\ M\ ,ZW]IZL 0M _I[ VW\ \W JMKWUM ZMITTa NIUW][ PW_M^MZ ]V\QT \PIVS[ \W PQ[ I[[WKQI\QWV _Q\P \PM OZMI\ JZWVbM NW]VLMZ .MZLQVIVL *IZJMLQMVVM _PW JMOIV \W M`PQJQ\ 6MW /ZMMS [\aTM TIUX[ K]X[ ^I[M[ IVL KIVLMTIJZI[ WV PQ[ 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 \PM ZMXWZ\ WN \PM R]Za NWZ )Z\Q[\QK *ZWVbM[ \PI\ \PM _WZS WN 4M^QTTIQV KPI[ML TQSM \PM Ã…VM[\ RM_MT[ IVL [W LQ^MZ[M IVL X]ZM WN NWZU ° IZM WN \PM PQOPM[\ LMOZMM WN XMZNMK\QWV )N\MZ ZMKMQ^QVO I Ã…Z[\ KTI[[ UMLIT I\ \PM ;ITWV NWZ I K]X MV\Q\TML

<PM -TMUMV\[ \PM 5WV\P[ IVL \PM ;MI[WV[ PM _MV\ WV \W _QV I [QT^MZ UMLIT I\ \PM ! =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[

Michel Liénard (1810-1870)

;K]TX\WZ IVL LM[QOVMZ 0M _WZSML IUWVO W\PMZ[ NWZ +I^IQTTu +WTT !! NIUW][ WZOIV UISMZ WZOIV[

in Saint Vincent de Paul in Paris and in the Bayeux cathedral), for the silversmith F. D. Froment-Meurice (Madeleine church QV 8IZQ[ I[ _MTT I[ KIJQVM\ UISMZ[ :QVO]M\ 4MXZQVKM IVL /]QTTI]UM /ZWPu

Edouard Lièvre !

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 LM[QOV ) \ITMV\ML WZVIUMV\ITQ[\ UIZSML Ja \PM MKTMK\QKQ[U \aXQKIT WN \PM ;MKWVL -UXQZM 4Qv^ZM SVM_ PW_ \W I^IQT PQU[MTN WN [SQTTN]T KWTTIJWZI\WZ[ QV WZLMZ \W KZMI\M XQMKM[ QV ^IZQW][ [\aTM[" :MVIQ[[IVKM 4W]Q[ th or 7ZQMV\IT _PQKP TI[\ _MZM XIZ\ WN \PM OZMI\ IZ\Q[\QK UW^MUMV\ QV NI[PQWV [QVKM \PM ¼[" \PM 2IXIVM[M [\aTM VIUML IT[W )M[\PM\QK 5W^MUMV\ \PMa ZMKZMI\ML IV QUIOQVIZa .IZ -I[\ ILIX\ML \W LMKWZI\M ?M[\MZV ZMKMX\QWV ZWWU[ )[ IV 1V\MZQWZ LMKWZI\WZ 4Qv^ZM IT[W UI\KPML PQ[ T]`]ZQW][ IVL ZMÃ…VML N]ZVQ\]ZM _Q\P JZWVbM[ KMZIUQK[ IVL M^MV NIJZQK[ <PQ[ 7ZQMV\IT M`W\QKQ[U _PQKP WVTa \PM ZQKPM[\ KW]TL I‫ٺ‬WZL IXXMITML \W JIVSMZ[ R]LOM[ IZ\Q[\[ IVL NIUW][ KW]Z\M[IV[ I[ _MTT I[ \PM :WaIT IVL 8ZQVKMTa NIUQTQM[ )N\MZ \PM LMI\P WN -LW]IZL 4Qv^ZM \PM OZMI\MZ XIZ\ WN PQ[ UWLMT[ [SM\KPM[ IVL KIJQVM\ LM[QOV[ _MZM JW]OP\ Ja IZ\ X]JTQ[PMZ[ []KP I[ T¼-[KITQMZ LM +ZQ[\IT WZ Ja .MZLQVIVL *IZJMLQMVVM \P][ OQ^QVO \PMU \PM ZQOP\ \W ZMXZWL]KM 4Qv^ZM¼[ N]ZVQ\]ZM _Q\P \PMQZ W_V [\IUX [MM >MV\M[ LM TI []KKM[[QWV 4Qv^ZM 0W\MT ,ZW]W\ NM^ZQMZ 1890).

François Linke !

.ZIVtWQ[ 4QVSM JWZV QV QV *WPMUQI +bMKPW[TW^ISQI _WZSML I[ I KIJQVM\ UISMZ QV 8IZQ[ NZWU IJW]\ ]V\QT PQ[ LMI\P QV ! 1V ! I\ \PM IXM` WN PQ[ KIZMMZ PM WXMVML I VM_ [PWX I\ \PM NIUW][ 8IZQ[QIV place Vendôme. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully UW]V\ML _Q\P OQT\ JZWVbM WZVIUMV\[ IVL PM ZMKMQ^ML V]UMZW][ KWUUQ[[QWV[ 4I\MZ 4QVSM LMKQLML \W KWTTIJWZI\M _Q\P \PM _MTT SVW_V [K]TX\WZ 4uWV 5M[[IOu IVL QV\MOZI\ML VM_ TQVM[ IVL [PIXM[ IVVW]VKQVO \PM )Z\ 6W]^MI] [\aTM 0Q[ OZMI\ []KKM[[ Q[ LMÃ…VQ\MTa \PM ! =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _I[ I_IZLML \PM OWTL UMLIT NWZ PQ[ M`\ZIWZLQVIZa SQVO_WWL LM[S LM[QOVML Ja 5M[[IOu )\ \PQ[ WKKI[QWV \PM :M^]M IZ\Q[\QY]M M\ QVL][\ZQMTTM KWUUMV\ML \PI\ 4QVSM¼[ [\IVL Q[ \PM JQOOM[\ [PW_ QV \PM PQ[\WZa WN IZ\ N]ZVQ\]ZM

Jan Lopienski (1838–1907)

2IV 4WXQMV[SQ KZMI\ML I JZWVbM _WZS[PWX QV ?IZ[I_ QV 0M [\]LQML QV ?IZ[I_ +ZIKW_ >QMVVI IVL Paris. He established his reputation with the Louis XVI style bronze balustrade commissioned for the palace WN +W]V\ 2IV BI_Q[bI QV ?IZ[I_ _PQKP I_IZLML PQU I [QT^MZ UMLIT I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN 4WXQMV[SQ IT[W M`MK]\ML V]UMZW][ WN OZMI\ LMKWZI\Q^M XQMKM[ WN OZMI\ Y]ITQ\a 2IV 4WXQMV[SQ PIL \_W [WV[ /ZbMOWZb ! ! IVL .MTQ` ! _PW \WWS W^MZ \PMQZ NI\PMZ¼[ J][QVM[[ <PMa¼^M JMMV KWUUQ[[QWVML Ja \PM 8WTQ[P ;\I\M NWZ UIVa UWV]UMV\[ []KP QV ! _Q\P \PM JZWVbM KI[\ WN )LIU 5QKSQM_QKb¼ WVM

Paul Louchet !

4W]KPM\ 8I]T JWZV LMIL ! I .ZMVKP KWUXTM\M IVL OQN\ML IZ\Q[\ _WZSML I\ \PM JMOQVVQVO I\ 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 IKILMUQK XIQV\MZ 2]TM[ 4MNMJ^ZM ! IVL \PM TIVL[KIXM XIQV\MZ 0MVZQ 0IZXQOVQM[ ! ! 4W]KPM\ M`PQJQ\ML PQ[ XIQV\QVO[ UW[\Ta TIVL[KIXM[ I\ \PM NIUW][ 8IZQ[ ;ITWV +ZQ\QK[ ILUQZML PQ[ XIQV\QVO[" 4W]KPM\¼[ _WZS[ IZM LMTQKI\M IVL [MKZM\ [QUXTa KWUXW[ML _Q\PW]\ OTIZM VWZ MUXPI[Q[ 0M _I[ I_IZLML ! UMUJMZ WN \PM 8IZQ[ Beaux-Arts Society. As a multi-talented artist (He was also a culptor and engraver), he was a close friend to the cabinetUISMZ 4W]Q[ 5IRWZMTTM ! ! \PM OTI[[UISMZ IVL RM_MTMZ :MVu 4ITQY]M ! IVL \PM ,I]U JZW\PMZ[ 5IV 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)

/MWZOM[ )V\WQVM 8ZW[XMZ 5IZQTPI\ _I[ IUWVO \PM Ã…Z[\ .ZMVKP WZQMV\ITQ[\ IVL VI\]ZITQ[\ XIQV\MZ[ WN \PM VQVM\MMV\P KMV\]Za ;WV WN I JIVSMZ 8ZW[XMZ 5IZQTPI\ TMN\ <PQMZ[ NWZ 8IZQ[ QV ! _PMZM PM RWQVML \PM [\]LQW WN +PIZTM[ +QKMZQ \PI\ PM Y]QKSTa IJIVLWVML NWZ :WY]MXTIV +IUQTTM (1802-1855), and then started at the Salon of 1831. His taste for the painter Nicolas Poussin and the classics OI^M PQU \PM VQKSVIUM ¹)KK]ZI\Mº *IZWV ^WV 0†OMT XZMXIZQVO I [KQMV\QÃ…K M`XMLQ\QWV QV \PM 5QLLTM -I[\ ZMUIZSML \PM IKK]ZIKa WN PQ[ LZI_QVO[ IVL QV^Q\ML \W IKKWUXIVa PQU I[ I LM[QOVMZ 5IZQTPI\ \PMV MUJIZSML QV 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. 5IZQTPI\ IT[W NWK][ML WV \PM W]\[SQZ\[ WN \PM KQ\a Ja ^Q[Q\QVO *]TIS WV \PM 6QTM WZ QV \PM XITU OZW^M[ []ZZW]VLQVO +IQZW 1\ is from this period that the outstanding drawings of Cairo, point his ultimate art for architectural drawing. He returned to .ZIVKM QV WV \PM ;XPQV` \W_QVO \PM WJMTQ[S WN 4]`WZ IVL JZW]OP\ JIKS \MV JWWS[ WN LZI_QVO[ IVL [SM\KPM[ _PQKP were widely used by the artist to compose his paintings on his return to Paris. He then didn’t leave Paris until his death M`KMX\ \PM \_W \ZQX[ PM UILM QV 1\ITa IVL 8ZW^MVKM 0M I\\MVLML \PM ¹+QZKTM WN )Z\[º _PMZM PM UM\ 8ZW[XMZ 5uZQUuM 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 407

WN [MVLQVO 7ZQMV\ITQ[\ _WZS[ ;QKS 5IZQTPI\ KIV¼\ ZM\]ZV \W \PM -I[\ IVL XIQV\ML QV 8IZQ[ \PZMM ZWaIT KWUUQ[[QWV[ QV and 1845. After losing the reason, he died in 1847.

Lajos Markos (1917-1993)

<PM XIQV\MZ 4IRW[ 5IZSW[ _I[ JWZV ! QV 5IZW[^n[nZPMTa 0]VOIZa 0M _I[ [\]LMV\ I\ .QVM )Z\[ ;KPWWT WN *]LIXM[\ _PMZM PM _I[ I_IZLML \PM XZM[\QOQW][ 6I\QWVIT BZQVaQ 8ZQ` ,]ZQVO ?WZTL ?IZ 11 PM _MV\ \W 1\ITa WXMVML I _WZS[PWX QV :WUM \PMV QV 5QTIVW 0M KIUM QV ! \W \PM =VQ\ML ;\I\M[ IVL Y]QKSTa M[\IJTQ[PML PQU[MTN QV 6M_ AWZS +Q\a I[ I UIRWZ XWZ\ZIQ\Q[\ _Q\P UIVa WN PQ[ []JRMK\[ JMQVO KMTMJZQ\QM[ []KP I[ 2WPV ?IaVM :WJMZ\ 3MVVMLa <PM :WaIT .IUQTa WN 3QVO 0I[[IV 11 IVL 8IJTW +I[IT[ 1V PQ[ TQNM\QUM 4IRW[ 5IZSW[ KWUXTM\ML W^MZ XWZ\ZIQ\[ 1V \PM ! [ PM UW^ML \W 0W][\WV <M`I[ _PMZM PM M`XIVLML his interest to art of the American west.

Charles Malfroy ! +PIZTM[ 5ITNZWa ! I VI\Q^M WN 4aWV [XMKQITQbML QV ^QM_[ WN \PM 5MLQ\MZZIVMIV PIZJWZ[ IVL WVM WN 5IZ\QO]M[ QV XIZ\QK]TIZ PM TQSML \W XIQV\ ITWVO Q\[ JIVS[ 5IZ\QO]M[ SVW_V I[ \PM ¹>MVQKM WN 8ZW^MVKMº TWKI\ML WV \PM MLOM WN \PM -\IVO LM *MZZM IVL +IZWV\M +IVIT _PQKP KWVVMK\[ \PM TISM \W the Mediterranean, and especially its port then inspired many artists in the mid-nineteenth century, such Raymond_Allègre (1857-1933), Henri Théophile Decanis (1847-1917) and of course Felix Ziem (1821 ! _PW M[\IJTQ[PML \PMZM PQ[ _WZS[PWX +PIZTM[ 5ITNZWa PQU[MTN [M\\TML QV 5IZ\QO]M[ PQ[ [\]LQW _PQKP _I[ \ISMV QV \PM Ã…Z[\ PITN WN \PM \_MV\QM\P KMV\]Za Ja PQ[ [WV 0MVZa 5ITNZWa )[ I NWTTW_MZ WN \PM XW[\ QUXZM[[QWVQ[\ IZ\Q[\ 2MIV *IX\Q[\M 7TQ^M ! I UIZQ\QUM TIVL[KIXM XIQV\MZ NZWU 5IZ[MQTTM +PIZTM[ 5ITNZWa _I[ U]KP IXXZMKQI\ML NWZ PQ[ KTMIZ \WVM[ IVL PQ[ IJQTQ\a \W LMIT _Q\P \PM 5MLQ\MZZIVMIV TQOP\ []J\Ta \ZIV[XW[QVO WV PQ[ XITM\\M \PM [Sa IVL \PM [MI .ZWU 4M 0I^ZM \W >MVQKM PM XIQV\ML \QZMTM[[Ta QV IV ITUW[\ ]VZMIT KTIZQ\a I\UW[XPMZQK M‫ٺ‬MK\[ IZQ[QVO NZWU \PM UMZOQVO WN \PM[M MTMUMV\[ Marnyhac et Cie (19th- 20th century)

Marnyhac et Cie was used as the commercial name for the ;WKQu\u LM[ 5IZJZM[ M\ *ZWVbM[ )Z\Q[\QY]M[ LM 8IZQ[ (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) IVL -]OvVM ,M[XTuKPQV ! <PM 5IZVaPIK Ã…ZU _I[ I_IZLML I UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV IVL [PW_ML IOIQV \PMQZ _WZS[ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN ! <PM KWUXIVa KTW[ML LW_V IZW]VL !

Louis-Auguste Marquis

Marquis Louis-Auguste (1811-1885) teamed up in 1839 with another bronze-caster named Gilbert Honoré +PI]UWV\ ! ITZMILa [XMKQITQbML QV TQOP\QVO[ <PMa _MZM I_IZLML I\ \PM -`PQJQ\QWV WN 1VL][\ZQIT 8ZWL]K\[ I JZWVbM UMLIT _Q\P \PMQZ :MVIQ[[IVKM [\aTM KIVLMTIJZI I KTWKS IVL I TIZOM KPIVLMTQMZ _Q\P branches supported by children and chimeras. At the 1844 Exhibition, they were awarded another bronze UMLIT 1\ _I[ I\ \PQ[ \QUM \PI\ +PI]UWV\ ZM\QZML NZWU J][QVM[[ IVL 5IZY]Q[ MV\MZML \PM ¹:u]VQWV LM[ .IJZQKIV\[ LM JZWVbM[º QV 8IZQ[ 0M \PMV UW^ML PQ[ [\WZM NZWU \W WN \PM Z]M +PIXWV 5IZY]Q[ [PW_ML \PMV ITWVM IVL successfully his bronze casts and chandeliers at the Exhibition of Industrial Products of 1849. Under the Second Empire, \PM 5IZY]Q[ KWUXIVa [M\ I\ *W]TM^IZL LM ;\ZI[JW]ZO )[ I TMILQVO XZW^QLMZ WN ZWaIT IVL QUXMZQIT XITIKM[ [QVKM \PM KZMI\QWV WN \PM PW][M Ja +PI]UWV\ 5IZY]Q[ KWV\QV]ML \W ZMKMQ^M \PM \Q\TM ¹5IV]NIK\]ZMZ WN N]ZVQ\]ZM WN \PM +ZW_Vº 0M thus supplied various palaces with chandeliers, light-arms and andirons, made in the Gothic, Renaissance and Louis XIV styles.

Emilio Marsili !

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. 5IZ[QTQ SVM_ \PMV QVKZMI[QVO []KKM[[ _Q\P PQ[ XWZ\ZIQ\[ I[ _MTT I[ PQ[ [K]TX\ML UMUWZQIT[ 0M XIZ\QKQXI\ML in the 1880 Turin Fine Arts Exhibition, then in the 1881 Milano Exhibition, where he exposed his famous >WKIbQWVM _PQKP _I[ I_IZLML I UMLIT 5IZ[QTQ IT[W [PW_ML PQ[ JMI]\QN]T _WZS I\ \PM ^IZQW][ IZ\ NIQZ[ WN 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 ;IV\I .W[KI QV >MVQKM 1V PQ[ VI\Q^M KQ\a WN >MVQKM PM M`MK]\ML \PM TW_ ZMTQMN[ [M\ QV \PM 8Qu\o +P]ZKP IVL IT[W LMKWZI\ML the Franchetti Palace. In Paris, Marsili participated in the 1889 Universal Exhibition, where he won a bronze medal. He M`XW[ML I\ \PM NIUW][ >MVQKM *QMVVITM I[ [WWV I[ ! )KKTIQUML Ja KZQ\QK[ IVL I_IZLML Ja R]Za[ 5IZ[QTQ Q[ _MTTSVW_V ITT W^MZ \PM _WZTL NZWU 8IZQ[ \W ;IV .ZIVKQ[KW <PM OZMI\M[\ 1\ITQIV UWLMZV IZ\ U][M]U[ VW_ [PW_ [WUM WN PQ[ _WZS[ []KP in Turin (The Pinafore dress, 1882), in Venice (Thought, Swallows), or at the Rome National Gallery of Modern Art with I JZWVbM Ã…O]ZIT OZW]X 5I\MZVQ\a M`PQJQ\ML Ã…Z[\ QV >MVQKM QV _Q\P ^MZa U]KP []KKM[[

408

Charles Stanislas Matifat (active since 1840)

Charles Stanislas Matifat studied under the direction of the silversmith Antoine Vechte. He then succeeded PQ[ NI\PMZ QV I\ \PM PMIL WN \PM NIUQTa J][QVM[[ NW]VLML QV _PW[M _WZS[PWX[ _MZM TWKI\ML 6W ! Z]M LM TI 8MZTM QV 8IZQ[ +PIZTM[ 5I\QNI\ M`PQJQ\ML NWZ \PM Ã…Z[\ \QUM QV PQ[ W_V VIUM I\ \PM 8IZQ[ -`PQJQ\QWV of Industrial Products in 1849, where the jury awarded him a silver medal. At the Universal Exhibition WN \ISQVO XTIKM QV \PM [\]VVQVO +Za[\IT 8ITIKM QV 4WVLWV +PIZTM[ 5I\QNI\ 6W ! WN \PM .ZMVKP section) presented among many pieces, this table entirely made of gilded bronze and a large Louis XIV style chandelier KWUUQ[[QWVML Ja \PM SQVO WN 0WTTIVL ?QTTQIU 111 \W PQ[ XITIKM QV <PM 0IO]M 0Q[ [PW_ _QLMTa KWUUMV\ML Ja KZQ\QK[ earned him a second class medal. In 1853, Matifat who already had premises in London, participated in the Exhibition WN 1VL][\ZQIT )Z\[ QV ,]JTQV 0M _WZSML I TW\ NWZ \PM -VOTQ[P VWJQTQ\a []KP I[ 4WZL 4WVLM[JWZW]OP _PW KWUUQ[[QWVML JZWVbM KIVLMTIJZI )\ \PM 4WVLWV =VQ^MZ[IT -`PQJQ\QWV WN 5I\QNI\ XZM[MV\ML I KPIVLMTQMZ UILM NWZ \PM ,]KPM[[ WN ;]\PMZTIVL 1V ILLQ\QWV \W PQ[ [UITT [KITM IZ\ XZWL]K\QWV +PIZTM[ 5I\QNI\ IT[W XZWL]KML UWV]UMV\IT JZWVbM _WZS[ IN\MZ \PM OZMI\ .ZMVKP [K]TX\WZ[ UWLMT[ 0M KI[\ QV \PM [\I\]M WN 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: <PM )JZ]bbW 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.

Pierre-Jules Mène

8QMZZM 2]TM[ 5vVM _I[ JWZV QV 8IZQ[ QV 0M TMIZVML \PM Ã…Z[\ [\MX[ WN [K]TX\]ZM IVL JZWVbM KI[\QVO NZWU his father who was a metal craftsman. Later on, after several lessons given by the sculptor Compaire, Mène [XMKQITQbML QV IVQUIT [K]TX\]ZM 4QSM *IZaM PM _I[ KWUUQ\\ML QV\W ZMXZM[MV\QVO IVQUIT[ I[ IKK]ZI\MTa I[ XW[[QJTM IVL _MV\ ZMO]TIZTa \W \PM bWW \W _I\KP PQ[ []JRMK\[ 0M \WWS XIZ\ NWZ \PM Ã…Z[\ \QUM QV \PM ® ;ITWV ¯ QV ! M\ ZIXQLTa OIQVML []KKM[[ 0M SMX\ [PW_KI[QVO M\ _WV UIVa UMLIT[# QV PM _I[ I_IZLML \PM Légion d’honneur (Legion of Honour). In 1838, Mène opened his own foundry at rue du Faubourg-du-Temple, Paris, to produce his models himself. Later on, he lead it with his son-in-law, the sculptor Caïn. He produced there, from 1838 until JZWVbM [K]TX\]ZM[ WN I Ã…VM Y]ITQ\a PIVLTQVO XMZ[WVITTa \PM KI[\QVO IVL \PM KPQ[MTTQVO 5vVM¼[ _WZS Q[ QV[XQZML WN \PM universe of domestic animals (horses, cows, bulls, sheeps, dogs) as well as wild ones (deers, jaguars, panthers). Along with PQ[ []KKM[[ QV .ZIVKM 5vVM JMKIUM NIUW][ QV /ZMI\ *ZQ\IQV _PMZM PM \WWS XIZ\ QV M`PQJQ\QWV[ NZWU ]V\QT 0Q[ _WZS[ _MZM XIZ\QK]TIZTa _IV\ML Ja \PM -VOTQ[P X]JTQK IVL I TIZOM IUW]V\ WN PQ[ [K]TX\]ZM[ _I[ M`XWZ\ML IKZW[[ \PM +PIVVMT )T\PW]OP PM _I[ ^MZa XWX]TIZ I\ \PQ[ \QUM 5vVM ZMKMQ^ML WVTa NM_ W‫ٻ‬KQIT WZLMZ[ )N\MZ PQ[ LMI\P UIVa WN PQ[ [K]TX\]ZM[ were produced by Caïn and then by the Susse Frères foundry, who acquired his models at the end of the 19th century, in ! <PMZMNWZM \PM[M JZWVbM [K]TX\]ZM[ JMIZ \PM LW]JTM [QOVI\]ZM WN \PM IZ\Q[\ IVL \PM KI[\MZ 0Q[ _WZS[ IZM [PW_KI[ML QV U][M]U[ _WZTL_QLM IVL JM[QLM \PM 4W]^ZM \PM U][M]U[ WN 7`NWZL IVL 5MTJW]ZVM W_V [QOVQÃ…KIV\ KWTTMK\QWV[

Mercier Frères

Claude Mercier (born in 1803) installed in Paris, 15 rue Beautreillis in 1828, then moved to 100 rue du .I]JW]ZO ;IQV\ )V\WQVM _PMZM \PM Ã…ZU PI[ JMMV UIQV\IQVML ]V\QT XZM[MV\ LIa[ )[ [WWV I[ \PM KWUXIVa JMKIUM 5MZKQMZ 8vZM M\ Ã…T[ \PMV QV 5MZKQMZ Ã…T[ I{Vu IVL Ã…VITTa QV 5MZKQMZ .ZvZM[ [\QTT K]ZZMV\ VIUM 5MZKQMZ _I[ QV []XXTQMZ WN \PM ZWaIT +W]Z\ WN ;XIQV 0Q[ PW][M Y]QKSTa JMKIUM _MTT SVW_V IVL XIZ\QKQXI\ML NZWU QV ITT IZ\ M`PQJQ\QWV[ )\ \PM .ZMVKP 1VL][\Za 8ZWL]K\[ -`PQJQ\QWV held in Paris in 1844, he was awarded an « mention honorable » for his carved rosewood furniture and received a bronze medal at the 1849 London fair. In 1852, he won a second-class medal. At the 1855 Paris Universal Exhibition, Mercier showed a wardrobe, a canopy bed as well as an ebony table. At the Exposition of the Union Centrale des Beaux-Arts, \PM 5MZKQMZ JZW\PMZ[ XZM[MV\ML I[ \PMQZ UI[\MZXQMKM I _ITV]\ J]‫ٺ‬M\ _PQKP _WV I UMLIT )\ \PM 8IZQ[ =VQ^MZ[IT Exhibition, they sent ebony furniture for bedrooms and Louis XVI style tables. Claude Mercier seems to have stamped PQ[ _WZS[ ^MZa M`KMX\QWVITTa , 4MLW]` 4MJIZL 4M[ uJuVQ[\M[ L] @1@M [QvKTM 4M[ uLQ\QWV[ LM T¼)UI\M]Z 8IZQ[ ! XX 478-9).

Léon Messagé (1842-1901)

4uWV 5M[[IOu Q[ WZVMUIVQ[\ IVL LM[QOVMZ ?PMV LZI_QVO PQ[ WZVIUMV\[ PM ZMTI\ML \W \PM :WKIQTTM I[aUUM\Za NW]VL QV \PM [SM\KPJWWS[ WN 6QKWTI[ 8QVMI] WZ 2 ) 5MQ[[WVQMZ NIUW][ WZVMUIVQ[\[ WN \PM Ã…Z[\ XIZ\ WN \PM th century. But even though Messagé found inspiration with these artists, he didn’t simply KWXa \PMQZ _WZS IVL [PW_ML OZMI\ WZQOQVITQ\a M^MV M`\ZI^IOIVKM _Q\P [WUM LM[QOV[ KWV\IQVML QV +IPQMZ LM[ LM[[QV[ M\ KZWY]Q[ [\aTM 4W]Q[ @> 0M ZMITQbML V]UMZW][ [SM\KPM[ WV OZIa XIXMZ JMNWZM \PM M`MK]\QWV WN I ZML]KML WZ TQNM [QbML UWLMT WN PQ[ WZVIUMV\[ UILM WN _I` WZ <MZZI +W\\I .ZWU 4uWV 5M[[IOu [\IZ\ML _WZSQVO _Q\P QUXWZ\IV\ 8IZQ[QIV KIJQVM\ UISMZ[ []KP 2W[MXP -UUIV]MT B_QMVMZ IVL .ZIVtWQ[ 4QVSM .ZIVtWQ[ 4QVSM LM^MTWXML PQ[ XMZ[WVIT [\aTM _Q\P []KP \ITMV\ IVL Y]ITQ\a \PI\ PM _I[ VIUML L]ZQVO \PM ! =VQ^MZ[IT -`PQJQ\QWV \PM 4QVSM ;\aTM 0Q[ tremendous success and his particular formal imagination came from his association with the designer Léon Messagé. The U]\]IT QVÆ]MVKM[ KWVKMZVQVO \PM[M \PZMM IZ\Q[\[ KIV JM KWVKZM\MTa WJ[MZ^ML QV V]UMZW][ ZMITQbI\QWV[ 6W\IJTa \PM 4W]Q[ @> [\aTM ZuO]TI\M]Z []ZUW]V\ML Ja I UW\QN ZMXZM[MV\QVO <QUM _PQKP _I[ I\ Ã…Z[\ M`MK]\ML QV <MZZI +W\\I Ja 5M[[IOu 1\ _I[ XZM[MV\ML Ja 4QVSM I\ \PM ! =VQ^MZ[IT -`PQJQ\QWV ]VLMZ \PM V]UJMZ

409

Auguste Metgé (1883-1910)

<PM KIJQVM\ UISMZ )]O][\M 5M\Ou NWTTW_ML KW]Z[M[ I\ \PM jKWTM LM[ *MI]` )Z\[ QV <W]TW][M NZWU !! until 1903, and won a scholarship from the Regional Council in order to continue his art studies in Paris, _PMZM PM Ã…VITTa M`PQJQ\ML [K]TX\]ZM[ IVL XIQV\QVO[ I\ \PM ;ITWV LM[ .ZMVKP )Z\Q[\[ QV ! 0M \WWS IN\MZ \PM NIUQTa MV\ZMXZQ[M UISQVO [MI\[ IVL KIZ^ML N]ZVQ\]ZM QV ;WZvbM ;W]\PMZV .ZIVKM IVL \PIVS[ \W PQ[ ML]KI\QWV IVL \ITMV\ PM OI^M I VM_ QUXM\][ \W \PM _WZS[PWX _PQKP Y]QKSTa [XMKQITQbML QV \PM IZ\Q[\QK KIJQVM\ UISQVO )]O][\M 5M\Ou KZMI\ML N]ZVQ\]ZM IVL MV[]ZM \PMQZ XMZNMK\ ZMITQbI\QWV ?PQTM XMZNWZUQVO PQ[ W_V LZI_QVO[ _WWL_WZSQVO IVL KIZ^QVO PQ[ _QNM UILM WV PMZ W_V \PM QVTIa _WZS IN\MZ PMZ P][JIVL¼[ KWUXW[Q\QWV[ <PM Ã…VMTa M`MK]\ML []JRMK\[ \WWS \PMQZ [W]ZKM QV \PM ;WZvbM TIVL[KIXM 5IZSML Ja \PM /ZMI\ ?IZ ! )]O][\M 5M\Ou _Q\PLZM_ OZIL]ITTa ZM[XWVLQVO \W ^MZa NM_ KWUUIVL[ 0Q[ _WZS QVKT]LM \PM JI[ ZMTQMN[ WN \PM 5MUWZQIT[ QV ;WZvbM IVL ,]ZNWZ\ IVL I +PZQ[\ NWZ \PM *MVMLQK\QVM )JJMa QV -V +ITKI\ 5M\Ou _I[ I UMUJMZ WN \PM R]Za NWZ \PM /ZMI\M[\ .ZIVKM +ZIN\[UIV IVL _I[ I_IZLML \PM 7ZLZM 6I\QWVIT LM TI 4uOQWV L¼0WVVM]Z .ZIVKM¼[ PQOP\M[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV

Maison Millet (active from 1853 until 1818)

<PM Ã…ZU WN 5QTTM\ < _I[ NW]VLML QV 8IZQ[ QV ) ^MZa \ITMV\ML [XMKQITQ[\ QV th century reproductions, Millet XZWL]KML N]ZVQ\]ZM IVL IZ\Q[\QK JZWVbM[ WN \PM PQOPM[\ Y]ITQ\a 0M _I[ WVM WN \PM NM_ KIJQVM\ UISMZ[ \W WJ\IQV I]\PWZQ[I\QWV NZWU \PM +Pp\MI] LM >MZ[IQTTM[ \W UISM I ZMXTQKI WN 9]MMV 5IZQM )V\WQVM\\M¼[ OZMI\ RM_MT KIJQVM\ 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 ^QM_[ \ISMV QV \PM 5QTTM\¼[ _WZS[PWX IVL PQ[ XIZQ[QIV [PWX \PM [\IVL PMTL Ja PQU L]ZQVO \PM ;IQV\ 4W]Q[ =VQ^MZ[IT -`PQJQ\QWV WN ! )UWVO 5QTTM\¼[ UI[\MZXQMKM[ \PMV M`XW[ML \PQ[ KPQUVMa LMKWZI\QWV Q[ \W JM [MMV <PM Ã…ZU TI[\ML ]V\QT !

Martha Darlay Mutrie IVL Annie Ferray Mutrie !

5IZ\PI ,IZTIa 5]\ZQM IVL )VVQM .MZZIa 5]\ZQM _MZM JWZV QV 5IVKPM[\MZ QV IVL *W\P _MZM X]XQT[ WN /MWZOM[ ?ITTQ[ I\ \PM :WaIT )KILMUa WN 5IVKPM[\MZ <PMa [XMKQITQbML QV [\QTT TQNM XIQV\QVO[ WN ÆW_MZ[ IVL NZ]Q\[ *M\_MMV IVL \PMa [PW_ML \PMQZ _WZS I\ \PM :WaIT )KILMUa WN 5IVKPM[\MZ and Royal Academy of London exhibitions. They were greatly appreciated by British high society ladies. <PMa IT[W XIZ\QKQXI\ML QV V]UMZW][ =VQ^MZ[IT -`PQJQ\QWV[ PMTL []KP QV 8IZQ[ QV 5IZ\PI ,IZTIa 5]\ZQM _I[ ZM_IZLML I\ \PM M`PQJQ\QWV[ WN QV 8IZQ[ QV 8PQTILMTXPQI ! QV ;aLVMa IVL QV 5MTJW]ZVM

Meynard

<PM ZMVW_VML Ã…ZU WN 5MaVIZL _I[ M[\IJTQ[PML I\ .I]JW]ZO ;IQV\ )V\WQVM QV 8IZQ[ QV +ZMI\ML Ja Guillaume Meynard, the company became famous under the name of Father-and-Son Meynard when in 1833, Guillaume-Mathieu, the eldest child of Guillaume Meynard joined him. His father left his son alone managing the NIUQTa W_VML J][QVM[[ NZWU /]QTTI]UM 5I\PQM] _I[ RWQVML Ja PQ[ [WV 4uWV /]QTTI]UM QV <PM Ã…ZU was then called Meynard and Son. Under the same name, Léon-Guillaume, then representing the third generation, \WWS TMILMZ[PQX NZWU ]V\QT ! _PMV PM [WTL PQ[ J][QVM[[ \W -]OvVM .ZIOMZ )N\MZ _QVVQVO V]UMZW][ I_IZL[ I\ \PM 8ZWL]K\[ WN Industry Exhibitions and later at the Universal Exhibitions (a gold medal won in Paris in 1878), the Frager furnishing and decoration KWUXIVa XMZXM\]I\ML \PM M`KMTTMV\ ZMX]\I\QWV WN \PM Ã…ZU Ja JMQVO I_IZLML I [QT^MZ UMLIT I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN !

Leopold Oudry (active since 1854)

Leopold Oudry in 1854 founded his electrochemical company in the village of Auteuil (annexed to Paris QV I\ V Z]M +]Q[[IZL 1V 7]LZa Q[ SVW_V NWZ PQ[ KI[\ ^I[M[ IVL [\I\]M\\M[ KWI\ML _Q\P X]ZM KWXXMZ LMXW[Q\ML Ja MTMK\ZWXTI\QVO I XZWKM[[ _PW[M 8IZQ[QIV [QT^MZ[UQ\P +PIZTM[ +PZQ[\WÆM PIL JW]OP\ \PM XI\MV\[ QV ! 2MIV +PIZTM[ )TXPIVL LQZMK\WZ WN X]JTQK ZWIL[ IVL _ITS[ QV 8IZQ[ ]VLMZ 6IXWTMWV 111 ]VLMZ[\WWL \PM IL^IV\IOM WN \PQ[ [a[\MU NWZ \PM JMI]\QÅKI\QWV IVL KWV[MZ^I\QWV WN UWV]UMV\IT NW]V\IQV[ 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, _MTKWUQVO IV I^MZIOM WN _WZSMZ[ 8IZ\QKQXI\QVO QV \PM NIUW][ =VQ^MZ[IT -`PQJQ\QWV[ 4MWXWTL 7]LZa _WV I VL KTI[[ UMLIT I\ \PM 8IZQ[ ?WZTL .IQZ 1V PM XMZNWZUML I ZMIT \W]Z LM NWZKM" \PM KWXXMZ XTI\QVO WN \PM \_W UWV]UMV\IT NW]V\IQV[ WV \PM +WVKWZLM [Y]IZM J]QT\ Ja 0Q\\WZ‫ ٺ‬QV IVL \PI\ PIL \W JM ZMXIQV\ML M^MZa aMIZ[ )\ \PM 4WVLWV 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 (

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 _WZS[PWX UISQVO )Z\ JZWVbM[ IVL .]ZVQ[PQVO JZWVbM[ [M\\TML Vˆ JW]TM^IZL *MI]UIZKPIQ[ QV 8IZQ[ 0M M`MK]\ML Ã…Z[\ [UITT WJRMK\[ \PMV KI[\ [\I\]M\\M[ KIVLMTIJZI KTWKS[ I[ _MTT I[ QUXZM[[Q^M [QbML \WZKPMZM[ 0M IXXMIZML \W \PM X]JTQK NWZ \PM Ã…Z[\ \QUM I\ \PM 1VL][\ZQIT 8ZWL]K\[ -`PQJQ\QWV WN ! IVL _WZSML NWZ the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being UMV\QWVML NWZ \PM Y]ITQ\a WN PQ[ _WZS I\ \PM NIUW][ IVL 4WVLWV =VQ^MZ[IT -`PQJQ\QWV[ IVL \PM IVL 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone for the exceptional quality of his 410

_WZS )XXWQV\ML I +PM^ITQMZ WN \PM 4uOQWV L¼PWVVM]Z Ja \PM .ZMVKP /W^MZVUMV\ 8IQTTIZL MUXTWaML [QVKM \PM ¼[ I P]VLZML _WZSMZ[ IVL XZWXW[ML \W PQ[ _MIT\Pa KTQMV\[ IJW]\ NW]Z P]VLZML[ UWLMT[ KI[\ QV JZWVbM VW\ WVTa IN\MZ NIUW][ [K]TX\WZ[¼ _WZS[ J]\ IT[W IN\MZ PQ[ W_V KZMI\QWV[ 1\ Q[ M[XMKQITTa QV\MZM[\QVO \PI\ PQ[ +PMZ]J Ã…O]ZM[ []KP I[ \PW[M WVM[ XZM[MV\ML PMZM _MZM XIZ\QK]TIZTa [QVOTML W]\ NWZ \PMQZ KPIZU IVL XWX]TIZQ\a Ja KWUUMV\I\WZ[ I\ JW\P \PM IVL =VQ^MZ[IT -`PQJQ\QWV[ *]ZVMa ?IZQVO VW\ML \PI\ \PMa XWZ\ZIaML \PM PIXXa IVL QVVWKMV\ UWWL[ WN KPQTLPWWL

Paris Porcelain (18th - 19th century)

;QVKM \PM LQ[KW^MZa WN SIWTQV VMMLML UI\MZQIT NWZ \PM UISQVO WN XWZKMTIQV XWZKMTIQV NIK\WZQM[ IT[W KITTML porcelain manufactures are on the increase in all France and naturally in Paris. Most of those manufactures _WZSML QV \PM th 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 KMV\]Za V]UMZW][ XQMKM[ LQL JMIZ VW UISQVO UIZS 1\ _I[ \PMV ITUW[\ QUXW[[[QJTM \W I\\ZQJ]\M \PMU \W IVa XIZ\QK]TIZ 8IZQ[QIV NIK\WZa PMVKM \PM M`XZM[[QWV 8IZQ[ XWZKMTIQV WZ >QM]` 8IZQ[ QVKT]LQVO ITT \PW[M ^IZQW][ XZWL]K\QWV[

Henri Pernot (1859-1937)

Henri Pernot born in Gent (Belgium) in 1859, was naturalized French. He studied sculpture at the Fine Arts ;KPWWT QV *Z][[MT[ 0M _I[ I ZMVW_VML [K]TX\WZ _MTT ZMO]IZLML L]ZQVO PQ[ TQNM\QUM 0M [M\ ]X PQ[ _WZS[PWX in Paris, participating with success as soon as 1895 at the famous Paris Salon of the French Artists (Salon LM[ )Z\Q[\M[ .ZIVtIQ[ _PMZM PM _I[ I_IZLML I UMV\QWV PWVWZIJTM QV ! _Q\P \PM ?WTN <ZIX \PMV I \PQZL KTI[[ UMLIT QV ! 0M [\MILQTa I\\MVLML \PQ[ ;ITWV _PMZM PM _I[ I UMUJMZ [QVKM ! 0M _WV QV ! ! I [MKWVL KTI[[ UMLIT _Q\P +WY]M\\MZa 0 8MZVW\ IT[W []XXTQML JMI]\QN]T UWLMT[ \W \PM XWZKMTIQV UIV]NIK\]ZM WN Sèvres.

Perret & Vibert (19th Century)

1V )TNZML 8MZZM\ IVL -ZVM[\ >QJMZ\ WXMVML QV 8IZQ[ I\ Z]M L] 9]I\ZM ;MX\MUJZM I [\WZM \PI\ W‫ٺ‬MZML ¹VI\]ZIT JIUJWW N]ZVQ\]ZM IVL KIVM [MI\[º IVL ITT SQVL[ WN \M`\QTM Ã…\\QVO[ NWZ N]ZVQ\]ZM <PQ[ N]ZVQ\]ZM ][ML NWZ _QV\MZ OIZLMV[ IVL \MZZIKM[ WN UIV[QWV[ SVM_ \PMV I ZM[W]VLQVO []KKM[[ <PMa LM^MTWXXML \PMQZ business around 1884 with their Japanese style furniture, very close to that executed by Gabriel Viardot ! 1V \PM KWUXIVa IXXMIZQVO QV \PM KI\MOWZa WN ¹+PQVWQ[MZQM IVL 2IXWVMZQM[º W‫ٺ‬MZML QV ILLQ\QWV \W N]ZVQ\]ZM IVL [MI\QVO KZMI\QWV _WZS[ WN IZ\ IVL QVTIQL N]ZVQ\]ZM LQZMK\Ta QUXWZ\ML NZWU \PM .IZ -I[\ # IV IK\Q^Q\a that expanded rapidly. Their exotic fantasy furniture presented at the Universal Exhibition of Paris in 1889 and 1900, ZM_IZLML \PMU \_W [QT^MZ UMLIT[ 1V ! \PM KWUXIVa _I[ TQ[\ML ]VLMZ \PM VIUM ¹8MZZM\ M\ >QJMZ\º PMILML Ja \PM [WV WN )TNZML 8MZZM\ IVL -ZVM[\ >QJMZ\ <PM [IUM aMIZ \PMa ZMLM[QOVML \PMQZ [\WZM WV Z]M L] 9]I\ZM ;MX\MUJZM KZMI\QVO \MV new show-rooms, showing complete furniture sets of Japanese and Chinese style inspiration. It was not until 1895, that \PM KWUXIVa _I[ Ã…VITTa VIUML ¹4I 5IQ[WV LM[ *IUJW][º IVL WZOIVQbML \PMV QV \PMQZ [PWX[ IV ¹M`PQJQ\QWV WN KW]V\Za N]ZVQ\]ZM IVL [MI\[ NWZ KI[\TM[ IVL ^QTTI[º _PQKP _I[ ^Q[Q\ML Ja -UXZM[[ -]OMVQM \W N]ZVQ[P PMZ ^QTTI +aZVW[ I\ +IX 5IZ\QV ;PM IK\]ITTa _I[ I ZMO]TIZ K][\WUMZ WN \PM ¹5IQ[WV LM[ *IUJW][º I[ [PM JW]OP\ ZMXMI\MLTa N]ZVQ\]ZM 1V 7K\WJMZ WN \PM [IUM aMIZ \PM SQVO WN /ZMMKM /MWZOM 1 ¹KPW[M I ^IZQM\a WN \PM[M K]\M [UITT _WWLKIZ^ML IVL LMKWZI\ML JIUJWW N]ZVQ\]ZM IVL [MI\[º I[ _MTT I[ [M^MZIT JZWVbM IVL XWZKMTIQV XQMKM[ NZWU 2IXIV \W OIZVQ[P PQ[ ?QV\MZ 8ITIKM VMIZ )\PMV[ )[ NWZ the American millionaire, Mr. Vanderbilt, he commissioned the Perret & Vibert house, to embellish the lobby and the OZMMVPW][M QV 6M_ AWZS I OZMI\ KWTTMK\QWV WN _PQ\M IVL OWTL TIKY]MZML ÆM`QJTM ZI\\IV [MI\[ IVL WJRMK\[ IZ\ WN 2IXIVM[M WZQOQV ¹4I 5IQ[WV LM[ *IUJW][º _PQKP ITZMILa PIL QV ! I JZIVKP M[\IJTQ[PML JW]TM^IZL 0I][[UIVV UW^ML LMÃ…VQ\MTa \PMZM Q\[ PMILY]IZ\MZ[ QV ! \W ZMUIQV ]V\QT Q\[ KTW[]ZM QV !!

Jacob Petit !

<PM NIUW][ .ZMVKP XWZKMTIQV IZ\Q[\ 2IKWJ 8M\Q\ ! W_VML WVM WN \PM UW[\ QUXWZ\IV\ IVL _MTT SVW_V XWZKMTIQV NIK\WZQM[ QV .ZIVKM JMKWUQVO WVM WN \PM UIRWZ XZWL]KMZ[ WN :WKWKW WZVIUMV\IT _IZM 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 \I[\M NWZ WZVIUMV\I\QWV IVL JIKS QV .ZIVKM QV PM _I[ Y]QKS \W Q[[]M IV QV\MZQWZ LM[QOV JWWS QVKT]LQVO M^MZa\PQVO IJW]\ N]ZVQ\]ZM 2IKWJ 8M\Q\ VQKSVIUM KWUXW[ML WN PQ[ Ã…Z[\ VIUM 2IKWJ 5IZLWKPu IVL PQ[ _QNM¼[ NIUQTa VIUM [\IZ\ML I J][QVM[[ QV *MTTM^QTTM 8IZQ[ He JW]OP\ QV Baruch Weill's small porcelain 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 IVL ZM\QZML QV I\ 8IZILQ[M 8WQ[[WVVQvZM [\ZMM\ QV 8IZQ[ OQ^QVO PQ[ J][QVM[[ \W WVM WN PQ[ _WZSMZ[ VIUML 2IKY]MU IQV 2IKWJ 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 KTI[[QKIT ^WKIJ]TIZa \PMUM[ IVL MUW\QWVIT Ã…O]ZM[ NZWU _PQKP MUMZOM[ OZIKM KWUJQVQVO ÆM`QJQTQ\a _Q\P VI\]ZITQ[\ [\ZMVO\P _PQKP UILM \P][ PQU I JZQTTQIV\ .ZMVKP [K]TX\WZ WN \PM Ã…Z[\ PITN WN \PM th century. ,]ZQVO PQ[ KIZMMZ 8MaZM ZMO]TIZTa XZM[MV\ML PQ[ _WZS I\ \PM 8IZQ[ ;ITWV LM[ )Z\Q[\M[ .ZIVtIQ[ _PMZM PM Q[ 411

I_IZLML [M^MZIT UMLIT[ []KP I\ \PM ! IVL ! [ITWV[ 0M WN\MV _WZSML _Q\P _WUIV IVL KPQTLPWWL \PMUM[

Henri Picard (active since 1831)

0MVZQ 8QKIZL _I[ M[\IJTQ[PML QV 8IZQ[ Z]M 2IZMV\M NZWU \W ! IVL \PMV Z]M LM TI 8MZTM NZWU \W 0M _WZSML WV \PM -UXMZWZ 6IXWTMWV 111¼[ IXIZ\UMV\[ OQTLQVO I\ \PM 4W]^ZM 8ITIKM 0Q[ XZWL]K\QWV _I[ QV I ZQKP IVL Ã…VM [\aTM TQSM I 2IXIVM[M [\aTM QVS_MTT WZ PQ[ 8WUXMQIV [\aTM LQVQVO \IJTM centerpieces.

Emile-Louis Picault (1833-1915)

-UQTM 4W]Q[ 8QKI]T\ JZQTTQIV\ X]XQT WN \PM .TMUQ[P [K]TX\WZ 4W]Q[ :WaMZ ! M`PQJQ\ML V]UMZW][ [K]TX\]ZM[ I\ \PM .ZMVKP )Z\Q[\[ ;ITWV NZWU \W ! ! 0Q[ ITTMOWZQKIT JQJTQKIT IVL 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 by G. Servant. The Picault's Japanese style []JRMK\[ IZM [KIZKM IVL \PMZM IZM IJW^M ITT PQ[ /ZMMS []JRMK\[ presenting a high standard quality of sculpture, very realistic, which are very fashionable during the second half of the 19th century.

Jean Pillement (1728-1808)

Jean-Pillement was born in a family of painters and was a student of Daniel Sarrabat in Lyon. Jean 8QTTMUMV\ JMOIV \W _WZS I\ IV MIZTa IOM NWZ \PM /WJMTQV[ UIV]NIK\]ZM 0M JMKIUM W‫ٻ‬KQIT XIQV\MZ VW\ WVTa \W 9]MMV 5IZQM )V\WQVM\\M WN .ZIVKM J]\ IT[W \W \PM 3QVO WN 8WTIVL ;\IVQ[TI[ )]O][\M ,]ZQVO \PM 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 IZ\Q[\QK [WKQM\a \PMZM 2 8QTTMUMV\ IKPQM^ML []KKM[[ VW\ WVTa I[ I TIVL[KIXM XIQV\MZ J]\ _I[ IT[W WVM WN \PM UW[\ QVÆ]MV\QIT decorators of the 18th KMV\]Za 0Q[ KPQVWQ[MZQM[ IZIJM[Y]M[ IVL ÆW_MZ XIQV\QVO[ XZW^QLQVO MTMOIV\ TMQ\UW\Q^M[ NWZ N]ZVQ\]ZM UISMZ[ \IXM[\Za _MI^MZ[ IVL XIZ\QK]TIZTa QV PQ[ WTL IOM NWZ \PM 5IV]NIK\]ZM LM ;WQM M\ LM[ 1VLQMVVM[ QV 4aWV _PMZM PM ended his distinguished career.

Georges et Constantin Potheau (Late 19thcentury)

/MWZOM[ IVL +WV[\IV\QV 8W\PMI] \WWS W^MZ \PM KIJQVM\ UISQVO KWUXIVa TML Ja +PIZUWQ[ IVL 4MUIZQVQMZ IVL QV[\ITTML \PMQZ _WZS[PWX[ I\ \PM Vˆ Z]M L] .I]JW]ZO ;IQV\ )V\WQVM QV 8IZQ[ 8W\PMI] *ZW\PMZ[ _MZM Y]Q\M ZMVW_VML NWZ \PMQZ ÅVM N]ZVQ[PQVO[ [QUXTM J]\ T]`]Z]W][ :MUIZSML Ja \PM R]Za I\ \PM ! 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV JW\P WN \PMU _MZM I_IZLML I ;QT^MZ UMLIT NWZ I []XMZJ KIZ^ML ÅZMXTIKM .ZWU 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 LaVI[\a WN KQ[MTM]Z[ KPQ[MTWZ[ )K\Q^M NZWU \W PM _I[ I UMUJMZ WN )KILuUQM LM ;IQV\ 4]K I\ \PM \QUM WN Q\[ LQ[[WT]\QWV QV 0M _I[ SVW_V I[ IV ®WZVIUMV\ [K]TX\WZ UWLMTM]Z IVL KQ[MTM]Z¯ 1V 1777, he lived at Faubourg Saint-Denis. He was chosen to execute the ormolu ornamentation for the coach WN 3QVO 4W]Q[ @>1 KWZWVI\QWV

Gustave-Frédéric Quignon, born in 1843.

0M _WZSML _Q\P PQ[ NI\PMZ 6IXWTuWV 9]QOVWV JW]TM^IZL :QKPIZL 4MVWQZ 0M \WWS \PM TMIL QV IVL M`XIVLML \PM XZWL]K\QWV WN \PM Ã…ZU _Q\P W\PMZ [MI\[ IVL XQMKM[ WN N]ZVQ\]ZM J]\ IT[W _Q\P [K]TX\]ZM 4QSM 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 -`PQJQ\QWV QV ! HM relocated the [IUM aMIZ \PM Ã…ZU Z]M LM ;IQV\ ;IJQV _PMZM PM _WZSML ]V\QT \PM MVL WN \PM KMV\]Za He participated to the French Exhibition of Moscow in 1891, next to H.Dasson and P.Sormani, and to the reports on the Universal Exhibition in Chicago in 1893. He won the Grand Prix for his stand at the Universal Exhibition of 1900.

Paul-François Quinsac

8I]T .ZIVtWQ[ 9]QV[IK ! ! JWZV QV *WZLMI]` QV JMKIUM I [\]LMV\ WN \PM NIUW][ XIQV\MZ Jean-Léon Gérôme (1824-1904) and started at the Salon of the French Artists in 1880. In 1884 he received IV PWVWZIJTM UMV\QWV IVL _I[ QV IXXWQV\ML UMUJMZ WN \PM ;WKQM\a WN \PM .ZMVKP IZ\Q[\[ ?Q\P PQ[ Æ]QL IVL OMVMZW][ [\aTM 9]QV[IK SVM_ Y]QKSTa []KKM[[ _Q\P ^IZQW][ \WXQK[ QVKT]LQVO 2IXIVM[M [KMVM[ M^WSQVO I ZMÃ…VML M`W\QK KW]V\Za 0Q[ \ZILQ\QWVITQ[\ [\aTM ITUW[\ IKILMUQK _I[ \PMV ^MZa U]KP QV ^WO]M I\ \PM \QUM ,]ZQVO PQ[ KIZMMZ QV 8IZQ[ PM TQ^ML QV 5WV\UIZ\ZM QV \PM aMIZ[ \W PM _WZSML I[ IV QTT][\ZI\WZ NWZ \PM ¹+W]ZZQMZ .ZIVtIQ[º VM_[XIXMZ +ITTML ¹\PM XIQV\MZ WN MTMOIVKMº PM _WV I \PQZL KTI[[ UMLIT IVL I \ZI^MT [KPWTIZ[PQX I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN ! 1V ! KZW_VML _Q\P OTWZa PM _I[ I_IZLML ¹+PM^ITQMZ LM TI 4uOQWV L¼PWVVM]Zº .ZIVKM¼[ PQOPM[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV 1V *WZLMI]` 8 9]QV[IK XZWL]KML V]UMZW][ LM[QOV[ NWZ \PM 8ZuNMK\]ZM \PM 412

Caisse d’Êpargne, the Château Bourran in MĂŠrignac, as well as for the library of bibliophile Henri Bordes (The Apotheosis of /]\MVJMZO ! _PQKP _I[ ZMTWKI\ML WV \PM KMQTQVO WN \PM /ZIVL <PMI\ZM [UWSQVO ZWWU 9]QV[IK NWZUML I KWV[QLMZIJTM number of artists in Bordeaux. He died in Bordeaux in 1929.

/QIKWUW :I‍ٺ‏IMTTQ

?I[ XZWJIJTa \PM UW[\ \ITMV\ML UW[IQKQ[\ QV :WUM L]ZQVO \PM TI[\ Y]IZ\MZ WN \PM MQOP\MMV\P IVL \PM JMOQVVQVO WN \PM VQVM\MMV\P KMV\]Za 0M _I[ WVM WN \PM Ă…Z[\ QN VW\ \PM Ă…Z[\ \W PI^M _WZSML QV šUW[IQKW QV XQKKWTWÂş or micromosaic in about 1775. This new technique permitted the meticulous virtuosity that was so coveted Ja \PM KWVVWQ[[M]Z[ WN \PM VMW KTI[[QK MZI :I‍ٺ‏IMTTQ _I[ KMZ\IQVTa ZMOIZLML I[ \PM []XZMUM KZIN\[UIV QV \PQ[ \MKPVQY]M IVL _WZSML VW\ WVTa NWZ \PM XIXIKa J]\ IT[W NWZ NWZMQOV KW]Z\[ TQSM \PI\ WN ;\IVQ[TI][ 8WVQI\W_[SQ 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 \PM UW[IQK U]ZIT KWXa WN 4MWVIZLWÂź[ 4I[\ ;]XXMZ VW_ QV \PM 5QVWZM\MVSQZKPM QV >QMVVI :I‍ٺ‏IMTTQ [\IaML QV 5QTIV M^MV after the fall of the Napoleonic Empire (1814), but he eventually returned to Rome.

Raingo Frères founded in 1813

<PM KWUXIVa :IQVOW .ZvZM[ NW]VLML QV 8IZQ[ QV QV[\ITTML \PMQZ _WZS[PWX[ IZW]VL I\ Vˆ <W]ZIQVM ;\ZMM\ \PMV I\ Vˆ >QMQTTM L] <MUXTM ;\ZMM\ <PM NW]Z :IQVOW JZW\PMZ[ Ă…Z[\ SVW_V I[ KTWKSUISMZ[ ILLML \W \PMQZ [ITM KI\ITWO [WUM IZ\ JZWVbM _WZS[ I[ _MTT I[ LMKWZI\Q^M JZWVbM XQMKM[ 1V \PMa 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)

7V \PM ZM\QZMUMV\ WN ?QTTQIU 0MVZa 3MZZ ¡ ! QV <PM ?WZKM[\MZ :WaIT 8WZKMTIQV +WUXIVa 4QUQ\ML _I[ NWZUML _Q\P :QKPIZL ?QTTQIU *QVV[ ! ¡ ! IVL -L_IZL 8PQTTQX[ L I[ RWQV\ managing directors. Between 1851 and 1887 the Severn Street factory expanded from 70 to 700 employees. :WaIT ?WZKM[\MZ SMX\ XIKM _Q\P X]JTQK LMUIVL NWZ VW^MT\a QV LM[QOV _Q\P \PM LM^MTWXUMV\ WN I _QLM ZIVOM of new materials and glazes, including glazed and unglazed Parian, earthenware, majolica and bone china. <PM Ă…ZU KWVKMV\ZI\ML WV \PM XZWL]K\QWV WN Ă…O]ZM[ IVL ^I[M[ QV\ZWL]KQVO W^MZ VM_ LMKWZI\Q^M Q\MU[ JM\_MMV 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, :MVIQ[[IVKM IVL +TI[[QKIT /ZMMS <PM )M[\PM\QK 5W^MUMV\ ¡ 1V \PM Âź[ IN\MZ aMIZ[ WN Q[WTI\QWV \PM 2IXIVM[M [\IZ\ML \W \ZILM IOIQV _Q\P -]ZWXM 1V 0Q[ -`KMTTMVKa ;QWVQQ <WUWUQ 1_IS]ZI 2]VQWZ 8ZQUM 5QVQ[\MZ WN 2IXIV ^Q[Q\ML :WaIT ?WZKM[\MZ IVL [I_ 2IXIVM[M [\aTM _IZM[ JMQVO UILM NWZ LQ[XTIa QV >QMVVI \PM NWTTW_QVO aMIZ 2IXIVM[M JZWVbM[ Q^WZQM[ IVL XZQV\[ X]ZKPI[ML Ja : ? *QVV[ QV -]ZWXM QV[XQZML \PM ?WZKM[\MZ KZIN\[UMV _PW LQL VW\ [TI^Q[PTa KWXa J]\ ILIX\ML QLMI[ NWZ \PM -VOTQ[P UIZSM\ The Royal Porcelain Manufactory of Berlin (19th century) <PM :WaIT 8WZKMTIQV 5IV]NIK\WZa WN *MZTQV /MZUIV" 3 VQOTQKPM 8WZbMTTIV 5IV]NIS\]Z *MZTQV IJJZM^QI\ML 385 _I[ NW]VLML QV Ja .ZMLMZQKS 11 WN 8Z][[QI \W UMM\ PQ[ LM[QZM \W KWUXM\M _Q\P factories of Dresden, Meissen and Sèvres in France. His troops occupied Meissen and Saxony during the ;M^MV AMIZ[Âź ?IZ _PMZM NIUW][ UIV]NIK\]ZM[ PIL [MKZM\[ _PQKP _MZM PQOPTa KW^M\ML QV -]ZWXM <PM 3QVO WN 8Z][[QI IKY]QZML \PM KWUXIVa \W \PM JZQVS WN JIVSZ]X\Ka QV IVL OI^M Q\ \PMZMNWZM I VM_ QUXM\][

Rousseau brothers

Rousseau brothers, Jean-SimĂŠon Rousseau de Rottière (1747-1820) and Jean-Hugues Rousseau, named :W][[MI] \PM MTLMZ , IZM JM[\ SVW_V NWZ PI^QVO _WZSML in \PM IXIZ\UMV\[ WN \PM ,I]XPQV I\ 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 palace. The originality of Rousseau was to exercise both the trade of painter and sculptor for ornaments, and to excel in the genre of ÂŤarabesquesÂť, mixing painted medallions imitating low-reliefs and paintings whose ÂŤgrotesquesÂť were inspired from the ancient Domus Aurea in Rome. Rousseau brothers realized similar ÂŤarabesquesÂť for the cabinet room in the MĂŠgret 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, I[ _MTT I[ I \ITMV\ML XIQV\MZ 0M [M\\TML QV 8IZQ[ QV NW]VLML I _WZS[PWX IVL XZM[MV\ML I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN [WUM MIZ\PMV_IZM QUQ\I\QVO \PM WTL :W]MV IVL =ZJQVW LMKWZ[ 0M Q[ IT[W mentioned as a painter producing at the famous earthenware Loebnitz manufacture. +P :]LPIZL\ \PMV _WZSML QV 4WVO_a I NIUW][ XTIKM NWZ Ă…VM LMKWZI\Q^M MIZ\PMV_IZM _PMZM PM VW\ WVTa XZWL]KML XZM[\QOQW][ XQMKM[ QV KWTTIJWZI\QWV _Q\P ZMVW_VML IZ\Q[\[ []KP I[ \PM XIQV\MZ -]OvVM +IZZQvZM ! ! J]\ IT[W executed his own creations. His signature is however relatively rare in Longwy, dating between 1882 and 1893, therefore I ^MZa JZQMN XMZQWL ZM^MITQVO PQ[ QV\MZM[\QVO _WZS :]LPIZL\ IKPQM^ML TIVL[KIXM[ IVL XWZ\ZIQ\[ [WUM\QUM[ QV ILLQ\QWV WN 413

ÆW_MZ[ QV ZMTQMN )[ I KZMI\Q^M IVL QVLMXMVLMV\ IZ\Q[\ [WUM WN PQ[ _WZS[ JMIZ WVTa PQ[ W_V [QOVI\]ZM _Q\PW]\ \PM 4WVO_a UIZS Frédéric-Jules Rudolphi (1808-1872) .ZuLuZQK 2]TM[ :]LWTXPQ ZIVS[ ITWVO[QLM .ZIVtWQ[ ,u[QZu .ZWUMV\ 5M]ZQKM IVL 2]TM[ ?Qv[M ! ! I[ WVM WN \PM W]\[\IVLQVO ZMXZM[MV\I\Q^M[ WN \PM OWTL[UQ\P¼[ KZIN\ WN .ZMVKP :WUIV\QK 0Q[\WZQKQ[U _PQKP PIL JMMV \MKPQVQKITTa IVL [\aTQ[\QKITTa [PIXML Ja +PIZTM[ ?IOVMZ !! IVL 2IKY]M[ 0MVZa .I]KWVVQMZ ! L]ZQVO \PM [ IVL [ *WZV QV +WXMVPIOMV QV :]LWTXPQ _WZSML ]VLMZ IVL KWTTIJWZI\ML _Q\P +PIZTM[ ?IOVMZ 7V \PM TI\\MZ¼[ LMI\P QV :]LWTXPQ KWV\QV]ML PQ[ _WZS[PWX IVL QV ! XIZ\QKQXI\ML QV 8IZQ[ QVL][\ZQIT M`PQJQ\QWV[ QVQ\QITTa ]VLMZ ?IOVMZ¼[ VIUM J]\ \PMV ]VLMZ PQ[ W_V )\ \PM [IUM \QUM PM IT[W KWTTIJWZI\ML _Q\P UWLMTTMZ[ OWTL[UQ\P[ IVL MVOZI^MZ[ []KP I[ )LWTXPM >QK\WZ /MW‫ٺ‬ZWa ,MKPI]UM 1V ITWVO _Q\P .ZWUMV\ 5M]ZQKM :]LWTXPQ M`PQJQ\ML I\ \PM +Za[\IT 8ITIKM /ZMI\ -`PQJQ\QWV IVL _I[ I_IZLML I +W]VKQT 5MLIT 1V PQ[ []UX\]W][ XQMKM[ WN RM_MTTMZa IVL Ã…O]ZIT _WZS[ admired by his contemporaries for the excellence of its design and execution, Rudolphi adopted the motifs of the Neo/W\PQK IVL 6MW :MVIQ[[IVKM IVL KWUJQVML \PM[M _Q\P MTMUMV\[ WN \PM [W KITTML »;MKWVL :WKWKW¼ XMZQWL

Marius Joseph Saïn !

5IZQ][ 2W[MXP ;I|V JWZV VMIZ )^QOVWV LMIL ! [\]LQML [K]TX\]ZM I\ \PM jKWTM LM[ *MI]` )Z\[ 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 <PWUI[ )V\WQVM 1VRITJMZ\ 0MVZQ )TTW]IZL IVL .uTQ` +PIZXMV\QMZ IVL PM [\Z]KS ]X I NZQMVL[PQX _Q\P [M^MZIT IZ\Q[\[ NZWU )^QOVWV QV ! ;I|V Ã…VITTa XIZ\QKQXI\ML QV \PM \PQZL M`PQJQ\QWV WN \PM >I]KT][M ;WKQM\a WN .ZQMVL[ WN \PM )Z\[ I[ _MTT I[ QV \PM NIUW][ 8IZQ[ [ITWV WN \PM ;WKQM\a WN .ZMVKP )Z\Q[\[ _PMZM PM M`PQJQ\ML ) TI ZMKPMZKPM LM[ KZIJM[ I _WZS _PQKP OIQVML 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 XTI[\MZ UWLMT[ WN IV )ZIJ OQZT IVL I aW]VO [PMXPMZL XZM[MV\ML PMZM 1V ! ;I|V _I[ I_IZLML \PM 7ZLMZ WN \PM 4MOQWV of Honor and exhibited at the Salon of the Society of French Artists until 1935.

Cristallerie St.Louis [QVKM \PM \P +MV\]Za

Q[ \PM WTLM[\ UIV]NIK\]ZMZ WN +Za[\IT QV -]ZWXM [QVKM I Ã…Z[\ OTI[[_WZS NIK\WZa _I[ M[\IJTQ[PML QV QV 5†Vb\PIT >ITTMa WN \PM 5WVS[ K]ZZMV\ ZMOQWV WN 4WZZIQVM <PM <PQZ\a AMIZ[ ?IZ KI][ML havoc in the region and the glassware factory ceased operations in mid-seventeenth century. On 17 .MJZ]IZa 3QVO 4W]Q[ @> I]\PWZQbML I LMKZMM WN \PM ;\I\M +W]VKQT \PM ZMKW^MZa WN \PM WTL QVL][\Za She held the title of royal glassware factory and was under the patronage of Saint Louis, in memory WN 3QVO 4W]Q[ 1@ .QN\MMV aMIZ[ TI\MZ .ZIVtWQ[ *MI]NWZ\ LM^MTWXML \PM NWZU]TI WN \PM KZa[\IT \PMZM Renamed Cristallerie royale de Saint-Louis, the manufacture as then directed by the Lassalle, before being sold in 1788 to \PM JIZWV +Wx\TW[Y]M\ 1V \PM VM_ ^MZZMZQM[ ZWaITM[ LM ;IQV\ 4W]Q[ _MZM IUWVO \PM Ã…Z[\ WV \PM KWV\QVMV\ \W XZWL]KM KZa[\IT \PI\ _I[ XZM^QW][Ta \PM UWVWXWTa WN -VOTIVL [QVKM Q\[ QV^MV\QWV QV QV 6M_KI[\TM IVL \PI\ ;MJI[\QMV BW]LM ! XZWL]KML QV 6IU]Z [QVKM )\ \PM JMOQVVQVO WN \PM !\P KMV\]Za I LQZMK\WZ WN ;\ 4W]Q[ )QUu /IJZQMT L¼)Z\QO]M[ ZMJ]QT\ ZM[\WZML XZWL]K\QWV NIKQTQ\QM[ IVL ZMNWK][ML XZWL]K\QWV WV KZa[\IT UISQVO <PM UIV]NIK\]ZM MUXTWaML QV UWZM \PIV _WZSMZ[ IVL _I[ \PMV \PM JQOOM[\ KZa[\IT NIK\WZa WN KWV\QVMV\IT -]ZWXM 1V ! Q\ _I[ renamed the Compagnie des Cristalleries de Saint Louis. Often put in competition with the Baccarat manufacture, St.Louis NIK\WZa \PMV XZM[MV\ML Q\[ Ã…VM[\ KZMI\QWV[ \W \PM NIUW][ =VQ^MZ[IT -`PQJQ\QWV[ _PMZM Q\ MIZVML V]UMZW][ I_IZL[

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 []KKMMLML PQU JMOIV \W UISM ZMXZWL]K\QWV[ NZWU WTLMZ UWLMT[ -`PQJQ\QVO I\ \PM -`XW[Q\QWV WN \PM Ã…VM )Z\[ IXXTQML \W 1VL][\Za -UQTM ;IU[WV JMKIUM XIZ\QK]TIZTa VW\ML NWZ PQ[ XWZKMTIQV _WZS[ QUQ\I\QVO \PM 7TL 2IXIV WVM[ 0M QV[\ITTML QV I NIK\WZa QV 5WV\ZM]QT [W][ *WQ[ VMIZJa 8IZQ[ IVL MVRWaML OZMI\ []KKM[[ I\ \PM 8IZQ[ 1V\MZVI\QWVIT -`PQJQ\QWV WN _Q\P \PMQZ QUQ\I\QWV[ WN ;I`WVa +PQVI IVL 2IXIV XWZKMTIQV XQMKM[ ITT KWV[QLMZML WN ^MZa Ã…VM Y]ITQ\a )\ \PM ! =VQ^MZ[IT -`PQJQ\QWV ;IU[WV +ie was deemed to be specialized in large size pieces, made either in porcelain or earthenware, whose models were chosen from the most _MTTSVW_V U][M]U[ []KP I[ \PM 4W]^ZM 5][M]U QV 8IZQ[ IVL \PM >QK\WZQI )TJMZ\ 5][M]U QV 4WVLWV 1V ! -UQTM _MV\ QV\W XIZ\VMZ[PQX _Q\P PQ[ [WV 4uWV ! ]VLMZ \PM VIUM ;IU[WV ;WV _PW OI^M I UIRWZ M`\MV[QWV \W \PM NIK\WZa MUXTWaQVO I TIZOM V]UJMZ WN _WZSMZ[ IVL LMKWZI\WZ[ 1V ILLQ\QWV \W \PM UIV]NIK\]ZQVO WN XWZKMTIQV \PMa IT[W made their own bronze decorative mounts used on the pieces.

414

Jean-Baptiste-Claude Séné (1748-1803)

2MIV *IX\Q[\M +TI]LM ;uVu UMUJMZ WN I NIUQTa WN KIZXMV\MZ[ IVL KIJQVM\UISMZ[ _I[ ZMKMQ^ML I[ I UI[\MZ KIZXMV\MZ QV ! 1V 9]MMV 5IZQM )V\WQVM\\M JW]OP\ ;IQV\ +TW]L +I[\TM NZWU \PM ,]SM WN 7ZTuIV[ )\ Ã…Z[\ Q\ _I[ Y]QKSTa N]ZVQ[PML _Q\P [QUXTM N]ZVQ\]ZM WZ \ISMV NZWU W\PMZ ZM[QLMVKM[ <PMV \PM /IZLM 5M]JTM LM TI +W]ZWVVM +ZW_V .]ZVQ\]ZM :MXW[Q\WZa WZLMZML \PM UISQVO WN [MI\[ UILM WN PQOP [\IVLIZL Y]ITQ\a [W \PI\ \PM SQVO IVL Y]MMV KW]TL MVRWa \PMQZ N]ZVQ[PML IXIZ\UMV\[ L]ZQVO \PMQZ ;XZQVO RW]ZVMa <PQ[ KWUUIVL _I[ UILM ]VLMZ \PM LQZMK\QWV WN \PM 9]IZ\MZ OMVMZIT UI[\MZ WN \PM +ZW_V .]ZVQ\]ZM :MXW[Q\WZa IVL WN \PM 5QVQ[\MZ WN .QVIVKM QV WZLMZ \W ZMN]ZVQ[P \PM ZWaIT ZM[QLMVKM[ <W LW \PQ[ \PMa I[[QOVML \W \PQ[ \I[S KIZXMV\MZ[ TQSM /MWZOM[ Jacob, Jean-BaptisteBoulard and Jean-Baptiste-Claude Séné, whom for the last one became one of the leading suppliers of \PM :WaIT .]ZVQ\]ZM :MXW[Q\WZa UISQVO \PMV \PM UW[\ JMI]\QN]T 4W]Q[ @>1 [\aTM N]ZVQ\]ZM I[ M^QLMVKML Ja \PM JML PM UILM NWZ 9]MMV 5IZQM )V\WQVM\\M I\ .WV\IQVMJTMI] IVL 3QVO 4W]Q[ @>1¼[ JML I\ ;IQV\ +TW]L

Georges Emile Henri Servant (1828-c. 1890)

/MWZOM[ -UQTM 0MVZQ ;MZ^IV\ _PW \WWS W^MZ PQ[ NI\PMZ QV I\ \PMQZ NW]VLZa Z]M >QMQTTM L] <MUXTM QV 8IZQ[ [XMKQITQbML QV \PM XZWL]K\QWV WN VMW -OaX\QIV [\aTM KTWKS[ ^MZa XWX]TIZ QV .ZIVKM [QVKM ¼[ IVL IT[W \PM UISQVO WN /ZMMS [\aTM LMKWZI\Q^M WJRMK\[ 0M LZM_ KWV[QLMZIJTM I\\MV\QWV \W \PM PQOP Y]ITQ\a WN PQ[ JZWVbM[ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV IVL \PMV I\ \PM 4WVLWV -`PQJQ\QWV )\ \PQ[ \QUM ;MZ^IV\ M`XWZ\ML ]X \W WN PQ[ XZWL]K\QWV XZQVKQXITTa \W \PM =VQ\ML ;\I\M[ *]\ PQ[ []KKM[[ KIUM ZMITTa I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _I[ I_IZLML I OWTL UMLIT NWZ PQ[ VMW /ZMMS _WZS[ IUWVO _PQKP _I[ M`XW[ML \PQ[ ^I[M WN *IKKP][ 2]TM[ 5MV[IZL M`XTIQV[ QV PQ[ ZMXWZ\ WN \PM M`PQJQ\QWV 4M[ 5MZ^MQTTM[ LM T¼-`XW[Q\QWV =VQ^MZ[MTTM LM \ 11 Xˆ " <PM OMVMZIT [PIXM IVL \PM LM\IQT[ WN \PM XQMKM ZMIKP XMZNMK\QWV QV KPIZIK\MZ IVL \I[\M IVL JMIZ \PM [IUM [\IUX I[ \PM JM[\ _WZS[ TMN\ \W ][ Ja IV\QY]Q\a VW\IJTa \PW[M NZWU 8WUXMQQ _PQKP _I[ :WUIV IT\PW]OP UIVa WN \PM ^I[M[ NW]VL \PMZM _MZM WN X]ZM /ZMMS [\aTM <PQ[ ^I[M WN *IKKP][ Q[ UILM MV\QZMTa WN JZWVbM ;MZ^IV\ _I[ M^MV I_IZLML QV \PM 7ZLZM VI\QWVIT LM TI 4uOQWV L¼0WVVM]Z .ZIVKM¼[ PQOPM[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and [UITT JZWVbM XQMKM[ WN N]ZVQ\]ZM J]\ _I[ IT[W I UMUJMZ WN \PM R]Za NWZ \PM KTI[[ WN JZWVbM XQMKM[ WN IZ\ 0M Ã…VITTa ZM\QZML 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 sculptorUWLMTWZ[ 8PuVQ` IVL 2WaI] I[ LM[QOVMZ IVL LM[QOVML [QT^MZ [UQ\P¼[ WJRMK\[ NWZ NIUW][ Ã…ZU[ TQSM ,MVQvZM Froment-Meurice, Morel and Duponchel. During the Revolution in 1848, C. Sévin joined Morel in London, I[ _WZS[PWX UIVIOMZ IVL LM[QOVML XQMKM[ \PI\ 5WZMT M`PQJQ\ML QV *IKS QV .ZIVKM QV + ;u^QV went to Limoges and designed models for the porcelain factories of Jouhanneaud and Dubois of which UIVa XQMKM[ _MZM M`PQJQ\ML I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV .ZWU \PQ[ LI\M WV PM _WZSML NWZ .MZLQVIVL *IZJMLQMVVM I[ [K]TX\WZ WZVMUIVQ[\ ]V\QT \PM MVL WN PQ[ TQNM ;u^QV¼[ _WZS[ IZM KWV[QLMZIJTM PM LM[QOVML N]ZVQ\]ZM JZWVbM[ NWZ \PM P€\MT LM 4I 8I|^I )\ \PM 4WVLWV -`PQJQ\QWV QV PM _I[ I_IZLML I UMLIT XW]Z T¼M`KMTTMVKM IZ\Q[\QY]M LM[ UM]JTM[ Y]¼QT I LM[[QVu[ M\ Y]Q [WV\ M`XW[u[ XIZ *IZJMLQMVVM " NWZ \PM IZ\Q[\QK M`KMTTMVKM WN \PM N]ZVQ\]ZM PM LM[QOVML IVL _PQKP Q[ M`PQJQ\ML Ja . *IZJMLQMVVM 0M _WV I [MKWVL KTI[[ UMLIT I\ \PM =VQWV KMV\ZITM LM[ )Z\[ LuKWZI\QN[ -`PQJQ\QWV QV IVL _I[ I_IZLML I OWTL UMLIT I[ KWWXMZI\WZ . *IZJMLQMVVM [IQL \PI\ XW[\MZQ\a _W]TL ZMUMUJMZ ;u^QV¼[ KWUXW[Q\QWV[ <PM UW[\ M`\ZIWZLQVIZa WJRMK\ LM[QOVML Ja + ;u^QV NWZ . *IZJMLQMVVM _I[ I :MVIQ[[IVKM [\aTM OQTLML JZWVbM UWV]UMV\IT KTWKS 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)

<PM ;v^ZM[ NIK\WZa WN [WN\ XI[\M XWZKMTIQV _I[ KZMI\ML IJW]\ I\ >QVKMVVM[ Ja JIVSMZ[ IVL Ã…VIVKQMZ[ _Q\P \PM IQU WN UISQVO \Z]M WZ PIZL XI[\M XWZKMTIQV TQSM 5MQ[[MV LQL 1V 4W]Q[ @> JMKIUM I UIRWZ shareholder and the manufactory was transferred to Sèvres, closer to Versailles and the château de Bellevue, IKY]QZML Ja \PM 5IZY]Q[M LM 8WUXILW]Z <PM 5IZY]Q[M \WWS I XMZ[WVIT QV\MZM[\ QV ;v^ZM[ IK\Q^Q\QM[ IVL encouraged production. In 1759, Louis XV bought out the other shareholders and Sèvres became the M`KT][Q^M XZWXMZ\a WN \PM .ZIVKM +ZW_V .ZWU \PMV \PM UIV]NIK\]Za UIZS _I[ I [aUUM\ZQKITTa KZW[[ML 4[ \PM ZWaIT UWVWOZIU \WOM\PMZ _Q\P I TM\\MZ QVLQKI\QVO \PM aMIZ <PM XMZQWL JM\_MMV \W ! ZMXZM[MV\[ \PM UW[\ []KKM[[N]T IVL XZW[XMZW][ aMIZ[ NWZ \PM NIK\WZa 4W]Q[ @> WZLMZML TIZOM [MZ^QKM[ NWZ LQXTWUI\QK IVL ZWaIT XZM[MV\[ <PM NWZMUW[\ IZ\Q[\[ TQSM \PM XIQV\MZ[ *W]KPMZ WZ *IKPMTQMZ \PM [K]TX\WZ[ .ITKWVM\ WZ *WQbW\ _WZSML NWZ ;v^ZM[ KZMI\QVO UWLMT[ -`XMZQUMV\I\QWV QV WZLMZ \W LQ[KW^MZ \PM PIZL XI[\M XWZKMTIQV \MKPVQK KWV\QV]ML IVL _I[ LQ[KW^MZML IN\MZ ! <PM NIK\WZa XZWL]KML with success both soft-paste and hard-paste porcelain. In these years the most famous ground colours were invented: the LIZS JT]M JTM] TIXQ[ IJW]\ \PM \]ZY]WQ[M JT]M JTM] KuTM[\M QV \PM IXXTMOZMMV QV \PM NIUW][ ZW[M QV IVL \PM SQVO¼[ JT]M QV <PM[M ZMUIZSIJTM XQMKM[ _MZM ][]ITTa XIQV\ML _Q\P [KMVM[ NWZU MVOZI^QVO Ja NIUW][ XIQV\MZ[ .ZIVtWQ[ *W]KPMZ WZ WZVMUMV\ITQ[\[ _Q\P OIZTIVL[ JI[SM\[ WN ÆW_MZ[ IVL \ZWXPQM[ <PM XZWL]K\QWV QVKT]LML [K]TX\]ZM[ T¼)UW]Z UMVItIV\ Ja .ITKWVM\ TIZOM [MZ^QKM[ \PM [MZ^QKM NWZ :IUJW]QTTM\ _I[ LMTQ^MZML \W 5IZQM )V\WQVM\\M QV LMKWZI\Q^M IVL ]\QTQ\IZQIV WJRMK\[ <PM UIZKPIVL[ UMZKQMZ[ XTIaML IV QUXWZ\IV\ ZWTM QV []XXWZ\QVO \PM NIK\WZa IVL UISQVO Q\[ XZWL]K\QWV XWX]TIZ ,IO]MZZM _I[ \PM Ã…Z[\ \W LMKWZI\M N]ZVQ\]ZM _Q\P XWZKMTIQV WVM WN \PM UW[\ [\ZQSQVO innovations of the century and one of the most admired today.

415

Paul Sormani (1817-1877)

8I]T ;WZUIVQ JWZV QV 1\ITa QV LMIL QV [XMKQITQbML I\ Ã…Z[\ QV \PM UISQVO WN [UITT N]ZVQ\]ZM 0M QV[\ITTML PQ[ _WZS[PWX[ I\ \PM Vˆ Z]M L] <MUXTM QV 8IZQ[ <PM ;WZUIVQ KWUXIVa SVM_ \PMV I OZMI\ success and was much in favour with the Imperial Family as well as with the Paris high society. Empress -]OuVQM _PW ILUQZML 9]MMV 5IZQM )V\WQVM\\M IVL \PM [\aTM I\ PMZ \QUM N]ZVQ[PML PMZ XITIKM[ QV \PM 4W]Q[ @>1 [\aTM _Q\P [WUM ;WZUIVQ¼[ KZMI\QWV[ 8ZM[MV\QVO PQ[ _WZS I\ ITT QUXWZ\IV\ NIQZ[ []KP \PM ! -`XW[Q\QWV WN \PM 1VL][\ZQIT 8ZWL]K\[ WZ \PM =VQ^MZ[IT -`PQJQ\QWV[ NZWU ]V\QT ;WZUIVQ _I[ \PMV PWVWZML Ja R]Za[ NWZ PQ[ XZWL]K\QWV WN PQOP [\IVLIZL Y]ITQ\a IVL _WV \PM PQOPM[\ I_IZL[ 1V Ja \PM \QUM WN \PM OZMI\ =VQ^MZ[IT -`PQJQ\QWV ;WZUIVQ MVTIZOML IVL \ZIV[NMZML PQ[ _WZS[PWX[ \W \PM Vˆ Z]M +PIZTW\ ?PMV 8I]T ;WZUIVQ LQML KQZKI PQ[ _QNM IVL [WV \WWS W^MZ \PM J][QVM[[ IVL NZWU \PQ[ LI\M WV_IZL[ XQMKM[ IZM VWZUITTa [QOVML >M]^M ;WZUIVQ .QT[ o 8IZQ[

Arthur Strasser (1854-1927)

Arthur Strasser, born 1854 in Adelsberg, dead 1927 in Vienna, was an Austrian sculptor. He studied from ]V\QT I\ \PM >QMVVI )KILMUa WN .QVM )Z\[ 0M UIZSML PQ[ MIZTa QV\MZM[\ QV [K]TX\]ZM ?Q\P I scholarship he was able to continue and expand his studies in Paris from 1881 until 1883. He then returned \W >QMVVI \W [K]TX\ PQ[ _WZS QV \PM VI\]ZITQ[\QK [\aTM 1V ! ;\ZI[[MZ \WWS \PM XIQV\MZ +PIZTM[ ?QTLI 1907) 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 _Q\P J]aMZ[ _PW _MZM IT[W QV \PM )][\ZQIV QUXMZQIT NIUQTa 1V ! PM ZMKMQ^ML \PM 1UXMZQIT 8ZQbM IV L QV ! \PM /ZMI\ /WTLMV ;\I\M[ 5MLIT 0M JMKIUM XZWNM[[WZ QV !! \ISQVO W^MZ \PM [K]TX\]ZM KTI[[ I\ \PM >QMVVI ;KPWWT WN )XXTQML )Z\[ Arthur Strasser was certainly not a revolutionary reformer, but his natural subtle design could put some momentum in accordance with The Vienna Secession [MMSQVO \W UW^M I_Ia NZWU \PM XZM^IQTQVO PQ[\WZQKQ[U IVL IXXWQV\QVO [M^MZIT VM_ 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)

;][[M +WUXIVa won UMLIT[ [M^MZIT \QUM[ I\ \PM NIUW][ 8IZQ[ -`XW[Q\QWV[ LM[ 8ZWL]Q\[ LM T¼1VL][\ZQM ;][[M .ZvZM[ *ZW\PMZ[ >QK\WZ IVL )UuLuM _MZM SVW_V [QVKM I[ UISMZ[ WN )Z\ JZWVbM XQMKM[ NWZ KTWKS[ KIVLMTIJZI[ [\I\]M\\M[ M\K 1V[\ITTML 8TIKM LM TI *W]Z[M QV 8IZQ[ \PMa IT[W XZM[MV\ML I\ \PM [MKWVL [\WZIOM WN \PMQZ T]`]ZQW][ [PWX Ã…VM N]ZVQ\]ZM WZUWT] UW]V\ML XWZKMTIQV XQMKM[ IVL IZ\ WJRMK\[ )[ I _WZTL_QLM ZMSVW_V NW]VLZa \PM ;][[M KWUXIVa JMOIV \W KI[\ XQMKM[ I[ [WWV I[ \PM Ã…Z[\ PITN WN \PM !th KMV\]Za <PM UW[\ _MTTSVW_V .ZMVKP [K]TX\WZ[ OI^M \PMQZ [K]TX\ML UWLMT[ \W ;][[M QV WZLMZ \W KI[\ \PMU []KP 8ZILQMZ _PW [QOVML QV \PM WTLM[\ SVW_V X]JTQ[PQVO KWV\ZIK\ NWZ JZWVbM[ JM\_MMV I X]JTQ[PMZ IVL IV IZ\Q[\ )N\MZ \PM LMI\P WN \PM \_W JZW\PMZ[ )TJMZ\ ;][[M \WWS W^MZ \PM J][QVM[[ NZWU ]V\QT !

Jean-Pierre-Alexandre Tahan

2MIV 8QMZZM )TM`IVLZM <IPIV \WWS W^MZ PQ[ NI\PMZ J][QVM[[ ITZMILa [XMKQITQbML QV RM_MT KI[SM\[ IVL TQY]M]Z KMTTIZM\[ I[ _MTT I[ QV T]`]ZQW][ [UITT N]ZVQ\]ZM ZMOQ[\MZML ]VLMZ \PM ® \IJTM\\MZQM ¯ KI\MOWZa <PIVS[ \W PQU \PM <IPIV +WUXIVa SVM_ U]KP []KKM[[ IVL JMKIUM WVM WN \PM UW[\ NIUW][ Ã…ZU[ QV 8IZQ[ <PMa [M\\TML Z]M LM TI 8IQ` NZWU ! ]V\QT \PMV JW]TM^IZL LM[ 1\ITQMV[ JW\P NIVKa 8IZQ[QIV ILLZM[[M[ ]VLMZ \PM ;MKWVL -UXQZM QV \PM VM_ J]QT\ 7XMZI LQ[\ZQK\ <IPIV JMKIUM IT[W ^MZa Y]QKSTa WVM WN \PM NI^W]ZQ\M providers of Emperor Napoléon III and Empress Eugénie. He delivered to the imperial palaces numerous tables, vitrines, KMTTIZM\[ IVL N]Z\PMZ Ã…VM LMKWZI\Q^M WJRMK\[ 1V W\PMZ _WZL[ PM _I[ LMÃ…VQ\Q^MTa \PM OZMI\ [XMKQITQ[\ WN XZMKQW][ IVL PQOPTa selected objects. The Tahan house participated in various Universal Exhibitions, where they were steadily awarded medals: I [QT^MZ UMLIT QV ! IVW\PMZ WVM QV 4WVLWV QV IVL \PM OWTL UMLIT QV 8IZQ[ QV

Pierre-Philippe Thomire (1751-1843)

Pierre-Philippe Thomire was considered as one of the most talented bronze-chaser under the First Empire. 0M [\]LQML KPI[QVO _Q\P \PM ZMVW_VML 8QMZZM /W]\PQvZM IVL QV[\ITTM \PMV QV PQ[ 8IZQ[ _WZS[PWX _PMZM ITT \PM NIUW][ KIJQVM\ UISMZ[ IVL \PM ;v^ZM[ 5IV]NIK\]ZM _MV\ QV\W \W MUJMTTQ[P \PMQZ W_V XZWL]K\QWV <PWUQZM _I[ UIVa \QUM KWUUQ[[QWVML \W WZVI\M _Q\P TQOP\ Ã…\\QVO[ IVL KTWKS[ \PM ^IZQW][ Imperial residences, such as the Tuileries Palace, the Saint-Cloud Palace and the Fontainebleau Palace.

Edouard Toudouze

Edouard Toudouze was born in Paris in 1848 and died in 1907. He specialized in decoration painting, mythological and historical subjects, and illustration. Son of a father architect and engraver and a mother QTT][\ZI\WZ NWZ NI[PQWV RW]ZVIT[ PM MV\MZML \PM 8IZQ[ .QVM )Z\[ ;KPWWT QV _PMZM PM JMKIUM \PM [\]LMV\ WN 1[QLWZM 8QT[ 5WV\QKMTTQ IVL )]O][\M 4MTWQZ PQ[ W_V ]VKTM 0M M`PQJQ\ML PQ[ Ã…Z[\ WQT[ WV KIV^I[ I\ \PM 8IZQ[QIV ;ITWV QV IVL \PMV _WV \PM 8ZQ` LM :WUM QV 0M _I[ UIVa \QUM[ I_IZLML Ja UMLIT[ I\ \PM ;ITWV LM[ )Z\Q[\M[ NZIVtIQ[ IVL I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV ! ;QT^MZ 5MLIT )[ WVM WN \PM UW[\ famous decoration painter of the time, he obtained many private and public orders : the Ball Room of the Vanderbilt 5IV[QWV QV 6M_ AWZS# \PM KMQTQVO IVL LMKWZI\QWV[ WN \PM .WaMZ WN \PM 7XuZI +WUQY]M 8IZQ[ # UWLMT[ NWZ I [M\ WN \MV

/WJMTQV[¼ <IXM[\ZQM[ LM[\QVML \W \PM *ZQ\IQV 8IZTQIUMV\ QV :MVVM[# I TIZOM NZM[KW NWZ \PM ;WZJWVVM =VQ^MZ[Q\a QV 8IZQ[°

Armand Toussaint

)ZUIVL <W][[IQV\ _PW _I[ [WV WN I 8IZQ[ TWKS[UQ\P \ZIQVML _Q\P PQU JMNWZM MV\MZQVO \PM 8IZQ[ .QVM )Z\[ ;KPWWT QV 0M NWTTW_ML \PM [K]TX\]ZM \MIKPQVO[ WN ,I^QL L¼)VOMZ[ IVL _WV \PM [MKWVL /ZIVL 8ZQ` LM :WUM QV _Q\P \PM []JRMK\ WN +IXIVM][ [\Z]KSML LW_V ]VLMZ \PM _ITT[ WN <PMJM[ <W][[IQV\ M`PQJQ\ML \PM Ã…Z[\ \QUM I\ \PM ;ITWV WN Ja XZM[MV\QVO ) aW]VO .IZUMZ Ã…VLQVO I Sword. He obtained a third class medal at the Salon of 1839 and a second class medal to the 1847 Salon. )ZUIVL <W][[IQV\ PI[ [XMKQITQbML ^MZa MIZTa QV UWV]UMV\IT [K]TX\]ZM[ _Q\P ZMTQMN[ IVL Ã…O]ZM[ []KP QV ! I\ \PM 8vZM 4IKPIQ[M KQUM\MZa NWZ \PM .WZM[\QMZ¼[ \WUJ _Q\P ) [MI\ML aW]VO ?WUIV <PM NWTTW_QVO aMIZ PM XIZ\QKQXI\ML QV \PM XZWRMK\ WN \PM ,IUXQMZZM +I[\TM Ja UISQVO NWZ \PM ,]SM WN 4]aVM[ \PM [K]TX\ML LMKWZ WN \PM UIQV [\IQZKI[M IVL \PM .W]Z ;MI[WV[ drawing room. At the Salon of 1847, he exhibited the Indian Slave holding a torch and the Indian Slave maid holding I \WZKP 7V .MJZ]IZa \PM .ZMVKP 0WUM 7‫ٻ‬KM KWUUQ[[QWVML PQU \W KI[\ QV JZWVbM \PM[M JW\P [K]TX\]ZM[ <PM 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 _WZS[ []KP \PM UMLITTQWV 4IQ[[Mb ^MVQZ o UWQ TM[ XM\Q\[ -VNIV\[ UILM QV NW]Z [QbM[ 1V Q\ UILM \P][ 4I_ 2][\QKM IVL <_W [MI\ML +PQTLZMV NWZ \PM KTWKS WN \PM 2][\QKM 8ITIKM QV 8IZQ[ 0M M`MK]\ML [M^MZIT [\I\]M[ NWZ \PM _M[\ NZWV\ WN 7]Z 4ILa 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 [K]TX\ML I J][\ WN ,I^QL L¼)VOMZ[ QV M`PQJQ\ML QV \PM ,I^QL L¼)VOMZ[ U][M]U )VOMZ[ IVL I [\I\]M WN ,Z -[Y]QZWT +PIZMV\WV 0W[XQ\IT

Willem Jan van den Berghe (1823-1901)

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Georges van der Straeten !

/MWZOM[ ^IV LMZ ;\ZIM\MV JWZV QV /PMV\ *MTOQ]U QV LMIL ! QV 8IZQ[ JMOIV PQ[ [K]TX\WZ KIZMMZ QV IN\MZ PI^QVO \ZIQVML I[ I TI_aMZ 0M [\]LQML [K]TX\]ZM QV *MTOQ]U ]VLMZ / 3I[\MTMaV IVL 2MN Lambeaux, and left then Ghent for Paris, where he lived from 1883 until 1928. He met there a group of *MTOQIV IZ\Q[\[ IVL _I[ QV XIZ\QK]TIZ ^MZa KTW[M \W \PM XIQV\MZ[ 2IV >IV *MMZ[ IVL :QS ?W]\MZ[ ;\ZIM\MV M`PQJQ\ML ZMO]TIZTa PQ[ _WZS[ I\ \PM ;ITWV 0M \WWS QV[XQZI\QWV NZWU )V\WQVM ?I\\MI]¼[ XIQV\QVO[ \W ZMITQbM his numerous busts, made with elegant gestures and full of lively charm.

Joseph van Severdonck (1819-1905)

2W[MXP ^IV ;M^MZLWVKS _I[ I *MTOQIV XIQV\MZ 0M [\]LQML XIQV\QVO ]VLMZ *IZWV ?IXXMZ[ NZWU )V^MZ[ 0M [XMKQITQbML QV PQ[\WZQKIT IVL UQTQ\IZa XIQV\QVO[ QVKT]LQVO IVQUIT[ _PI\ IT[W KTI[[QÃ…ML 2 ^IV ;M^MZLWVKS IUWVO IVQUIT XIQV\MZ[ 0M IT[W XIQV\ML KTI[[QK [\aTM ITTMOWZQM[ 0M JMKIUM XZWNM[[WZ I\ \PM :WaIT )KILMUa WN *Z][[MT[ IVL PIL UIVa X]XQT[ IUWVO \PMU ?IT\MZ ;PI_ ;XIZZW_ _PWU KWV[QLMZML PQU I VW\ML KPIZIK\MZ IVL _ZW\M WN PQU QV PQ[ UMUWQZ[ 2 ^IV ;M^MZLWVKS Q[ KWV[QLMZML \W JM WVM WN \PM TI[\ ZMXZM[MV\I\Q^M XIQV\MZ WN \PM :]JMV[ ;KPWWT 0M IT[W JMKIUM \PM IXXWQV\ML XZWNM[[WZ \W 9]MMV 5IZQM 0MVZQM\\M _QNM WN 3QVO 4MWXWTL 11 WN *MTOQ]U

Valentine Porcelain

<PM >ITMV\QVM NIK\WZa _I[ I XWZKMTIQV NIK\WZa NW]VLML QV NWTTW_QVO \PM LQ[KW^MZa WN I ^MQV WN SIWTQV in the central Pyrenees, at Saint -Gaudens. It was the only porcelain factory located in the south of France. ,ZQ^MV Ja XWTQ\QKIT \ZW]JTM[ NWZUMZ XWZKMTIQV UISMZ[ WN 5W][\QMZ[ ;IQV\M 5IZQM NW]VLML QV \PM MIZTa VQVM\MMV\P KMV\]Za I NIK\WZa QV <W]TW][M *a \PQ[ NIK\WZa VIUML ¹.W]Y]M IVL )ZVW]` MIZ\PMV_IZM UIV]NIK\]ZMZ[ 8TIKM ;IQV\ ;MZVQV QV <W]TW][Mº _Q\P [M^MV\a _WZSMZ[ QV[\ITTML I [MKWVL NIK\WZa QV ;IQV\ /I]LMV[ WV \PM JIVS[ WN \PM ZQ^MZ /IZWVVM _PMZM \PM \_W NIK\WZQM[ Ã…VITTa KWV[WTQLI\ML QV <PM NIK\WZa MUXTWaQVO ]X \W _WZSMZ[ QV \PM [ _I[ NIKQVO \PM >ITMV\QVM PQTT NZWU _PMZM \PM W^MV[ WN \PM NIK\WZa _MZM ZMN]MTTQVO _Q\P _WWL IVL _PQKP OI^M \PMV Q\[ VIUM \W \PM XWZKMTIQV _IZM[ <PM[M ¹>ITMV\QVM XWZKMTIQV _IZM[º XZWL]KML ]V\QT QV ;IQV\ /I]LMV[ _MZM UILM QV X]ZM _PQ\M IVL UQTSa PIZL XI[\M _Q\P ^MZa JZQOP\ MVIUMT IVL _PW[M NIUW][ º>ITMV\QVM *T]Mº ^I[M[ _MZM KWTWZML _Q\P KWJIT\ JT]M <PM LMKWZ _I[ WN\MV MVZQKPML _Q\P ÆWZIT JW]Y]M\[ IVL OWTL TQVM[ XIQV\ML WV enamel.

Emilio Vasarri !

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 QV :WUM IVL 8ITMZUW _WZS[ N]TT WN UM\QK]TW][ LM\IQT[ 0M KIUM \W 8IZQ[ QV \PM TI\M !th century, where he participated in the Salon of French Artists. At the 1900 Universal Exhibition, Emilio Vasarri was awarded 417

a bronze medal, then a mention honorable at the 1904 Salon. As Jean-Léon Gérôme (1824-1904) and Ernest Meissonier ! -UQTQW >I[IZZQ [XMKQITQbML QV OMVZM [KMVM[ ZMNMZZQVO \W \PM IVKQMV\ /ZMKW :WUIV XMZQWL 3MMV WV LM\IQT IVL picturesque, he painted with such a prodigious talent the various colored fabrics and matching jewelry. André César Vermare ! ! ! 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 JMNWZM RWQVQVO \PM _WZS[PWX WN )TM`IVLZM .ITO]QvZM ! QV 8IZQ[ 1V !! )VLZu +u[IZ >MZUIZM _QV[ \PM 8ZMUQMZ 8ZQ` LM :WUM NWZ I XTI[\MZ JI[ ZMTQMN ZMXZM[MV\QVO )LIU IVL -^M Ã…VLQVO \PM JWLa WN )JMT <PQ[ [K]TX\ML OZW]X \ZQIVO]TIZ IVL KWUXIK\ QV I KTIa IVL [UWSM ZMKMV\Ta JWZV _WZTL LMKWZ Q[ 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 ! Gabriel Viardot career began as a wood carver and he produced small furniture, sculpturally carved with VI\]ZITQ[\QK UW\QN[ IVL IVQUIT[ 1V \PM Universal Exhibition QV 8IZQ[ PQ[ ÅVMTa [K]TX\ML WJRMK\[ _MZM well received. However, with the increasing importation of similarly produced Swiss and German articles, he found less opportunity for these and decided to inovate. G. Viardot succeeded to his father's business in QV[\ITTML Z]M :IUJ]\MI] QV 8IZQ[ )ZW]VL PM \]ZVML \W \PM QLMI WN XZWL]KQVO 5M]JTM[ OMVZM +PQVWQ[ M\ 2IXWVIQ[ <PM \I[\M QV -]ZWXM NWZ M`W\QK N]ZVQ\]ZM QVKWZXWZI\QVO [WUM\QUM[ I]\PMV\QK +PQVM[M WZ 2IXIVM[M objects was well established. But Viardot early designed his own models enriched with ivory, mother-of-pearl and beautiful OQT\ JZWVbM UW]V\[ )N\MZ PI^QVO _WV NW]Z UMLIT[ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV WN >QIZLW\ _I[ I_IZLML I [QT^MZ 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 _WZS[PWX MUXTWaQVO IXXZW`QUI\MTa UMV JW\P [K]TX\WZ[ IVL KIJQVM\ UISMZ[ _Q\P IVW\PMZ \W W]\[QLM KWV\ZIK\ _WZSMZ[ T -[KITQMZ LM +ZQ[\IT \PM NIUW][ 8IZQ[QIV W‫ٺ‬MZQVO T]`]Z]W][ N]ZVQ\]ZM OW\ \PM M`KT][Q^Q\a \W ][M \PMQZ W_V [\IUX 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 \PM 1\ITQIV 3QVOLWU _I[ XZWKTIQUML IVL \PM >QTTIVQ[ [M\\TML JIKS QV \PMQZ KW]V\Za QV \PM 8QMUWV\ region. From 1871 to 1880, Emmanuel Villanis studied at the Albertina Fine Arts Academy in Turin, ]VLMZ \PM LQZMK\QWV WN \PM ZMVW_VML [K]TX\WZ 7LWIZLW <IJIKKPQ ! )[ [WWV I[ PM Ã…VQ[PML PQ[ studies, E. Villanis exposed in various Italian cities, such with Alda, a bust exhibited in Milano in 1881. In >QTTIVQ[ ZM\]ZVML \W .ZIVKM TQ^QVO IVL _WZSQVO QV 5WV\UIZ\ZM _PMZM PM [\IaML ]V\QTT PQ[ LMI\P QV ! .ZWU ]V\QT ! PM XIZ\QKQXI\ML MTM^MV \QUM[ QV \PM NIUW][ 8IZQ[ ;ITWV LM[ )Z\Q[\M[ .ZIVtIQ[ _PMZM PM _I[ I_IZLML \PM 5MV\QWV 0WVWZIJTM QV ! NWZ \_W XTI[\MZ [K]TX\]ZM[ )UWVO PQ[ [M^MV\MMV [K]TX\ML _WZS[ [PW_V \PMZM" 6uZQVI ;ITWV # /IT\uM ! ;ITWV # 5QOVWV ! ;ITWV IVL 2]LQ\P ! ;ITWV - >QTTIVQ[ IT[W XIZ\QKQXI\ML QV V]UMZW][ =VQ^MZ[IT 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)

4QVI LM ?MQTMZ WZ ^WV ?MQTMZ JWZV QV 5IVVPMQU QV QV \PM L]SMLWU WN *ILM /MZUIVa KIUM \W 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 VW\QKML NWZ PQ[ 1\ITQIV [KMVM[ 1V 4QVI LM ?MQTMZ M`PQJQ\ML I N]TT TMVO\P XWZ\ZIQ\ WN [QZ ?QTTQIU .WZJM[ I\ \PM 4Q^QVO )Z\Q[\[ ;ITWV _PQKP \WWS XTIKM QV \PM 8ITIKM WN 1VL][\Za WV \PM +PIUX[ -Ta[uM[ ?Q\P QVKZMI[QVO success, she sent numerous portraits as well as some genre scenes to the 1859 Salon. These gentle and romantic scenes, as [PW_[ W]Z XIQV\QVO <PM :M\]ZV _WV \PM NI^W]Z WN \PM X]JTQK IVL _MZM I\ \PM NWZMNZWV\ [QVKM \PM ;ITWV <PM []JRMK\[ WN 4QVI LM ?MQTMZ¼[ XIQV\QVO[ [WUM\QUM[ IT[W QVKT]LML TIVL[KIXM[ WN PMZ XTIKM WN JQZ\P I[ I\\M[\ML Ja \PM .WZLQVO WN \PM ZQ^MZ" :MKITTQVO \PM *TIKS .WZM[\ M`PQJQ\ML I\ \PM ;ITWV

Adam Weisweiler (1744-1820)

)LIU ?MQ[_MQTMZ JMKIUM 5I[\MZ QV KIJQVM\ UISQVO WV 5IZKP \P 0M [M\\TML PQ[ _WZS[PWX QV 8IZQ[ WV .I]JW]ZO ;IQV\ )V\WQVM ;\ZMM\ ?MQ[_MQTMZ _I[ WVM WN \PM OZMI\ UI[\MZ[ WN \PM 4W]Q[ @>1 [\aTM .ZWU /MZUIV WZQOQV PM Q[ I[[]UML PI^QVO ZMKMQ^ML PQ[ \ZIQVQVO QV \PM _WZS[PWX WN :WMV\OMV 0M KIUM \W .ZIVKM JMNWZM aMIZ WN PQ[ _MLLQVO QV \PM KIXQ\IT KQ\a 0M _WZSML XZQUIZQTa NWZ \PM ®UIZKPIVL UMZKQMZ[¯ TQSM ,IO]MZZM _PWU [WTL ?MQ[_MQTMZ¼[ _WZS[ \W 9]MMV 5IZQM )V\WQVM\\M >MZa \ITMV\ML QV his art, he developed a personal style, combining various materials such pietra-dura, lacquer or Sèvres XWZKMTIQV XTIY]M[ =VTQSM UW[\ WN KIJQVM\ UISMZ[ \PM :M^WT]\QWV LQLV¼\ I‫ٺ‬MK\ PQ[ XZWL]K\QWV# ?MQ[_MQTMZ _WZSML ]VLMZ \PM 418

.QZ[\ -UXQZM NWZ 9]MMV 0WZ\MV[M ) TIZOM XIZ\ WN PQ[ XZWL]K\QWV Q[ VW_ LQ[XTIaML QV X]JTQK KWTTMK\QWV[ []KP QV \PM 4W]^ZM 5][MuU \PM 8IZQ[ ,MKWZI\Q^M )Z\[ 5][M]U \PM 6M_ AWZS 5M\ZWXWTQ\IV 5][M]U WN )Z\

Jean-Jacques Werner (1791-1849)

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

Albert Willms (19th century)

)TJMZ\ ?QTTU[ _I[ IXXZMV\QKML I[ UWLMTMZ IVL MVOZI^MZ \W 3TIOUIV ,QM\MZTM IVL +WV[\IV\ QV 8IZQ[ JMNWZM _WZSQVO NWZ 5WZMT +W QV 4WVLWV QV 7V PQ[ ZM\]ZV \W 8IZQ[ PM _I[ MUXTWaML Ja \PM OZMI\ 8IZQ[QIV [QT^MZ[UQ\P[ QVKT]LQVO +PZQ[\WÆM IVL .ZWUMV\ 5M]ZQKM NWZ _PWU PM LM[QOVML XQMKM[ \W JM XZM[MV\ML I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ 1\ _I[ L]ZQVO \PQ[ XMZQWL \PI\ PM RWQVML \PM Ã…ZU WN -TSQVO\WV QV 4WVLWV I[ PMIL LMKWZI\WZ -TSQVO\WV _I[ [WWV \W JMKWUM WVM WN \PM Ã…Z[\ \W XZWL]KM ZMÃ…VML XQMKM[ QV KPIUXTM^u enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in [MM 5I[\MZXQMKM[ WN 1VL][\ZQIT )Z\ ;K]TX\]ZM I\ \PM 1V\MZVI\QWVIT -`PQJQ\QWV 2 * ?IZQVO 4WVLWV 111 XT ?QTTU[¼ KPIUXTM^u MVIUMT[ KW]TL VW\ JM KWUXIZML PW_M^MZ _Q\P \PM LMTQKI\M KTWQ[WVVu MVIUMT[ M`PQJQ\ML Ja 2IXIV I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV 8IZQ[ QV <PQ[ M`XTIQV[ _Pa -TSQVO\WV ILIX\ML \PM IVKQMV\ 2IXIVM[M \MKPVQY]M \W XZWL]KM XQMKM[ IKKWZLQVO \W -]ZWXMIV \I[\M IVL K][\WU 1V 4WVLWV )TJMZ\ ?QTTU[ XZM[MV\ML PQ[ T]`]ZQW][ ^I[M[ IVL K]X[ QV KTWQ[WVVu MVIUMT NWZ -TSQVO\WV [MM 1TT][\ZI\QWV[ WN )Z\ 5IV]NIK\]ZMZ[ QV \PM 8ZMKQW][ 5M\IT[ M`PQJQ\ML Ja -TSQVO\WV & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) XZWL]KML QV \PM _WZS[PWX[ WN .MZLQVIVL *IZJMLQMVVM ! I \ZIa LMKWZI\ML _Q\P I OWTLMV XPMI[IV\ QV KTWQ[WVVu MVIUMT WV KWXXMZ IVL -UQTM )]O][\M :MQJMZ ! LM[QOVML NWZ \PM +PZQ[\WÆM Ã…ZU I TIZOM KTWKS _Q\P UI\KPQVO KIVLMTIJZI[ QV \PM 2IXIVM[M [\aTM 5][uM L¼7Z[Ia 8IZQ[ 1V^ 7 ) 7 _Q\P KTWQ[WVVu MVIUMT[ M`MK]\ML Ja )V\WQVM <IZL )TJMZ\ ?QTTU[ VM^MZ\PMTM[[ JMKIUM I [XMKQITQ[\ WN KTWQ[WVVu MVIUMT WV OQT\ UM\IT JM\_MMV IVL <PM 8PQTILMTXPQI =VQ^MZ[IT -`PQJQ\QWV _PMZM -TSQVO\WV XZM[MV\ML \W \PM X]JTQK PQ[ TI\M[\ KZMI\QWV[ QV \PM 2IXIVM[M [\aTM IV M`\MV[Q^M [M\ WN ^I[M[ IVL LQ[PM[ QV KTWQ[WVVu MVIUMT ZMXZWL]KML QV +WV\ZQJ]\QWV[ \W \PM +MV\MVVQIT IVL 1V\MZVI\QWVIT -`PQJQ\QWV I\ 8PQTILMTXPQI 4WVLWV I[[]ZML PQU I ZM[W]VLQVO []KKM[[ :MNMZZQVO \W PQ[ MVIUMT[ \PM KZQ\QK[ [IQL <PMa []ZXI[[ Ja NIZ UWLMZV +PQVM[M IVL 2IXIVM[M _WZS[ IVL IXXZWIKP \PM M`Y]Q[Q\M JMI]\a WN IVKQMV\ 2IXIVM[M XQMKM[

Charles-Guillaume Winckelsen (1812-1871)

*WZV QV +PIZTM[ /]QTTI]UM ?QVKSMT[MV Q[ WVM WN \PM UW[\ \ITMV\ML KIJQVM\ UISMZ[ WN \PM ;MKWVL -UXQZM XMZQWL \ISQVO QV[XQZI\QWV NZWU \P KMV\]Za N]ZVQ\]ZM 0M UIQVTa ][ML \PM 4W]Q[ @>1 [\aTM LMKWZI\Q^M UW\QN[ J]\ _Q\PW]\ ZM^MZ\QVO \W [QUXTM XI[\QKPM IVL KZMI\QVO \PMV JMI]\QN]T N]ZVQ\]ZM ?QVKSMT[M V¼[ JZWVbM KI[\QVO _I[ WN \PM PQOPM[\ Y]ITQ\a 0M PIL PQ[ _WZS[PWX QV 8IZQ[, 6ˆ >IT ;IQV\M +I\PMZQVM Qn UW^ML QV \W 6ˆ Z]M ;IQV\ 4W]Q[ QV \PM 5IZIQ[ IVL QV \W 6ˆ ! Z]M LM <]ZMVVM 0Q[ XZWL]K\QWV ^IZQML NZWU N]ZVQ\]ZM \W LMKWZI\Q^M _WZS[ WN IZ\ [XMKQITQbQVO QV XIZ\QK]TIZ QV \PM 4W]Q[ @>1 [\aTM \W I ^MZa PQOP Y]ITQ\a [\IVLIZL )[ I ^MZa \ITMV\ML KIJQVM\ UISMZ, PM _I[ WN\MV PWVW]ZML \PM KWUUIVL[ NZWU \PM IZQ[\WKZI\[ I[ _MTT I[ \PM 8IZQ[ _MIT\Pa PQOP [WKQM\a []KP I[ 4IÃ…\\M LM *uPIO]M XZQVKM :ILbQ_QTT .WTTW_QVO ?QVKSMT[MV¼[ LMI\P QV 0MVZa ,I[[WV ! X]ZKPI[ML WV 2]Ta \PM _WZS[PWX IVL [\WKS NZWU ?QVKSMT[MV¼[ _QLW_

Jean-Henri Zweiner-Jansen (1854-1928)

2MIV 0MVZQ 2IV[MV NW]VLML \PM NIUW][ QV\MZQWZ LMKWZI\QWV ÅZU WN 5IQ[WV 2IV[MV QV 5IV]NIK\]ZQVO revival and Nouveau furniture he became Fournisseur de la Cour d’Espagne and was awarded a Silver 5MLIT I\ JW\P \PM )U[\MZLIU -`PQJQ\QWV IVL \PM 8IZQ[ ! -`XW[Q\QWV =VQ^MZ[MTTM <PM ÅZU ZMTWKI\ML \W ! Z]M :WaITM 8IZQ[ QV IZW]VL _QKP \QUM Q\ QVKWZXWZI\ML \PM M[\IJTQ[PML ÅZU WN 2W[MXP Emmanuel Zwiener, renaming it Zwiener Jansen Successeur and adopting the practice stamping pieces,

Z.J".

Joseph-Emmanuel Zwiener (active from 1880 to 1895)

2W[MXP -UUIV]MT B_QMVMZ _I[ JWZV QV /MZUIVa QV ! 1V PM [M\ ]X PQ[ M`\MV[Q^M _WZS[PWX[ QV rue de la Roquette in Paris where he created many original pieces of furniture. He imitated 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 \PM =VQWV +MV\ZITM LM[ )Z\[ ,uKWZI\QN[ QV 8IZQ[ 7VM WN \PM R]LOM[ :MVu 5uVIZL ZMUIZSML \PI\ ®if Mr. Zwiener had limited himself to literal reproductions, he wouldn’t have attracted the attention of the jury so strongly. But alongside his very skillful copies, he has shown ][ _WZS[ QV[XQZML Ja PQ[ W_V QUIOQVI\QWV¯. At the 1889 Universal Exhibition, held in Paris, he was awarded the gold medal for PQ[ ZMUIZSIJTM KWXa WN \PI\ UW[\ NIUW][ XQMKM WN N]ZVQ\]ZM 4W]Q[ @>¼[ LM[S <PM KI\ITWO]M WN \PM M`PQJQ\QWV QVKT]LML I _WVLMZN]T MTMOa Y]ITQNaQVO \PM _WZS I[ XMZNMK\" ®No criticism what-so-ever could be made». Like that other famous cabinetUISMZ .ZIVtWQ[ 4QVSM ! B_QMVMZ PIL UW[\ WN PQ[ JZWVbM[ UWLMTTML Ja 4uWV 5M[[IOu ! _PW[M _WZS was considered as being of the best possible quality. Zwiener was active until 1895, when Jean-Henri Jansen (1854-1928) X]ZKPI[ML PQ[ J][QVM[[ IVL [\WKS 7XMZI\QVO ]VLMZ \PM VIUM WN ®B_QMVMZ 2IV[MV ;]KKM[[M]Z¯ 2IV[MV KWV\QV]ML \W NIQ\PN]TTa produce Zwiener’s creations, using the original models and lavishing the utmost care on these «meubles de luxe».

SIGNATURES 8

421

SIGNATURES Edouard Agneesens (1842-1885)

DĂŠsirĂŠ Attarge (c.1820-1878)

Baccarat

Ferdinand Barbedienne (1810-1892)

Antoine-Louis Barye (1795-1875)

Alfred-Emmanuel Beurdeley (1847-1919)

Fernand Blayn (1853-1892)

Albert-Ernest Carrier-Belleuse (1824-1887)

Christophe Charmois & Ernest Lemarinier (1839-1920)

+PIZTM[ +PZQ[\WÆM

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

Charles-Henri-Joseph Cordier (1827-1905)

Eugène Cornu (1827-1899)

Alfred DaubrĂŠe

Joseph-DĂŠsirĂŠ Court !

422

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

Albert Louis Dammouse !

Henry Dasson !

ThĂŠodore Deck (1823-1891)

Eugène Delaplanche !

Charles-Guillaume Diehl (1811-1885)

Paul Dubois (1827 - 1905)

Ferdinand Duvinage

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 423

Jean-Louis GrĂŠgoire (1840-1890)

Guillaume Grohe (1808-1885)

Emile Guillemin (1841-1907)

Eugène Hazart (19th century)

Lacarrière (19th century)

Eugène-Armand Lachaise (1857-1925)

Jules-Isidore Lafrance (1841-1881)

Louis-Édouard Lemarchand (1795-1872)

Ferdinand Levillain (1837-1905)

François Linke !

Paul Louchet !

Emilio Marsili !

Pierre-Jules Mène (1810-1879)

Auguste MetgĂŠ (1883-1910)

Maison Meynard (1808-1889)

Victor Paillard (

424

RaphaĂŤl Charles Peyre (1872-1949)

Henri Picard (active since 1831)

Emile-Louis Picault (1833-1915)

Quinsac (1858-1929)

Raingo Frères (founded in 1813)

Charles Rudhardt (1829-1895)

Susse Company (19th century)

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

Paul Sormani (1817-1877)

Paul Sormani (1817-1877)

Arthur Strasser (1854-1927)

Jean-Pierre-Alexandre Tahan (1813-1892)

Thesmar (1843-1912)

Pierre-Philippe Thomire (1751-1843)

425

Edouard Toudouze (1848-1907)

Armand Toussaint

Willem Jan van den Berghe (1823-1901)

Georges van der Straeten !

Joseph van Severdonck

Emilio Vasarri !

AndrĂŠ CĂŠsar Vermare ! ! !

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)

427

428

.W]VLML JMNWZM ! IVL PIVLML LW_V NZWU NI\PMZ \W [WV \PQ[ NIUQTa MV\MZXZQ[M [XMKQITQ[M[ QV -]ZWXMIV IZ\[ QVKT]LQVO XIQV\QVO IVL [K]TX\]ZM N]ZVQ\]ZM IVL LMKWZI\Q^M IZ\[ NZWU \PM [MKWVL PITN WN \PM !th 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 ! XMZQWL X]Z[]M[ \PM NIUQTa \ZILQ\QWV WN OQ^QVO UMIVQVO \W \PM _WZL[ »SVW_TMLOM¼ IVL »Y]ITQ\a¼ <WJWOIV )V\QY]M[ VM_Ta TWKI\ML QV 8IZQ[ I^MV]M 5I\QOVWV IT[W W‫ٺ‬MZ[ Q\[ KTQMV\MTM I [MTMK\QWV WN WJRM\[ L¼IZ\ ZMÆMK\QVO [WUM WN \PM XZQVKQXIT IZ\Q[\QK UW^MUMV\[ WN \PM .ZMVKP !th 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

429

<7*7/)6 )6<19=-;

14 Avenue Matignon. 75008 Paris. France 8

For all information, please contact us by: <-4" ! !! www.toboganantiques.com - Email: tobogan.antiques@wanadoo.fr

Š <7*7/)6 )6<19=-; All rights reserved - Updated June 2018

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