19th Century artistic movements - Tobogan Antiques by Philippe Zoï

Finest Selection 8

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Quality

GREEK - EGYPTIAN REVIVAL

8 Greek Revival is a term referring to late manifestations of Neoclassicism, now called the Greek Revival style, which is popularized in architecture, the decorative arts, and in painting, under the reign of Napoleon III, as well as during the III Republic. The Greek Revival vogue takes as its starting point the earlier expressions of the Neoclassical style inspired by 18th century excavations at Pompeii and Herculaneum. In the decorative arts, the Greek Revival is based on the standard repertory of Greco-Roman ornament, combining motifs drawn from Greek vase-painting and repetitive architectural motifs like anthemion, palmettoes, Greek key with elements from the Louis XVI styles of MIZTa 6MWKTI[[QKQ[U IVL WN 6IXWTMWVQK MZI -OaX\QIV ZM^QÎT LMKWZI\Q^M IZ\ 1\ KIV JM QLMV\QÅML Ja \PM NZMY]MV\ ][M WN Q[WTI\ML UW\QN[ WN +TI[[QKIT PMIL[ IVL ÅO]ZM[ UI[S[ _QVOML OZQ‫ٻ‬V[ ]ZV[ UMLITTQWV[ IZIJM[Y]M[ IVL N]Z\PMZ TW\][ J]L[ KWVÅVML _Q\PQV XIVMT[ [PIXML ZM[MZ^M[ WZ multiple borders of anthemion, guilloche, and Greek fret pattern. The Greek style is very popular in the 1860’s by both collectors and critics and has its best representatives in decorative arts with the bronze-caster George Servant (1828-c.1890) and the cabinet-maker Charles-Guillaume Diehl (1811-c.1885). The report on the « art bronzes category » at the 1878 Paris Universal Exhibition is quite clear about that matter. It is there UMV\QWVML \PI\ / ;MZÎV\ M`XW[ML UIOVQÅKMV\ /ZMMS KPQUVMa LMKWZI\QWV[ 0M LZM_ ITZMILa much attention at the previous Paris Universal Exhibition of 1867 while presenting « not only Egyptian clocks, but also a mirror and a bronze vase, both of Greek stylé » (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167). Another artist of the highest order, Ferdinand Levillain (1837-1905), a sculptor who works mainly for the famous bronze-caster Ferdinand Barbedienne (1810-1892). He wins a gold medal and is mentioned in the same report of 1878, for having exposed vases, lamps and ÎZQW][ \IbbI ® KPI[ML TQSM \PM ÅVM[\ RM_MT[ ¯ IVL ® [W LQ^MZ[M IVL X]ZM WN NWZU IZM WN \PM highest degree of perfection ». Egyptian Revival, fashionable since Napoleon Ist and his military campaigns in Egypt around 1799 is renewed in France in the 1830’s and above all in the 1860’s. Some renowned French artists, such as the sculptors and bronze-casters, Hébert, Servant and Denière or the cabinetmaker Grohé, present at the 1867 and 1878 Paris Universal Exhibitions, an a-part section dedicated to their Egyptian style production. At the 1867 Universal Exhibition, one could ILUQZM \PM [\IVL ZMITQbML Ja \PM .ZMVKP [QT^MZ[UQ\P RM_MTTMZ *I]OZIVL -`MK]\ML QV UW[\ ÅVM UI\MZQIT[ \PM[M WJRMK\[ \ISM QV[XQZI\QWV NZWU \PM -OaX\QIV )V\QY]M[ M`PQJQ\ML QV \PM 4W]^ZM museum. Afterwards, the Egyptian inspiration is to be seen in the production of Charles Louchet, at the very late 19th century, that gives a large part to oriental materials and forms.

L.BAZZANI

Ref: 1508/34

Painter (1836-1927) Italian School

"WOMEN IN A POMPEIAN ATRIUM" Signed L. Bazzani, Roma 1879 Oil on panel Italy, 1879 Dimensions with frame : Height : 95 cm (37,4 in.) ; Width : 81 cm (31,8 in.)

GREEK - EGYPTIAN REVIVAL

) [KMVM [M\ QV IV I\ZQ]U \PM ÆWWZ WN _PQKP Q[ LMKWZI\ML _Q\P I ZW[M UW[IQK IVL /ZMMS NZQMbM[ ;PW_QVO \_W _WUMV Ja I NW]V\IQV ZQKPTa LMKWZI\ML _Q\P UW[IQK[ IVL OZW\M[Y]M ÅO]ZM[ MUSEOLOGY: Many Italian museums conserve works by Bazzani. The National Museum of Naples exhibits about thirty watercolours of Pompeian life and another ten or so can be seen in the National Museum of Rome. The Revoltella Museum in Trieste exhibits The Arch of Septimus Severus in Rome (1893). BIBLIOGRAPHY: Benezit, Gründ, 2000, t. I. L’Ottocento, sous la direction d’Enrico Castelnuovo, 1991, p° 683.

J. BRANDELY

Ref: 1307/42c

Ornemanist (active from 1867 until 1873)

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

E. FREMIET Sculptor (1824-1910)

A GREEK REVIVAL INKWELL Signed Diehl à Paris

GREEK - EGYPTIAN REVIVAL

France Circa 1867 Height : 45 cm (17,7 in.) ; Width : 50 cm (19,7 in.) ; Depth : 23 cm (9 in.) -JWVa IVL [QT^MZML KWXXMZ QVS_MTT +MV\ZIT LZI_MZ WZVIUMV\ML _Q\P IV M[K]\KPMWV IVL ÆIVSML Ja two small lateral drawers forming two containers, surmounted by a lid representing a nestling. Central VQKPM WZVIUMV\ML _Q\P I _QVOML KZMI\]ZM 1VS_MTT ÆIVSML Ja \_W NMTQVM[ <WXML Ja I XMVPWTLMZ representing a Moorish head resting on an eagle claw. This exceptional piece was realized thanks to the collaboration of designer J. Brandely, sculptor E. Frémiet and cabinet-maker C.-G. Diehl.

F. LEVILLAIN

Réf : 0805/5

Sculptor

(1837-1905)

F. BARBEDIENNE Bronze-caster (1810-1892)

PAIR OF GREEK REVIVAL AMPHORA VASES Signed F. Levillain and F. Barbedienne France Circa 1880 Height : 52 cm (20,4 in.) ; Diameter : 21 cm (8,2 in.)

GREEK - EGYPTIAN REVIVAL

Pair of Greek style vases made of two patina bronze. Each, designed in the shape of an amphora with I ÆIZML VMKS IVL I XI]VKPa JWLa ZM[\QVO WV I XQMLW]KPM IVL I [Y]IZML JI[M *MI]\QN]T WZVMUMV\I\QWV made of laurels, garlands of fruits and a banded frieze cast in low-relief representing an ancient scene : “The Battle of the Lapithes and the Centaurs”. The handles are supported by two masks. LEVILLAIN’S WORKS IN CONNECTION Plaster relief Vendangeurs, Salon of 1877 (n°3966) ; Plaster relief La cueillette du Houblon, Salon of 1878 (n°4411). BIBLIOGRAPHY F. Barbedienne éditeur, G. Leblanc-Barbedienne successeurs, Bronzes et objets d’art, Paris, 1911, p.79. Stanislas Lami, Dictionnaire des sculpteurs de l’école française au XIXe siècle, t.III, Paris, 1919, Kraus reprint, 1970, p. 348.

CH. LOUCHET

Réf: 2110/17

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

PAIR OF "EGYPTIAN DANCERS" VASES Signed Ch. Louchet Ed. France Circa 1895 Height : 43,5 cm (17 in.) ; Width : 16 cm (6,3 in.) ; Depth : 11 cm (4,3 in.)

GREEK - EGYPTIAN REVIVAL

A beautiful pair of two patina bronze vases, of narrow gourd shape, decorated on each side, with lowZMTQMN -OaX\QIV LIVKMZ[ PWTLQVO I ÆW_MZ _PW[M KWZWTTI [PIXM[ \PM VMKS WN \PM ^I[M IVL IKKWUXIVQML by incised hieroglyphs. Heads of bird-dogs wearing a nemes form the handles.

F. LEVILLAIN

Ref: 1307/22

Sculptor (1837-1905)

F. BARBEDIENNE Bronze-caster (1810-1892)

IMPORTANT PAIR OF GREEK REVIVAL AMPHORA-SHAPED VASES Signed F. Levillain and F. Barbedienne France 1878

GREEK - EGYPTIAN REVIVAL

Height : 146 cm (57,4 in.) ; Diam.: 43 cm (17 in.) Each with a waisted neck raised with bearded satyr masks supporting foliate and fruit swags, the tapering body with upper band cast with birds, wild animals and vases of fruit, above central bands, on one side depicting a seated youth supporting a basket of ducks and a rabbit, conversing with a maiden carrying a fruit-laden basket; the reverse side depicting a peacock, goat and altars supporting baskets of fruit, applied with loop handles with anthemion terminals, seated sphinxes among scrolling foliage, _Q\P Æ]\ML TW_MZ [MK\QWV ;]XXWZ\ML WV I \ZQXTM IV\PMUQWV KI[\ TQWV XI_ UWVWXWLQIM WV \ZQ NWZU acanthus-cast base. Resting on moulded green marble bases. BIBLIOGRAPHY: Catalogue sommaire illustré des arts décoratifs, Musée d’Orsay, RMN, Paris, 1988. The illustrated catalogue of the Paris International Exhibition 1878, Virtue & Co., p°153. « L’Art décoratif », La médaille française contemporaine, Ch. Saunier, 1901, p° 65 et 67. Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p°260. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p° 26.

The model of these Etruscan Amphoras had been exposed at the 1878 Paris Universal Exhibition. RELATED WORK: A similar pair of vases is now displayed at the Paris Decorative Arts Museum (inv. 997.117.2 et 997.117.3). 14

G. SERVANT

Ref 1307/24

Bronze-caster (1828-c.1890)

"VASE OF BACCHUS" France Circa 1867 Model presented at the 1867 Paris Universal Exhibition (Reproduced and commented in Merveilles de l’Exposition Universelle de 1867, Jules Mesnard, p° 167 & 168)

GREEK - EGYPTIAN REVIVAL

Height : 45 cm (17,7 in.) ; Width : 41 cm (16 in.) x 29 cm (11,4 in.) ) /ZMMS ZM^Q^IT WZUWT] IVL XI\QVI\ML JZWVbM ]ZV <PM ^I[M [PIXML JWLa ÆIVSML \W \PM [QLM[ Ja I scrolling handle with mask terminal, centred to the front and back by a beast mask suspending a ring, WV I _IQ[\ML NWW\ IJW^M I Y]ILZQXIZ\Q\M XQMZKML JI[M LMKWZI\ML \W \PM NZWV\ IVL JIKS _Q\P ÅO]ZM[ WN Victory cast in low relief, the sides with stylized lotus, on splayed paw feet.

WORKS IN CONNECTION A neo-Egyptian garniture made by Georges Servant in collaboration with Emile Hébert, Universal Exhibition of Paris in 1867.

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

H. HOUDEBINE

Ref: 2007/14

Bronze-caster (Active since 1845)

A NEO-GREEK CLOCK SET Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris Clockwork signed Japy Frères & Cie – Médaille d’Honneur France Circa 1870

GREEK - EGYPTIAN REVIVAL

Clock / Height : 50 cm (19,7 in.) ; Width : 28 cm (11 in.) ; Depth : 17 cm (6,7 in.) Candlesticks / Height : 25,5 cm (10 in.) ; Diameter : 11 cm (4,3 in.) ) ^MZa ÅVM VMW /ZMMS [\aTM KTWKS [M\ UILM ]X WN I KTWKS IVL I XIQZ WN KIVLTM[\QKS[ <PM KTWKS M`MK]\ML in two patina bronze is surmounted by a covered vase and is decorated with porcelain plaques depicting female faces and Art attributes. The Roman numerals on the dial are framed with laurel wreaths. Raised on console feet and a base, the whole reposing on four claw feet. The ensuite pair of two patina JZWVbM KIVLTM[\QKS[ Q[ ÅVMTa KPI[ML _Q\P [UITT ÆW_MZ[ IVL _I\MZ TMI^M[

H. HOUDEBINE

Ref: 1608/5

Bronze-caster (Active since 1845)

A NEO-GREEK CLOCK Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris 1867 Exposition Universelle – Médaille d’Argent Clockwork signed Japy Frères & Cie – Médaille d’Honneur France Circa 1867

GREEK - EGYPTIAN REVIVAL

Height : 41 cm (16 in.) ; Width : 34 cm (13,4 in.) ; Depth : 16 cm (6,3 in.) A Napoleon III period gilt-bronze and red pompeian backgrounded polychrom porcelain mounted mantel clock. The case executed in the Greek style with cresting of an theater open mask and scrolled NWTQIOM IJW^M IV IZKPML XIVMT WN I[\ZWTWOQKIT [aUJWT[ IVL U][M[ <PM TW_MZ KI[M Å\\ML _Q\P XIVMT[ WN W^IT XWZ\ZIQ\[ IVL I XIVMT WN KPMZ]J[ \PM KI[M UWTLML QV PQOP ZMTQMN _Q\P TQWV UI[S[ ÆW_MZPMIL[ IKWZV[ ÆWZIT OIZTIVL[ IVL MTWVOI\ML IV\PMUQWV :M[\QVO WV I OQTLML JI[M _Q\P ZML ^MT^M\ \WX

G. SERVANT

Ref: 04/08/02

Bronze-caster (1828 - c.1890)

A NEO-EGYPTIAN CLOCK SET France Circa 1870

GREEK - EGYPTIAN REVIVAL

Clock – Height : 56 cm (22 in.) ; Width : 27 cm (10,6 in.) ; Depth : 18 cm (7 in.) Candelabra – Height : 67 cm (26,3 in.) ; Width : 26 cm (10,2 in.) ; Depth : 24 cm (9,4 in.) Egyptian style clock set, consisting of a black and red marble pyramid shaped clock, surmounted by I XI\QVI\ML JZWVbM ÅO]ZM ZMXZM[MV\QVO \PM -OaX\QIV OWLLM[[ 1[Q[ [Q\\QVO WV PMZ \PZWVM ?MIZQVO \PM Hathor hairdress (the solar disc surrounded by the sacred cow horns), she holds in her right hand the 7]ILR \PM OWLLM[[M[ [KMX\MZ []ZUW]V\ML Ja I KIVWXa WN XIXaZ][ [aUJWTQbQVO PMIT\P IVL M\MZVIT youth and in her left hand, the cross of life Ankh, symbol of rebirth and eternity. The en-suite pair WN NW]Z TQOP\[ KIVLMTIJZI KWV[Q[\[ WN \_W XI\QVI JZWVbM NMUITM ÅO]ZM[ ZMXZM[MV\QVO XZQM[\M[[M[ WN \PM OWLLM[[ 1[Q[ LZM[[ML _Q\P ^]T\]ZM¼[ _QVO[ IVL PWTLQVO TW\][ ÆW_MZ[ NWZUQVO \PM TQOP\ IZU[ That Egyptian style in fashion since Napoleon the First and his military campaigns in Egypt around 1799 was rediscovered in France in the 1830’s and above all in the 1860’s. Some renowned French artists, such as the sculptors and bronze-casters Guillaume Denière (1815-1903), Emile Hébert (18281893) et Georges Servant (1828-1890), presented at the 1867 and 1878 Paris Universal Exhibitions, an a-part section dedicated to their Egyptian style production. Their shows drew then considerable attention from the public and the wealthy collectors. During the 1867 Universal Exhibition, one could ILUQZM \PM [\IVL ZMITQbML Ja \PM .ZMVKP [QT^MZ[UQ\P RM_MTTMZ /][\I^M *I]OZIVL _PMZM PQ[ _WZS[ M`MK]\ML QV UW[\ ÅVM UI\MZQIT[ \WWS QV[XQZI\QWV NZWU \PM -OaX\QIV )V\QY]M[ M`PQJQ\ML \PMV QV the Louvre museum.

V. PAILLARD

Ref: 2007/12

Bronze-Caster (1805-1886)

PAIR OF NEO-GREEK CANDELABRA France Circa 1870 Height : 73 cm (28,7 in.) ; Diameter : 29 cm (11,4 in.)

GREEK - EGYPTIAN REVIVAL

) ^MZa ÅVM XIQZ WN /ZMMS [\aTM XI\QVI\ML IVL OQTLML JZWVbM ÅO]ZIT KIVLMTIJZI # MIKP XZM[MV\QVO [Q` TQOP\ IZU[ WZVI\ML _Q\P Q^a TMI^M[ IVL ÅVM KPIQV[ []XXWZ\ML Ja I OZWW^ML [\MU IVL I \ZQXWL JI[M decorated with palmets, theater masks, lioness heads and paw feet.

-IKP KIVLMTIJZ]U Q[ \WXXML Ja I JZWVbM ÅO]ZM [\IVLQVO WV I KIXQ\IT ZMXZM[MV\QVO <PM +PQTL IVL \PM /WW[M I ZMK]ZZQVO \PMUM QV IVKQMV\ [\I\]IZa <PM WZQOQV WN \PQ[ []JRMK\ Q[ I 0MTTMVQ[\QK bronze work of the third century BC, reported by Pline (Natural History, Book XXXIV) and due to the Greek sculptor Boethos of Chalcedon. A famous Roman marble copy is now preserved in the Louvre Museum.

L.C. SEVIN

Ref : 1508/61

Ornemanist (1821-1888)

F. BARBEDIENNE Bronze-Caster (1810-1892)

PAIR OF NEO-GREEK CANDELABRA Signed F. Barbedienne France Circa 1878

GREEK - EGYPTIAN REVIVAL

Height : 112 cm (44 in.) ; Diameter : 28 cm (11 in.) Pair of eight light-arms candelabra, made in two patina bronze, in the shape of an antique caryatid, after the model of the statues standing in the “Caryatids Room” in the Louvre Palace, in Paris, built IVL LMKWZI\ML Ja 8QMZZM 4M[KW\ IVL 2MIV /W]RWV QV \PM \P +MV\]Za

G. SERVANT

Ref: 0702/7

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

PAIR OF NEO-GREEK FLOOR LAMPS France Circa 1870

GREEK - EGYPTIAN REVIVAL

Height : 183 cm (72 in.) ; 213 cm (83,8 in.) with glass shades Diameter : 43 cm (16,9 in.) :IZM XIQZ WN /ZMMS [\aTM ÆWWZ TIUX[ UILM QV XI\QVI\ML JZWVbM MIKP []ZUW]V\ML WN I NZW[\ML OTI[[ globe engraved of stars and a Greek motif frieze. The body of the vase, decorated with Greek style patterns such as palmets, Greek motif frieze and water leaves, stands on a shaft decorated with deer PMIL[ .QVM KPIQV[ IZM KWVVMK\ML \W I LMTQKI\M J]\\MZÆa <PM [M\ Q[ JI[ML WV \ZQXWL TMO[ _Q\P TQWV KTI_ feet alternating large palmets.

F. BARBEDIENNE

Ref. 0702/32

Bronze-Caster (1810-1892)

F. LEVILLAIN Sculptor (1837-1905)

IMPORTANT PAIR OF FLOOR LAMPS Two patina bronze, red Griotte marble, cut-glass France, Circa 1875 Height : 241 cm (94,8 in.) ; Diameter : 57 cm (22,4 in.)

GREEK - EGYPTIAN REVIVAL

A rare pair of lamps named “of Greek style with heads of Diana” made in two patina bronze.

The set was cast by F. Barbedienne after a design made for the tripod by H. Cahieux and F. Levillain for the vase. Standing on a moulded red griotte marble base, the bronze tripod wear a sandal I\ MIKP NWW\ PMILML IJW^M Ja \PZMM J][\[ WN ,QIVI <PM \PZMM ÅO]ZM[ WN \PM goddess are alternated with palmets from which rise apple tree branches. This foliate shaft is surmounted by a circular plate on which stands a vase. This egg-shaped bronze vase forming the lamp is topped by a cut-glass globe. 1\ Q[ WZVI\ML _Q\P IV )VKQMV\ LMKWZ UILM QV TW_ ZMTQMN IVQUI\ML _Q\P ÅO]ZIT market scenes. The set was cast by F. Barbedienne after a design made for the tripod by H. Cahieux and F. Levillain for the vase. Ferdinand Levillain had chosen for the decor of this vase a decoration he also used on the vases known as Etruscan Amphoras, which were presented on the stand of the Barbedienne company at the Paris Universal Exhibition of 1878. The theme of the Ancient market was created by Ferdinand Levillain as soon as the Salon of 1872 with his plaster medals Market and Return from the market V 0M IXXTQML \PMV \PQ[ []JRMK\ WV I [QT^MZML bronze cup titled Peasants going to the market (n°5449), which was exhibited at the Salon of 1879.

This tripod was made after a model exhibited by Ferdinand Barbedienne at the Paris International Exhibition of 1855. During this exhibition the South Kensington Museum in London (now the Victoria and Albert Museum) purchased a similar lamp. The first casts of Greek candelabra appeared in the Barbedienne Companyâ&#x20AC;&#x2122;s catalogues as soon as 1847. In 1855, the model Tripod of Greek style (flower-holder) with female heads appeared, on sale for 800 francs. In 1858, it was definitively named Tripod of Greek style with heads of Diana and it was then be cast until 1900 in different sizes : 1,31m, 1,50m and 1,75m.

GREEK - EGYPTIAN REVIVAL

This model was created for the Barbedienne Company by its head decorator Henri Cahieux (18251854). He was hired around 1874 by F. Barbedienne to develop the ornamental bronze casts of his company. Henri Cahieux mainly created for the Barbedienne Company models inspired by Ancien art works. The 1855 Universal Exhibition seemed to be the last testimony of Henri Cahieux (dead the year before by cholera), whose creations awarded Ferdinand Barbedienne a Medal of Honour.

Tripod of Greek style with heads of Diana, presented at the 1855 Paris Universal Exhibition, purchased and still preserved at the Victoria and Albert Museun, London, Inv. 2704-1856.

F. BARBEDIENNE

Ref: 1508/47

Bronze-caster (1810-1892)

attributed to

A NEO-POMPEIAN GUERIDON France Circa 1860

GREEK - EGYPTIAN REVIVAL

Height : 75 cm (29,5 in.) ; Diameter : 61 cm (24 in.) A tripod gueridon in gilded bronze, decorated with palm-leaves and standing on lion’s feet. The black marble top is decorated with an antique chariot scene and a Greek frieze picked out in red « Pompeian » micro-mosaic. Similar ornaments were used by the Manufacture of Sèvres for the important dining set known as the « Pompeian set », made of red painted porcelain and delivered to the Prince Napoleon in about 1860 (A part of this set is now exhibited at the Porcelain Museum of Sèvres). BIBLIOGRAPHY: « L’Exposition universelle de 1889 : l’exemple de Barbedienne », Catherine Chevillot, in Revue de l’Art, 1992, n°95. Catalogue de l’exposition : « L’art en France sous le Second Empire », Grand-Palais, Paris 1979. Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I : l’Art moderne, Paris, 1878. Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, Paris, 1889.

F. BARBEDIENNE Bronze-caster (1810-1892)

L.C. SÉVIN

Sculptor-ornemanist (1821-1888) attributed to

A NEO-ANTIQUE GUERIDON France Circa 1860 A similar model has been exhibited at the 1889 Universal Exhibition in Paris

GREEK - EGYPTIAN REVIVAL

Height : 82 cm (32,2 in.) ; Diameter : 58 cm (22,8 in.) <PI\ O]MZQLWV ZM[\[ WV NW]Z KTI_ NMM\ \WXXML _Q\P I TQWV PMIL .MM\ IZM RWQVML \WOM\PMZ Ja KZW[[ML OQT\ bronze bars. The sober design of the feet, inspired from Antiquity, highlights the quality of the bronze casting and the brown patina contrasts with the gilded colour of the bars.

1\ Q[ []ZUW]V\ML Ja I UIOVQÅKMV\ KQZK]TIZ \WX WN ;XIQV JZWKI\MTTM IVL *MTOQIV ÅVM JTIKS UIZJTM []ZZW]VLML _Q\P I NZQMbM WN W^]U and pearls. Centering a sumptuous medallion made of a pietra dura mosaic on a black marble background, representing one the greatest Ancient Roman mosaïc : the mosaïc with doves, dated 1st century BC, now preserved at the Capitole Museum of Rome.

THE MODEL OF THE SUPPORT The feet of this gueridon adopt a sleek design and are adorned with claws and lion heads. This model is well known in the Barbedienne Company production and it has been reused many times by his workshop. This O]MZQLWV [PW_[ PW_ \PM *IZJMLQMVVM +WUXIVa W‫ٺ‬MZML I ZIVOM WN N]ZVQ\]ZM NZWU \PM LM[QOV[ WN Q\[ LMKWZI\WZ 4W]Q[ +WV[\IV\ ;u^QV 0M LM[QOVML \PQ[ UWLMT WN O]MZQLWV NM_ \QUM IN\MZ PM RWQVML \PM *IZJMLQMVVM +WUXIVa QV IVL \PQ[ UWLMT KIV JM [MMV WV LQ‫ٺ‬MZMV\ QV\MZQWZ LMKWZI\QWV[ WN \PM ;MKWVL -UXQZM A tripod gueridon, a little bit higher, with feet like these ones can be seen on a picture showing the atrium of the Pompeiian house built for Prince Napoleon. Most of the Ancient style furniture was made by Charles Rossigneux (1818-1908) but this gueridon shows that the Barbedienne Company took also part to this work. View of the Emperor’s cabinet Saint-Cloud (reproduced in Des Tuileries à SaintCloud, l’art décoratif du Second Empire).

View of the atrium of the Pompeiian house of Prince Napoleon. Otherwise a picture of the Emperor’s study at Saint-Cloud Castle demonstrates that a gueridon of the same type took place in it ; it illustrates the success of this model in the imperial family.

Some years later the Gazette des Beaux-Arts published an engraving depicting a gueridon exhibited at the 1889 Universal Exhibition. The engraving shows a gilt bronze plate resting on a tripod having identical 38

GREEK - EGYPTIAN REVIVAL

feet and it reveals the longevity of this model inside the Barbedienne Company production. The caption mentions â&#x20AC;&#x153;Bronze plate designed by Mr Levillain and made by Mr Barbedienne (1889 Universal Exhibition)â&#x20AC;?.

Gueridon, 1889 Universal Exhibition (reproduced in Gazette des Beaux-Arts, p. 415)

LITERATURE - Gazette des Beaux-Arts, 1er octobre 1889, p. 415. - Des Tuileries Ă Saint-Cloud, lâ&#x20AC;&#x2122;art dĂŠcoratif du Second Empire, Henri Clouzot, Payot, Paris, 1935. ÂŽ 4I UIQ[WV XWUXuQMVVM L] 8ZQVKM 6IXWTuWV I^MV]M 5WV\IQOVM ÂŻ 5IZQM +TI]LM ,MRMIV LM TI *I\QM QV 4I /IbM\\M LM[ *MI]` IZ\[ \ 4@@@>11 M TQ^ZIQ[WV I^ZQT ! XX Ă&#x2026;O LINKED WORKS - Gueridon of the same type in the atrium of the Pompeiian House of Prince Napoleon, Paris. - Gueridon with feet of the same type in the Napoleon IIIâ&#x20AC;&#x2122;s study at Saint-Cloud Castle, Saint Cloud.

F. BARBEDIENNE

Ref: 2702/30

Bronze-caster (1810-1892)

L.C. SÉVIN

Sculptor-ornemanist (1821-1888)

A RARE NEO-POMPEIAN GUERIDON France Circa 1860 A similar model has been exhibited at the 1889 Universal Exhibition in Paris

GREEK - EGYPTIAN REVIVAL

Height : 81 cm (32 in) ; Diam. : 66 cm (26 in) Rare round table made of patinated and gilded bronze with a top veneered with malachite and circled with bronze mounts adorned with ovum and beads. It stands on three patinated bronze feet with lion heads and paws, linked with gilded bronze X braces. The feet of this gueridon adopt a sleek design and are adorned with claws and lion heads. This model is well known in the Barbedienne Company production and it has been reused many times by his _WZS[PWX <PQ[ O]MZQLWV [PW_[ PW_ \PM *IZJMLQMVVM +WUXIVa W‫ٺ‬MZML I ZIVOM WN N]ZVQ\]ZM NZWU \PM designs of its decorator Louis-Constant Sévin. He designed this model of gueridon few time after he RWQVML \PM *IZJMLQMVVM +WUXIVa QV IVL \PQ[ UWLMT KIV JM [MMV WV LQ‫ٺ‬MZMV\ QV\MZQWZ LMKWZI\QWV[ of the Second Empire. A tripod gueridon with feet like these ones can be seen on a picture showing the atrium of the Pompeiian house built for Prince Napoleon. Most of the Ancient style furniture was made by Charles Rossigneux (1818-1908) but this gueridon shows that the Barbedienne Company took also part to this work. Otherwise a picture of the Emperor’s study at Saint-Cloud Castle demonstrates that a gueridon with such feet took place in it ; it illustrates the success of this model in the imperial family. Some years later the Gazette des Beaux-Arts published an engraving depicting a gueridon exhibited at the 1889 Universal Exhibition. The engraving shows a gilt bronze plate resting on a tripod having identical feet and it reveals the longevity of this model inside the Barbedienne Company production. The caption mentions “Bronze plate designed by Mr Levillain and made by Mr Barbedienne (1889 Universal Exhibition)”.

Guéridon with feet of the same design, in the Pompeian House of Prince Napoleon, Paris (view of the Atrium).

Related work : Guéridon with feet of the same design at Saint-Cloud Castle (view of Napoleon III’s study) (reproduced in Des Tuileries à Saint-Cloud, l’art décoratif du Second Empire) 42

Guéridon, Exposition Universelle, 1889 (reproduced in Gazette des Beaux-Arts, p. 415)

F. BARBEDIENNE

Ref: 0702/4

Bronze-caster (1810-1892)

L.C. SÃ&#x2030;VIN

Sculptor-ornemanist (1821-1888) attributed to

A FINE PAIR OF NEO-GREEK STANDS France Circa 1860 A similar model has been exhibited at the 1889 Universal Exhibition in Paris

GREEK - EGYPTIAN REVIVAL

Height : 81 cm (32 in) ; Diam. : 66 cm (26 in) <PM[M [\IVL[ ZM[\ WV NW]Z KTI_ NMM\ \WXXML _Q\P I TQWV PMIL .MM\ IZM RWQVML \WOM\PMZ Ja KZW[[ML OQT\ bronze bars. The sober design of the feet, inspired from Antiquity, highlights the quality of the bronze casting and the brown patina contrasts with the gilded colour of the bars. It is topped with rouge griotte marble surrounded with a frieze of ovum and pearls.

G. SERVANT

Ref: 0702/5

Bronze-caster (1828 - c.1890) attributed to

A FINE PAIR OF NEO-GREEK STANDS France Circa 1880 Height : 88 cm (34,6 in.) ; Diam. : 50 cm (19,7 in.)

GREEK - EGYPTIAN REVIVAL

Pair of patinated and gilded bronze high stands with for each of them, three paw feet, headed by styTQbML TQWV U]bbTM[ WZVI\ML _Q\P JMILML KPIQV[ IVL RWQVML Ja I ÅVM NWTQI\M [\ZM\KPMZ ;]ZUW]V\ML _Q\P a circular bronze top.

The similar lion head is to be seen, applied on the bronze « Bacchus Vase », presented by G. Servant at the Paris Universal Exhibition of 1867. (Reproduced in « Merveilles de l’Exposition Universelle de 1867 », Jules Mesnard, p°167)

F. BARBEDIENNE

Ref: 0702/6

Bronze-caster (1810-1892) attributed to

H.CAHIEUX

Sculptor-ornemanist (1824 -1854) attributed to

THE “TEMPERANTIA” GUERIDONS France Circa 1855

GREEK - EGYPTIAN REVIVAL

Height : 82 cm (32,2 in.) ; Diameter : 45 cm (17,7 in.) Rare pair of gilt and patinated metal gueridons, each consisting of a electrotype circular charger dish ZIQ[ML WV \ZQXWL []XXWZ\[ MVLQVO QV [IVLITML NMM\ RWQVML Ja I [\ZM\KPMZ KMV\MZML Ja I ÆW_MZPMIL <PM :MVIQ[[IVKM [\aTM LQ[P [PIXML \WX ZQKPTa WZVMUMV\ML QV ZMTQMN _Q\P I NMUITM ÅO]ZM PWTLQVO I K]X and a pitcher centering a medallion inscribed Temperantia. The charger is ornated with four panels WN ITTMOWZQKIT ÅO]ZM[ WN \PM -TMUMV\[ VIUML )Y]I <MZZI 1OVQ[ M\ )MZ ?I\MZ -IZ\P .QZM IVL )QZ adorned with foliate and masks. Revolving around them, the banded decoration within borders of strapwork, birds, masks and fruits, depicts allegorical cartouches of the seven Liberal Arts named Grammatica, Dialectica, Rhetorica, Arithmetiqua, Geometria, Astrologia, Musica, complemented by Minerva, goddess of Wisdom. BIBLIOGRAPHY: Les artistes de l’Industrie, Victor Champier, Revue des arts décoratifs, déc. 1888, p°172. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p°26. Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I : l’Art moderne, Paris, 1878. 1851-1900 – Le Arti decorative alle grandi Esposizioni Universali , )TKW]‫ٺ‬M 1LMI 4QJZQ ! X ! V

‘Temperantia’ Salver, electroptyped made after the original 16th century French salver cast by Francois Briot (1550-1616). 48

F. BARBEDIENNE

Ref: 0803/1

Bronze-caster (1810-1892) attributed to

H.CAHIEUX

Sculptor-ornemanist (1824 -1854) attributed to

PAIR OF GUERIDONS France Circa 1855

GREEK - EGYPTIAN REVIVAL

Height : 82 cm (32,2 in.) ; Diameter : 45 cm (17,7 in.) Pair of gilt and “gun-barrel” bronze gueridons. Each consisting of a tripod support ending in sandaled NMM\ RWQVML Ja I [\ZM\KPMZ KMV\MZML Ja I ÆW_MZPMIL <WXXML _Q\P I KQZK]TIZ KPIZOMZ LQ[P _Q\P ]UJQTQK][ made in moulded red Griotte marble. BIBLIOGRAPHY: Les artistes de l’Industrie, Victor Champier, Revue des arts décoratifs, déc. 1888, p°172. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p°26. Catalogue de l’Exposition Universelle, les Beaux-Arts et les Arts décoratifs, t. I : l’Art moderne, Paris, 1878. 1851-1900 – Le Arti decorative alle grandi Esposizioni Universali , )TKW]‫ٺ‬M 1LMI 4QJZQ ! X ! V

This stand with sandaled feet is based on the model of a lamp-holder designed by Henry Cahieux (1825-1854) for Ferdinand Barbedienne (1810-1892), exhibited at the 1855 Paris Universal Exhibition, which a copy was purchased by the Victoria and Albert Museum of London, known then as the South Kensington Museum.

J. BRANDELY

Ref: 1558/1

Ornemanist (active from 1867 until 1873)

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

E. FREMIET Sculptor (1824-1910) attributed to

AN EXCEPTIONAL PLANTER France Circa 1870

GREEK - EGYPTIAN REVIVAL

Height : 90 cm (35,4 in.) ; Width : 65 cm (25,6 in.) ; Depth : 50 cm (19,7 in.) An outstanding black wood planter with gilt bronze ornaments, resting on four feet gathered by a strechter. The XW\ Q[ ILWZVML _Q\P *IKKP][¼ UI[S[ IVL I\ Q\[ NW]Z KWZVMZ[ _Q\P OQT\ JZWVbM OZQ‫ٻ‬V[ _PQKP IZM \aXQKIT XI\\MZV[ QV Diehl’s works like inkwells or humidors. The whole is topped by a rich lid with a palms’ frieze, arrow cartridges with medallions, and a button.

C.-G. DIEHL

Ref: 1528/0

Cabinet maker (1811-1885)

NEO-GREEK PLANTER France Circa 1870 Height : 104 cm (41 in.) ; Diam. : 54 cm ( 21,2 in.)

GREEK - EGYPTIAN REVIVAL

Lovely circular plant pot with a double tray united by a black tripod. Charming marquetry of precious woods decorated by a box tree inlay. A beautiful gilded bronze adornment complete this piece.

NEO-POMPEIAN SALON SET

Ref: 1489/0

France Circa 1860

GREEK - EGYPTIAN REVIVAL

Rare neo-Pompeian salon composed of two armchairs, two chairs and a wooden mirror embellished with a gilded decor on a black lacquered background. A patinated bronze wolf head tops the mirror, framed by gilded ivy garlands. Wolf heads and patinated wood winged lions adorn the chairs and armchairs, covered of red velvet. They rest on anterior lion feet.

RENAISSANCE REVIVAL

8 The Renaissance Revival permeates the decorative arts throughout the 19th century. It contributes to the rediscovering of the heritage at that time and is a productive inspiration for artists, craftsmen and designers. The Renaissance Revival rises in the 1830’s, not long after the Gothic Revival and is particularly well represented by the designers and decorators Claude-Aimé Chenavard (1798-1838) and Michel Liénard (1810-1870). Inspiration sources are numerous in France and the iconographic ZQKPVM[[ WN \PM UIVVMZQ[U ÆI\\MZML \PM \I[\M WN \PM ;MKWVL -UXQZM <PQ[ [\aTM Q[ _MTT ZMXZM[MV\ML at the 1844 and 1849 Expositions des produits de l’industrie, and at the 1855, 1867 and 1878 Universal Exhibitions. Cabinet-markers notably take inspiration from the François Ist and Henri II period and favour the use of richly sculpted solid and dark wood. It usually brings together the classicism of the :MVIQ[[IVKM IVL Q\[ Ua\PWTWOQKIT []JRMK\[ IVL \PM ZQOWZW][ IZKPQ\MK\]ZIT [\Z]K\]ZM _Q\P I LW[M of decorative exuberance inherited from the Romanticism.

L.C. SÉVIN

Ref: 0702/121

Ornemanist (1821-1888)

F. BARBEDIENNE Bronze-caster (1810-1892)

A PAIR OF LOUIS XVI STYLE PLANTERS Signed F. Barbedienne France Circa 1880 Height: 18 cm (7 in.); Diameter: 21 cm (8,2 in.)

RENAISSANCE REVIVAL

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

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

F. BARBEDIENNE

Ref.

0303/34

Bronze-caster (1810-1892)

ELEGANT RENAISSANCE REVIVAL DISPLAY BOWL Signed F. Barbedienne France Circa 1870 Height : 42 cm (16,5 in.) ; Width : 48 cm (19 in.) ; Depth : 34 cm (13,4 in.)

RENAISSANCE REVIVAL

) ^MZa ÅVM LQ[XTIa JW_T UILM QV OILZWWVML *MTOQIV JTIKS ÅVM UIZJTM UW]V\ML _Q\P :MVIQ[[IVKM [\aTM gilded and silvered bronze ornaments such as scalloped cartouches and acanthuses, lion muzzles, satyr heads and winged putti at the foot.

L.C. SÉVIN

Ref: 0702/115

Ornamenist (1821-1888)

attributed to

F. BARBEDIENNE Bronze-caster (1810-1892)

A RENAISSANCE STYLE WALL-CLOCK Signed on the dial F. Barbedienne à Paris France Circa 1870 Height : 50 cm (19,7 in.) ; Width : 41 cm (16 in.) ; Depth : 15 cm (6 in.)

RENAISSANCE REVIVAL

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

E. GAUTIER

Ref: 0208/3

Bronze-caster (19th century)

J. ALBINET

Bronze-caster and Clockmaker (19th century)

G. COULON

Bronze-caster and Clockmaker (19th century)

A RENAISSANCE REVIVAL WALL CLOCK Signed on the dial Ancne Mon F. Gautier, J. Albinet & G. Coulon – 4 rue de Choiseul on the clockwork, signed E. Gautier, J. Albinet à Paris and numbered 5300JL France Circa 1865

RENAISSANCE REVIVAL

Height : 80 cm (31, in.) ; Width : 32 cm (12,6 in.) ; Depth : 12 cm (4,7 in.) A Renaissance style "cartel", executed in two patina bronze. On the upper part, two cupids frame an architectural niche housing a heron, surmounting the dial of the clock and further decorative motifs, []KP I[ OZQ‫ٻ‬V[ I NMUITM UI[S IVL I NZ]Q\ OIZTIVL BIBLIOGRAPHY: Le mobilier Français, Napoléon III, années 1880, Odile Nouvel-Kammerer, Ed. Massin, 1996, p.65. La petite sculpture au XIXe s. Les éditeurs, Bernard Metman, Archives de l’Art français, 1989, t. XXX, p.184 & 195. Dictionnaire des horlogers français, Tardy, Paris, 1971, p.4.

A.V. GEOFFROY-DECHAUME

Ref: 1508/14

Designer & Sculptor (1816-1892)

F.J. RUDOLPHI Silversmith (1808-1872)

JEWEL CASKET France Circa 1850 Height : 24 cm (9,4 in.) ; Width : 24,5 cm (9,6 in.) ; Depth : 19,5 cm (7,6 in.)

RENAISSANCE REVIVAL

) ZIZM XIZKMT OQT\ [QT^MZ MVIUMT XMIZT IVL OMU [M\ RM_MT KI[SM\ ?Q\P I ÆI\ LZI_MZ I\ \PM TW_MZ XIZ\ \PM KI[SM\ Å\\ML _Q\P Q\[ WZQOQVIT JMQOM [QTS WXMV[ _Q\P I ÆIX \WX LMKWZI\ML _Q\P I UMLITTQWV LMXQK\QVO The Toilet of Venus.

<PM [IUM [KMVM Q[ \W JM [MMV WV I KI[SM\ LM[QOVML Ja /MW‫ٺ‬ZWa Dechaume, executed by Rudolphi and presented at the Great Exhibition of 1851 held in the Crystal Palace (now preserved at the Victoria and Albert Museum, London, Inv.156-1851).

7]Z RM_MT KI[SM\ Q[ \WXXML _Q\P I ZMUW^IJTM TQL [PW_QVO TQSM I [K]TX\ML [KMVM 2]LQ\P IVL 0WTWNMZVM[ " Judith, a young widow of extraordinary beauty, wishing to save his city besieged by General Holofernes, decides to behead him after having charmed and intoxicated him. A banded pierced frieze around the lid is decorated with a naturalist scene made of small shrews eating berries and eggs unearthed in the trees.

<PQ[ ÅO]ZIT [KMVM UILM WN XMIZT[ IVL [QT^MZ Q[ \W JM TQVSML \W \PM KTWKS _PQKP I_IZLML :]LWTXPQ IVL /MW‫ٺ‬ZWa ,MKPI]UM I OWTL UMLIT I\ \PM 1VL][\ZQIT products Exhibition held in Paris in 1849 (now part of the collections of the 4W]^ZM 5][M]U 8IZQ[ 1V^ 7) ! ! <PQ[ KTWKS Q[ \WXXML _Q\P \PM ÅO]ZIT scene The Massacre of the Innocents.

PARIS PORCELAIN

Ref:1564/2

Porcelain manufacture

A “TÊTE-À-TÊTE” TEA SET Marked Gailliard / Passage de l’Opéra A very charming Paris Porcelain tea set for two, called « tête-à-tête », with a quadrilobate tray, a pair WN K]X[ IVL [I]KMZ[ I []OIZ JI[QV I UQTS R]O IVL I \MIXW\ <PQ[ Q[ I JM^MTML KWZVMZ[ /W\PQK :M^Q^IT (called « à la cathédrale ») service with an alternatively blue and salmon pink painted decoration, enriched with gold. The Gothic arcades and the central rose of the tray evocate the Gothic style, and medallions ornate the serving pieces.

RENAISSANCE REVIVAL

This tea set perfectly corresponds to the description of a « tête-à-tête à pans » sold by Gailliard in 1843, when historic styles, like Gothic Revival, were fashionable in Paris and in Europe.

PAIR OF NEO-RENAISSANCE STANDS

Ref: 2007/55

France Circa 1880 Height: 114 cm (39 in.); Width: 33 x 35,5 cm (13 x 14 in.)

RENAISSANCE REVIVAL

) ^MZa ÅVM XIQZ WN :MVIQ[[IVKM :M^Q^IT VI\]ZIT WIS_WWL [\IVL[ -IKP KWUXW[ML WN I UWTLML ZML /ZQW\\M UIZJTM \WX ZM[\QVO WV I Æ]\ML IVL \IXMZQVO [PIN\ )LWZVML ITT W^MZ _Q\P KIZ^ML XQI[\ZM[ garlands of fruits, a drapery and an ornamental strapwork cartouche on the front.

PAIR OF NEO-GOTHIC STANDS

Ref: 2007/33

France Circa 1880 Height: 99 cm (39 in.); Diameter: 26 cm (10,2 in.) ) ^MZa ÅVM XIQZ WN /W\PQK :M^Q^IT VI\]ZIT _ITV]\ [\IVL[ -IKP KWUXW[ML WN I PM`IOWVIT UWTLML ZML Griotte marble top, resting on a hexagonal tapeting shaft. Adorned all over with carved and pierced walnut pinnacles and lambrequins.

RENAISSANCE REVIVAL

The somewhat architectural design evokes the creations of Eugène Viollet-le-Duc (1814-1879), who was not only a renowned theorician, but above all an accomplished architect, whose genius lay in his acute observation of medieval buildings in view of their restoration, as well as the continuation of the Gothic style in architecture and decorative arts.

A NEO-RENAISSANCE TABLE

Ref: 1307/79

France Circa 1880 Height : 74 cm (29 in.) ; Width : 130 cm (51,2 in.) ; Depth : 66 cm (26 in.) ?ITV]\ \IJTM KIZ^ML _Q\P :MVIQ[[IVKM [\aTM XI\\MZV[ :IQ[ML WV [Q` TMO[ RWQVML Ja I [\ZM\KPMZ _Q\P architectural decoration of ionic columns and blind arches. Top with leather inset writing surface.

RENAISSANCE REVIVAL

The walnut becomes frequently used as soon as the 15th century. Suitable for sculpture, it takes a wonderful glistening patina which echoes the silks and tapestries of the Renaissance interiors.

CORTINA D’AMPEZZO

Ref: 0702/45

Applied Arts School (Founded in 1846)

VENETIAN RENAISSANCE STYLE CENTER TABLE Label mentioning "I.R. Scuola…, Sezione Intarsio e Intaglio, Cortina d’Ampezzo, n°146" Italy Circa 1890 Height : 77 cm (30,3 in.) ; Width : 102 cm (40 in.) ; Depth : 62 cm (24,4 in.)

RENAISSANCE REVIVAL

Exceptional Venetian Renaissance style center table. The top and the frieze opening with four drawers IZM N]TTa WZVI\ML _Q\P I ÆI\ KIZ^ML LMKWZI\QWV IVL I ÆWZIT IVL OMWUM\ZQK QVTIa IKKWZLQVO \W \PM \MKPVQY]M WN <IZSI[PQ 1\ ZM[\[ WV NW]Z IZKPQ\MK\ML TMO[ RWQVML Ja I [\ZM\KPMZ Don Cipriano Pescosta (1815-1889) created in October 1846 in the small town of Cortina d'Ampezzo, Veneto, a school for the teaching of drawing. The institution was gradually gaining wide popularity for its courses in sculpture as well as in cabinet making. In 1874, the school became "State Industrial School" and in September 1876, they opened sections of wood inlay and mosaic. In 1881, John Coddington, President of the famous Oriental Club in London, which included British nobles and other gentlemen residing in Asia, made known to the Italian School a new technique, the Tarkashi \PIVS[ \W [WUM WJRMK\[ JZW]OP\ NZWU I \ZQX \W 1VLQI 1\ _I[ I \MKPVQY]M WN UIZY]M\Za MUXTWaQVO ZMÅVML QV\MZTIKML ZQJJWV[ WN various woods and sometimes decorated with ivory and mother of pearl. Artists and students of the Ampezzo Art School, already skilled at woodworking, adopted this technique, which was successfully developped and even brought the fame to Cortina d'Ampezzo. In 1889, the school was open to women with sections of sewing, embroidery and lace. Cortina d'Ampezzo School was awarded a silver medal in 1893 at the Regional Exhibition of Innsbruck in Austria. They then sold all of the exhibited pieces, including a large part to the German Darmstadt and Stuttgart museums.

H.-A. FOURDINOIS Cabinet-maker (1830-1907) attributed to

RARE DISPLAY-SIDEBOARD AND HIS SET OF 11 CHAIRS Natural oak, amaranth, enamel, gilt bronze France, Circa 1867 Height : 332 cm (130,7 in.) ; Length : 200 cm (78,7 in.) ; Depth : 54 cm (21,2 in.)

RENAISSANCE REVIVAL

Important two-tiered sideboard made in natural oak and carved amaranth wood: the lower part made up of four panels, two concave ones and two doors, richly ornated with a polychrome enamelled floral decoration and gilt bronze plaques. A large dual drawer is surmounted by the upper part of the sideboard, opening with two glazed doors, framed by detached columns. The entire unit is topped with a pediment onto which a female bust is carved in relief within a medallion on a gilt background. The Fourdinois Companyâ&#x20AC;&#x2122;s production is known by a vast period documentation coming from the workshops of Alexandre-Georges Fourdinois and his son Henri-Auguste Fourdinois. The Forney library in Paris preserves order registers of the Fourdinois as well as sketches books and pictures representing pieces of furniture made by the Fourdinois workshops. In this documentation, some elements enable us to link this sideboard with Henri-Auguste Fourdinoisâ&#x20AC;&#x2122; production. In those pictures, showing for instance bookcases made by the Fourdinois, some significant details are visible, such the large scrolls linking the upper part to the lower part of the sideboard, as well as the detached columns carved at their lower third. 5WZMW^MZ I VW\MJWWS KWV\IQVQVO QVS [SM\KPM[ KWUQVO NZWU \PM .W]ZLQVWQ[ _WZS[PWX [PW_[ I XZWRMK\ for a pelmet, beautified with a centering trophy composed of a torch and a quiver within in a foliage wreath. This particular motif was obviously reused by the Fourdinois on the central decoration of the panels of our sideboard.

Through the quality of execution and the extreme care taken in the decoration of furniture, H.-A. Fourdinois was particularly appreciated by Napoleon III and Eugenie, who ordered him to furnish several imperial residences, such with the bedroom of the apartment of the Pope at Fontainebleau Palace. Among his talents, Fourdinois knew how to match furniture with elaborate and luxurious sets, thus causing him to become one of the preferred suppliers of the Empress Eugenie. His meticulous work was in particular made thanks to the new technique of “en plein” marquetry, a decorative technique invented by H.-A. Fourdinois himself, for which he registered a patent allowing him to have the monopoly to use this technique. This new technique is quite different from the traditional marquetry which put together wood sheets veneered on a furniture piece. In Fourdinois’ “en pleinº UIZY]M\Za \PM QVTIQL _WWL Q[ RWQVML \WOM\PMZ with the wooden structure of the furniture piece, allowing the cabinet-maker to carve directly the inlaid wood. Such a technique enabled to inlay different types of wood inside the structure as well as precious stones, ivory, slate, etc.

RENAISSANCE REVIVAL

At the forefront of innovation, H.-A. Fourdinois presented for the first time at the Universal Exhibition of 1867, an “en plein” inlaid cabinet. He was awarded the Grand Prix, and the cabinet was purchased by the South Kensington Museum in London (become later the Victoria and Albert Museum) to encourage the inspiration of English designers and cabinetmakers. MUSEOLOGY: - Monumental inlaid door, with enamelled decoration, shown at the Universal Exhibition of 1878, preserved at the Orsay Museum, Paris (Inv. DO 1980 1). - A walnut two-tiered cabinet inlaid with bloodstone, lapis-lazuli, ivory and silver, preserved at the Decorative Arts Museum, Paris (Inv. 29921). - The bedroom set of the apartment of the Pope at Fontainebleau Palace, preserved in situ. - Psyche of Empress Eugenie’s toilet cabinet at Saint-Cloud Palace, preserved at Compiègne Castle. BIBLIOGRAPHY: - Sources et modèles d’un ébéniste au XIXe siècle: l’exemple d’Henri Fourdinois (1830-1907), Olivier Gabet, in Bulletin de la Société de l’Histoire de l’Art Français, Paris, 2003, p. 261-278. - Marqueteries virtuoses au XIXe siècle, brevets d’invention, Marc Maison et Emmanuelle Arnould, Paris, 2012, p. 12-14 et 4859. - Croquis et commandes, Henri-Auguste Fourdinois, Fourdinois Rue Amelot Paris, 1855-1865. - Nouveau recueil d’ameublement: meubles, sièges, lits, tentures, tapisseries, etc., Henri-Auguste Fourdinois, Librairies Imprimeries Réunies, 1890, Vol. I.

Cabinet by H.-A. Fourdinois exhibited at the 1867 Universal Exhibition, preserved in the Victoria and Albert Museum, London (Inv. 721:1 to 25-1869). 88

H.-A. FOURDINOIS

Ref : 2007/37

Cabinet-maker (1830-1907)

attributed to

EXCEPTIONAL RENAISSANCE STYLE CARVED CABINET France 1893 Height : 240 cm (94,5 in.) ; Width : 124 cm (48,8 in.) ; Depth : 56 cm (22 in.)

RENAISSANCE REVIVAL

A walnut cupboard, elaborately carved throughout, dated "1893" on the crest. The upper section with a pair of cherubs at the center of a balustrade ornamented with two-handled urns, two architectonic doors below, carved with lady and gentleman in niches surrounded by extensive carving with classical motifs. The lower section with two drawers above a standing female caryatid support at each front corner. All based on four gadronned round feet.

M. LEROLLE

Ref. 2402/18

Cabinet-maker (active circa 1880)

H.-A. FOURDINOIS Cabinet-maker (1830-1907) after

REMARKABLE CABINET WITH THE ‘FOUR SEASONS’ France Circa 1890 Signed « Meubles D’Art, M. Lerolle, Fabricant, 61, Rue des Sts-Peres. Paris »

RENAISSANCE REVIVAL

Height : 239 cm (94 in) ; Width : 149 cm (58,6 in) ; Depth : 56 cm (22 in)

Remarkable walnut and boxwood cabinet, richly sculpted in the Neo-Renaissance style, and inlaid with vert de mer marble cabochons and cartouches. The upper part is formed by a scrolled broken pediment with a carved medallion supported by two putti at the centre. The facade features seven ionic columns adorned with ivy at their base and four NMUITM ÅO]ZM[ [K]TX\ML QV \PM ZW]VL [PMT\MZML QV VQKPM[ IVL []XXWZ\ML Ja KPMZ]J PMIL[ <PM [K]TX\]ZM[ are allegories of the seasons. The upper part opens with three leaves and three drawers. In the lower part, the belt includes three drawers and is adorned with cartouches with mythological scenes. This piece of furniture is supported by two very richly sculpted winged sphinxes surrounding a central medallion adorned with a bacchanal scene, and stands on a moulded plinth and height feet.

Cabinet exhibited at the Exposition Universelle in 1867 (Fourdinois won a Grand Prix for his stand). Museum of Decorative Arts, Paris (Inv. 29921). Made by Henri-Auguste Fourdinois, Nivillier (ornaments design), Party (modelling of the bodies), Hugues Protat, Primo et Maigret (sculptures). Illustrated in D. Ledoux-Lebard, Les Ebénistes du XIXe siècle, Ed. de l’Amateur, 1984, pp.205

G.-F. QUIGNON

Ref. 2402/19

Cabinet-maker (1843-beginning of the 20th century) attributed to

BEAUTIFUL NÉO-RENAISSANCE CABINET France Presented at the 1889 Universal Exhibition in Paris

RENAISSANCE REVIVAL

Height. : 194 cm (76,3 in) ; Width. : 173 cm (68 in) ; Depth. : 56 cm (22 in) Important sculpted and engraved natural wood, patinated bronze and Griotte de Campan red marble inlaid Neo-Renaissance style cabinet. The upper part is composed of a frieze of bronze medallions separated by triglyphs and supported by ribbed columns with corinthian capitals. There are eight of these columns paired at the front and two simple columns at the rear. The facade presents an alternation of bronzes in niches and cartouches, WN UIZJTM [TI\M[ QV KIZ\W]KPM[ [WUM\QUM[ ÆIVSML Ja XITUM\\M[ IVL WN MVOZI^ML UW\Q^M[ WN TI]ZMT IVL foliage scrolls. The upper part opens with three leaves and three mobile compartments. The belt carved with acanthus leaves opens with two drawers. <PQ[ KIJQVM\ Q[ []XXWZ\ML Ja NW]Z ZQKPTa [K]TX\ML \IXMZML NMM\ MVLQVO _Q\P KTI_[ .W]Z Æ]\ML XQTI[\MZ[ are inscribed in the moulded back as counterparts. The whole ensemble stands on a moulded plinth and eight rounded feet. The iconography of the bronze low-reliefs adorning this cabinet brings together the mythology, the Roman world and the Renaissance period. The facade presents two bronze pannels with camp scenes depicting the Emperor talking to his soldiers. A third medallion scene depicts a soldier next to his wounded companion. This medallion is framed by two bronzes featuring Poseidon. A frieze including 24 bronze medals girds the top of the cabinet. Some of them LMXQK\ VW\IJTM ÅO]ZM[ QV :MVIQ[[IVKM PQ[\WZa QV \PM UIVVMZ WN /]QTTI]UM Dupré (c.176-1643), who trained with Prieur and was close to King Henri IV, then sculptor of King Louis XIII. Some others picture Roman emperors after sestertium models or scences from the antique life.

5MLIT _Q\P \PM M‫ٻ‬Oa WN 0MVZQ IV, Guillaume Dupré, 1600, collections of the Medal Cabinet, French National Library

Neo Renaissance Cabinet exhibited at the Universal Exhibition of Paris in 1889 Illustrated in J. Meyer, Great Exhibitions, London, New York, Paris, Philadelphia, 1851-1900, Antique Collector’s Club, 2006, p. 281.

Sestertium depicting Aulus Vitellius Germanicus 59 A.D. 98

G. GROHE Cabinet-maker (1808-1885)

MAGNIFICENT BOOKCASE France Circa1860 Height : 330 cm (129,9 in.) ; Width : 300 cm (118,1 in.) ; Depth : 80 cm (31,5 in.)

RENAISSANCE REVIVAL

Exceptional neo Renaissance bookcase forming desk in birds-eye carved mahogany. This monumental piece consists in a lower part forming drop-front desk supported by two pillars with drawers. The lateral parts each open with a moulded door. The bookcase occupies the upper part, opening by four windows separated by carved semi-columns finishing in Corinthian capitals. The whole is surmounted by a large pediment adorned with chimera and a female head. The ornaments is inspired by the Renaissance and consists mostly in carved foliate, chimera, griffins and phantasmagorical masks, what makes this piece not only a masterpiece of architecture, but also of sculpture.

This exceptional piece was sold when the GrohĂŠ factory completely stopped its production, in 1884, in Paris.

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104

RENAISSANCE REVIVAL

F. BARBEDIENNE

Ref: 0702/12

Bronze-caster (1810-1892) attributed to

L. C. SEVIN

Ornemanist (1821-1888) attributed to

MAISON MEYNARD Cabinet-maker (Active in the 19th century)

VERY IMPORTANT NEO-RENAISSANCE DINING ROOM SET

RENAISSANCE REVIVAL

Woodwork attributed to Maison Meynard (1808-1889), Meynard Fils; ormolu mounting by Ferdinand Barbedienne (1810-1892) from works by Louis-Constant Sévin (1821-1888). Walnut, gilded bronze, “brèche St Maximin” marble, green Campan and “grand mélange” marble. France, circa 1878. Exhibition: Maison Meynard, Frager successeur, Salon des industries du mobilier, 1902. Maison Meynard has exhibited at the Universal Exhibition in 1878 a two-part Neo- Renaissance sideboard adorned with gilded bronze.

This display-sideboard was exposed on the stand of Frager - Maison Meynard at the “Salon des industries du mobilier” of 1902 (Reproduced in « La Construction Moderne », planche n° 38) 106

This rare Neo- Renaissance dining room furniture by the woodwork factory Meynard is representative of the taste for historical style in the second half of the 19th century. Consisting of a monumental display sideboard, a dresser, a table and eight chairs, it is made of sculpted walnut, adorned with gilded bronze by Ferdinand Barbedienne, probably inspired by drawings of Constant Sévin. <PQ[ N]ZVQ\]ZM Q[ ]VQÅML Ja ZMXMI\ML XI\\MZV[ ZML UIZJTM KWT]UV[ _Q\P OQTLML JZWVbM KIXQ\IT[ WZUWT] UMLITTQWV[ ZMXZM[MV\QVO :MVIQ[[IVKM QV[XQZML NIKM[ QV XZWÅTM IV WZUWT] NI]V UI[KIZWV IVL ZQJJML vases with ionic capitals.

RENAISSANCE REVIVAL

DISPLAY SIDEBOARD Important two part, neo-Renaissance style, walnut sideboard ; the lower part comprising four doors embellished with low reliefs in gilt bronze alternating with four detached columns of “brèche St Maximin” marble with Corinthian capitals. The upper part comprises two doors ornamented with gilt bronze low reliefs cast by Ferdinand Barbedienne, representing two nymphs after those sculpted Ja 2MIV /W]RWV QV NWZ \PM .W]V\IQV WN \PM 1VVWKMV\[ QV 8IZQ[ 7V MIKP [QLM OQT\ JZWVbM KIZaI\QL[ sheathed in Campan marble and recesses decorated with chains of fruit emphasize the structure of the piece. A pediment bearing the gilt bronze mask of a faun completes the ensemble.

108

Neo-Renaissance display sideboard exhibited by the Maison Meynard at the 1878 Universal Exhibition. The faun mascaron on the pediment is similar to the ones on our dining room, as are the female draped statuettes, and the general construction of the furniture. Meynard won the Gold Medal at this exhibition for his productions.

RENAISSANCE REVIVAL

Reproduced in P.Joanne, Paris-Diamand, Paris, Hachette, 1882, p.5

DRESSER The dresser is compartmented in a tripartite lower part, divided by marble and gilt bronze columns. <_W LWWZ[ ILWZVML _Q\P OQT\ JZWVbM .TWZMV\QVM :MVIQ[[IVKM [\aTM UMLITTQWV[ ÆIVS \PM OTI[[ KI[M QV \PM centre. Three sculpted frieze drawers support the top. The upper part is divided in three panels: in niches on each side two gilt bronze statuettes surround the central gilt bronze pattern. Statues represent two women draped in the antic style, one holding a palm, \PM W\PMZ I KWZV]KWXQI <_W [K]TX\ML KPQUMZI[ ÅVQ[PML \PM LuKWZ WV MIKP [QLM <PM [MUQ KQZK]TIZ XMdiment surmounting the upper part presents a gilt bronze faun mascaron.

Bronze statuette ornamenting a Neo-Renaissance sideboard by Meynard. Identical as the one used on our dresser, it is attributed to F.Barbedienne. L’art et l’industrie de tous les peuples à l’exposition Universelle de 1878.

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DINING ROOM TABLE AND CHAIRS The walnut dining room table, and its three leaves are standing on four richly decorated legs ending in lion claws, doubled with marble columns topped by gilt bronze Corinthian capitals. A strut supporting three ribbed balusters and two ionic capitals vases links the legs. Eight chairs complete this Neo-Renaissance dining room. The base rests on four legs, the anterior baluster and capital legs and the posterior square section legs, linked by a strut. The back of chairs is adorned with a rich [K]TX\ML LuKWZ IVL ÆIVSML Ja \_W KIXQ\IT[ KWT]UV[ <PM TW_MZ XIZ\ Q[ LMKWZI\ML _Q\P IV WXMV_WZS [K]TX\ML vegetal ornament. The wood pediment is ornamented with a central polished marble cabochon.

BIBLIOGRAPHY: L’univers des bronzes, Yves Devaux, Ed. Pygmalion, Paris, 1978. Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p° 26. Les ébénistes du XIXe siècle, Ledoux-Lebard, Ed. de l’amateur, Paris, 1989, p° 209 & 481. « Le salon des arts du mobilier », La Revue de l’art ancien et moderne 8IZQ[ QUXZ /MWZOM[ 8M\Q\ \ @11 R]QTTM\ LuKMUJZM ! XX Salon des industries du mobilier, Grand Palais des Champs Elysées R]QTTM\ VW^MUJZM ! WZOIVQ[u XIZ TI KPIUJZM [aVLQKITM LM T¼IUM]JTMment, Paris, impr. Wattier frères, 1902

Vue dâ&#x20AC;&#x2122;ens

nsemble

ORIENTALISM

8 The term Orientalism appeared around 1830 while the 17th and 18th centuries had developed _Q\P OZMI\ NIV\I[a \PM ® \]ZY]MZQM ¯ \PMUM <PM \I[\M NWZ M`W\QK IVL XQ\\WZM[Y]M []JRMK\[ KW]TL even be found in the decoration of private apartments of Queen Marie-Antoinette and Count of Artois in the late 1780’s. But it was truly during the 19th century, with the expedition to Egypt led by Bonaparte from 1798, that the East attracted artists and collectors with beauty, eroticism, light and the fascination of the exotic oriental mystery. However the storming of Algiers by French troops in 1830 marked the act of birth of the artistic movement since the term of Orientalism appeared at this time. With the development of steamers and steam trains, painters, sculptors, cabinet-makers, and KMZIUQ[\[ UQVOTML _Q\P \PM ÆW_ WN \ZILMZ[ IVL [WTLQMZ[ RWQVQVO [\QTT ]VSVW_VML KW]V\ZQM[ Riding camels and wearing the turban, the French artists went to the Maghreb or Persia, as Eugène Delacroix (1798-1863) did, making in 1832 hundreds sketches and watercolors showing Algiers and Oran. He took then inspiration from those drawings during many years. Further artists, such Decamps, Fromentin and Gérôme, Lamartine, Nerval and Gautier, all driven by the desire to discover another civilization, or even to adopt the foreign lifestyle, went to those lands. Meanwhile, the British concentrated their attention on Egypt and Palestine, in Austria, Switzerland, Germany and Italy, further European artists went also far away. As a result of these trips, European Fine Arts were experiencing a tremendous explosion of new []JRMK\[ " \PM LM[XW\Q[U WN \PM \aZIV\ [MV[]ITQ\a IVL WX]TMVKM WN \PM PIZMU \PM XQK\]ZM[Y]M scenes in colorful streets, richnesses of human beings and landscapes. In France, it was really under the Second Empire that the Orientalist artists were pushed into the lime light. Emperor Napoleon III himself, the aristocrats as well as the wealthy bourgeois in search of exotic feelings commissioned the most renowned artists. This wasn’t the mostly academic style used Ja \PM 7ZQMV\ITQ[\[ J]\ \PMQZ M`W\QK []JRMK\[ \PMa OI^M \W [MM \W \PM NI[KQVI\ML I]LQMVKM []KP I[ the sculptors Charles Cordier (1827-1905), who innovated by combining polychrome marbles with Algerian onyx, and Emile Guillemin (1841-1907), whose works were published by the OZMI\ NW]VLMZ .MZLQVIVL *IZJMLQMVVM ! <PM[M IZ\Q[\[ TML [KQMV\QÅK UQ[[QWV[ \W_IZL the East, with the aim of helping to identify various cultures in a multi-ethnic civilization. The naturalist and documentary approach reveals a political and cultural will to keep track of these geographical and anthropological evidence.

THE TUAREGS

Ref: 1517/0

Oil on canvas Circa 1940 Height : 178 cm (70 in.) ; Width : 200 cm (79 in.) Large orientalist painting, lovely framed, representing a group of three nomads and their camel in a rocky desert setting bathed in sunlight.

ORIENTALISM

Carry an unreadable signature down right.

116

P.J. MÈNE

Ref: 1556/0

Sculptor (1810-1879)

F. BARBEDIENNE Bronze-caster (1810-1892)

« AN ARAB FALCONER ON HORSEBACK » France Circa 1880 A patinated Edition Bronze, signed P.J. MÊNE. and F. BARBEDIENNE Height: 78 cm (30,7 in.) ; Width: 63 cm (24,8 in.) ; Depth : 30 cm 11,8 in.)

ORIENTALISM

A patinated edition bronze representing an Arab falconer hunting on horseback, after a model by Pierre-Jules Mène, exhibited at the Parisian Salon in 1874, and then at the Centennial Exhibition of French Art in 1900.

120

C. RUDHARDT

Ref: 3110/18

Ceramist (1829-1895)

PAIR OF VASES Signed Rudhardt and numbered 35 France Circa 1885 Height : 23 cm (9 in.) ; Diameter : 9 cm (3,5 in.)

ORIENTALISM

) ^MZa ÅVM XIQZ WN ^I[M[ WN [TQOP\ K]Z^ML NWZU UILM QV ÅVM JT]M \]ZY]WQ[M OTIbML MIZ\PMV_IZM 7ZVI\ML _Q\P JMI]\QN]T XQMZKML OQT\ JZWVbM UW]V\[ ÅVMTa KPQ[MTML _Q\P IZIJM[Y]M XI\\MZV[

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L.C. SÉVIN

Ref: 2803/16

Ornemanist (1821-1888)

F. BARBEDIENNE Bronze-caster (1810-1892)

D. ATTARGE Chaser (1820-1878) attributed to

EXCEPTIONAL ONYX AND CLOISONNÉ ENAMEL CLOCK SET Signed F. Barbedienne France Circa 1870

ORIENTALISM

Clock – Height: 80 cm (31,5 in.); Width: 55 cm (21,6 in.); Depth: 32 cm (12,6 in.) Candelabras – Height : 97 cm (38 in.) ; Diameter : 36 cm (14 in.) The assembled Neoclassic style ormolu and "cloisonné" enamel onyx set comprises a mantel clock and a XIQZ WN KIVLMTIJZI <PM KTWKS I[ I TQLLML Æ]\ML ]ZV _Q\P NZ]Q\QVO ÅVQIT ÆIVSML Ja OQT\ JZWVbM /ZMMS SMa PIVLTM[ \WXXML _Q\P KI[\ J]\\MZÆQM[ Q[ []UX\]W][Ta WZVI\ML _Q\P JT]M ZQJJWV IVL XWTaKPZWU ÆWZIT JW]Y]M\[ motif "cloisonné" enamel frieze. The urn stands on four foliate feet and a Louis XVI style rectangular onyx base, forming the clock case with ormolu drapery framing the circular enamelled dial. The all reposing on a rectangular enamelled ormolu-mounted onyx base. The pair of onyx urn-shaped candelabras en suite, issuing nine foliate-scrolled light branches, decorated with similar gilded cast and enamelled motifs. The style of this amazing clock set characterizes the greatest art pieces made by Ferdinand Barbedienne. 0Q[ W_V LMKWZI\Q^M ZMXMZ\WQZM UQ`M[ QV OZMI\ PIZUWVa 6MWKTI[[QKIT UW\QN[ []KP I[ ÆW_MZa OIZTIVL[ acanthuses, amphoras and the urn, with Orientalist decor made of splendid coloured enamelled cartouches and friezes.

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ORIENTAL CHANDELIER

Ref: 0206/52

France Circa 1900 Height : 75 cm (29.5 in.) ; Diameter : 70 cm (27.5 in.)

ORIENTALISM

>MZa WZQOQVIT WZQMV\IT KPIVLMTQMZ _Q\P XWTaKPZWUM LuKWZ KWUXW[ML WN Å^M TQOP\[ ZMXZM[MV\QVO KPIZIK\MZ[ NZWU \PM +WUUMLQI LMTT¼)Z\M ZQLQVO KIUMT[ <PM KMV\ZMXQMKM ÅO]ZQVO IV WZQMV\IT TIV\MZV top the overall.

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F. BARBEDIENNE

Ref: 1572/0

Bronze-caster (1810-1892) attributed to

AN ORIENTAL STYLE CHANDELIER France Circa 1870 Height : 75 cm (29,5 in.) ; Diam. : 45 cm (17,7 in.) Exceptional gilt bronze and polychrome cloisonné enamel chandelier with six light-arms raising from an open-work gilt bronze body in the shape of an egg adorned with enamelled stylized foliate. The _PWTM Q[ QV \PM WZQMV\IT [\aTM IVL P]VO _Q\P KPIQV[ ÅVQ[PQVO QV MVIUMTTML UMLITTQWV[ IVL KWZWTTI

ORIENTALISM

This work in enamelled bronze of oriental style is typical of F. Barbedienne’s production, who was famous for his leading role in the renaissance of the cloisonné enamel decoration during the 19th century.

130

131

F. BARBEDIENNE

Ref: 1572/0

Bronze-caster (1810-1892) attributed to

AN ORIENTAL STYLE CHANDELIER France Circa 1870 Height : 88 cm (34,6 in.) ; Diam. : 48 cm (18,9 in.) Exceptional gilt bronze and polychrome cloisonné enamel chandelier with six light-arms rising from a very richly adorned body in the shape of a cup, with enamelled stylized foliate. The whole decoration, Z]VVQVO WV \PM TQOP\ IZU[ I[ _MTT Q[ QV \PM WZQMV\IT [\aTM # Q\ Q[ P]VO _Q\P KPIQV[ ÅVQ[PQVO QV MVIUMTTML stars and corolla.

ORIENTALISM

132

133

MARNYHAC

Ref: 1584/0

Bronze caster (Active in the 2d part of the 19th century) attributed to

ORIENTAL STYLE CHANDELIER France Circa 1870 Height : 62 cm (24,4 in.) ; Diameter : 68 cm (26,8 in.)

ORIENTALISM

) ^MZa ÅVM WZQMV\IT [\aTM [Q` TQOP\ IZU[ OQTLML IVL XI\QVI\ML JZWVbM KPIVLMTQMZ _Q\P I KMV\ZIT JIT][\MZ shaped barrel adorned with stylized foliage, acanthus leaves and elephant’s heads cast in patinated JZWVbM ;Q` TQOP\IZU[ Q[[]M NZWU \PM MTMXPIV\[¼ \][S[ IVL ÅVQ[P QV K]\ KZa[\IT KWZWTTI

134

135

136

137

H. VIAN

Ref: 1584/1

Bronze-caster (1860-1905) attributed to

AN ORIENTAL LANTERN France Circa 1890 Height : 95 cm (37,4 in.) ; Diam.: 55 cm (21,7 in.)

ORIENTALISM

An exceptional oriental lantern with four light arms and a central light composed by Moorish arches, adorned with chains and pendants, supported by four columns. The whole is inserted in an abundant gilt and openwork bronze decoration with vegetal patterns. An inscription running around the lantern says : â&#x20AC;&#x153;Only Gold could be gloriousâ&#x20AC;?.

138

139

VENITIAN CENTER TABLE

Ref: 0805/13

Italy – Venice 2nd half of the 19th century Height : 87 cm (34,2 in.) ; Width : 84 x 70 cm (33 x 27,5 in.)

ORIENTALISM

This gilded wood center table is inspired by decorative and architectural motifs of the Trecento, the Italian pre-Renaissance of the fourteenth century. With a beautiful and molded quatrefoil top adorned in centering gold edged cartridges, with hand-painted under glass decoration motifs in imitation of halfprecious stones such as agate, lapis lazuli or malachite on a porphyry imitated background. Around the frieze, the architectural-shaped foot and base, further elegant cartridges inspired by the Renaissance style scalloped edged “cuirs découpés”, are decorated with glass painted cabochons imitating other stones. This Venetian table made in the second half of the nineteenth century, is reminiscent of the Italian Trecento and Venice itself, where a strong Gothic tradition tinged with local originalities then produced masterpieces. All the criteria are met here : gold, light through glass and half-precious stones.

140

E. CORNU

Ref: 1552/0

Designer & Sculptor (1827-1899)

ORIENTAL ONYX PEDESTAL TABLE France Circa 1870 Bronze, Onyx Height : 78 cm (30,7 in.) ; Diam. : 57 cm (22,4 in.)

ORIENTALISM

Splendid oriental style pedestal table crowned by a circular onyx top, supported by three onyx columns. The platform, a turntable, is circled with a large bronze moulding with oriental frieze and lambrequins, and supported by three onyx columns mounted in open-work bronze with vegetal patterns. The overall is resting on a circular open-work bronze base with oriental ornaments, signed E. CORNU Brd des ITALIENS 24.

142

E. CORNU

Ref: 1570/0

Designer & Sculptor (1827-1899) attributed to

ORIENTALIST DRESSING TABLE France Circa 1880 Darkened wood, gilt bronze, veneered marble Height: 135 cm (53 in.); Width: 60 cm (23,6 in.); Depth: 38 cm (15 in.)

ORIENTALISM

) ZIZM WZQMV\ITQ[\ LZM[[QVO \IJTM WV NW]Z KWT]UV[ NMM\ RWQVML Ja I [\ZMKPMZ ILWZVML _Q\P IV MVIUMTML ceramic plaque in the oriental style, attributed to Vieillard and Caranza. The veneered marble top rests on richly chiselled open-work gilt bronze capitals and arches and support a mirror in its gilt bronze open-work frame in the oriental style.

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EXCEPTIONAL BYZANTINE STYLE CENTER TABLE

Ref: 3110/23

Venice - Italy Circa 1860 Height : 78 cm (30,7 in.) ; Diameter : 145 cm (57 in.)

ORIENTALISM

Impressive Byzantine style Venitian center table made in local massive wood, entirely decorated with ivory inlay. The octogonal top decorated with Venitian geometrical motifs and sprirals stands on a central gadrooned carved foot and eight stylized ivory inlaid dolphins. The all resting on a polylobed base and eight lion paws.

RELATED WORK: The Byzantine and therefore Oriental style much present in Venice through the ages is due to the historical links between Venice and the East since its origins. These arabesques and further geometric patterns are characteristics of the "Cosmati" art, which originally is a decoration made of polychrome marble inlays, invented by Roman marble workers and widespread in Italy since the twelfth century. One of the most wonderful examples is to be seen in Basilica San Marco in Venice.

146

PAIR OF PALMTREE SHAPED STANDS

Ref: 1307/28

England Circa 1880 Height : 157 cm (61,8 in.) ; Base: 40 cm (15,7 in.)

ORIENTALISM

Pair of mahogany stands, ornamented with palms sculpted in a naturalistic fashion. Surmounted with a small circular top. Foot ornamented with acanthus leaves, resting on a rectangular pierced base.

150

IMPORTANT ORIENTALIST MIRROR

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

ORIENTALISM

An important carved and waxed oakwood Orientalist mirror.

152

Ref : 0912/6

JAPONISM

8 The roots of the artistic movement known as « Japonism » rises not only in Japanese art, but also in Chinese art. Following the Franco-English military campaign led in 1860 against the Imperial army in China, the French troops of Napoleon the IIIrd brought back from the Summer Palace, a part of the Chinese Imperial court treasure, which made up the famous Chinese Museum of Empress Eugénie at the Fontainebleau Palace. The French artists were Y]QKS \W \ISM QV[XQZI\QWV NZWU \PW[M M`W\QK IVL [WUX\]W][ WJRMK\[ NWZ \PMQZ KZMI\QWV[ I[ \PMa used to do in the 18th century, when the best French cabinet-makers adapted the Chinese lacquers on the luxurious royal chests. 5IVa 2IXIVM[M IVL +PQVM[M WJRMK\[ IVL XZQV\[ _MZM QUXWZ\ML \W .ZIVKM IVL ITT -]ZWXM NWZ which some collectors spent already fortunes. The passion for Japanese art, more than a simple taste for an exotic style, provoked not only a craze among the wealthy Paris high society, renewing their mansion inner decoration, but turned also to a real revolutionary movement among the « avant-garde » artists, such as Manet in France or Whistler in England. England and France contributed actively to the development of this exotic art. At the =VQ^MZ[IT -`PQJQ\QWV WN 4WVLWV QV ;QZ :]\PMZNWZL )TKWKS \PM ÅZ[\ ZMXZM[MV\I\Q^M WN the British Crown in Yedo (Tokyo), led the Japanese section. In France, with the generation of the Impressionists, the enthusiasm for Japanese art became then a true fashion. Architects, painters and interior designers were obviously requested to work on that matter. London and Paris shared that common artistic market : Murray Marks, a renowned London dealer, sold as soon as 1864 in Paris a collection of Chinese and Japanese ceramics. Institutions and museums were no exception : the South Kensington Museum in London (now the Victoria & Albert Museum) enriched its collections of Japanese artifacts, like l’Union centrale des Arts décoratifs in Paris.

A FINE PAIR OF "CLOISONNÉ" ENAMEL PLATES

Ref: 0702/86

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

JAPANISM RENAISSANCE REVIVAL

*MI]\QN]T XIQZ WN XWTaKPZWUe KTWQ[WVVu MVIUMT LQ[XTIa LQ[PM[ LMKWZI\ML _Q\P JQZL[ ÆaQVO W^MZ Z][PM[ IVL ÆW_MZ[ WV I [Sa JT]M JIKSOZW]VL JWZLMZML _Q\P I [\aTQbML NWTQI\M UW\QN frieze. Finely mounted with gilded bronze ornaments such as bamboos, masks and scrolls.

156

157

F. DUVINAGE

Ref: 2911/9

(1823-1876)

A. GIROUX

(active from 1799 to 1885) ,M[QOVMZ[ )Z\ 7JRMK\[ -LQ\WZ[

PLANT POT France Circa 1875 Signed FD BtÃ© and ALPH. GIROUX PARIS Height : 14,5 cm (5,7 in) ; Width : 10,5 cm (4,1 in) ; Depth : 10 cm (4 in)

JAPANISM RENAISSANCE REVIVAL

Rare trapezoid plant pot made of gilded bronze and tinted fruitwood, copper and ivory marquetry. It Q[ UILM WN NW]Z [TIJ[ LMKWZI\ML _Q\P JZIVKPM[ Ã&#x2020;W_MZ[ IVL JMZZQM[ IZM \QOP\Ta PMTL _Q\PQV OQT\ JZWVbM mounts which comprise an openwork frieze and a beaded frieze, and rests on doe hoofs. The presence of Ferdinand Duvinageâ&#x20AC;&#x2122;s signature (FD BtÃ© for Â« Ferdinand Duvinage BrevetÃ© Â») allows us to precisely date our plant pot between 1874, the year of the patent, and 1876, the year of his death.

158

SAMSON & CIE

REF. 1208/58

Porcelain Manufacturer (19th Century) attributed to

CHARMING LOUIS XV CLOCK France Circa 1880 Height : 28 cm (11 in.) ; Width :15 cm (6 in.) ; Depth : 12,5 cm (5 in.)

Charming polychrome porcelain, green lacquered metal sheet and chiselled gilt bronze Louis XV style KTWKS ) OQT\ JZWVbM J][P LMKWZI\ML _Q\P [UITT XWZKMTIQV ÆW_MZ[ IVL UM\IT [PMM\ NWTQIOM []XXWZ\[ the circular face, with Arabic numbers for hours. Rests on a gilt bronze foliage base decorated with a porcelain family scene composed of two parents playing and embracing their child.

JAPANISM RENAISSANCE REVIVAL

<PQ[ \aXM WN KTWKS ÅZ[\ IXXMIZ[ L]ZQVO \PM ZMQOV WN 4W]Q[ @> <PM QUXWZ\I\QWV WN M`W\QK OWWL[ IVL \PM WXMVQVO WN \PM <]ZSQ[P -UJI[[a QV 8IZQ[ QV KWV[QLMZIJTa QVÆ]MVKML 4W]Q[ @> [\aTM _Q\P \PM apparition of exotics characters, scenes and animals ornamenting decorative arts. BIBLIOGRAPHY: F. Slitine, Samson, génie de l’imitation, Massin, Paris, 2002. Faîence et porcelaine de Paris, XVIIIe-XIXe siècles, Régine de Plinval de Guillebon, Editions Faton, Paris, 1995, p° 406 & 407 La pendule française dans le monde, Ire Partie : Des Origines à la transition Louis XV-Louis XVI, Tardy, 1981.

160

FINE PAIR OF JAPANESE STYLE DISHES

Ref 1515/0

France Decor : Circa 1875 Width : 15 x15 cm (5,9 x 5,9 in.)

JAPANISM RENAISSANCE REVIVAL

Elegant pair of 18 th century soft-paste porcelain dishes finely decorated in England during the 19th century with medallions representing Japanese theatre characters dressed in traditional costumes, beautiful goldembossed ornament on a polychrome background.

162

WATANO KICHIJI

Ref: 3012/70

Poter (1860-1934)

KUTANI Porcelain

RARE PORCELAIN TABLE SET Japan Circa 1880

JAPANISM RENAISSANCE REVIVAL

Lovely part of Kutani porcelain table service, made for the European market in Japan. Iris, Japanese chrysanthemum, Cap’s daisies, vine leaves, and small birds, create a rich purple and pink shades floral décor, all of which is circled by a gold on purple background frieze. This service was probably made for a European aristocratic family and presents a red “T” monogram top by a marquis crown. 18 large plates (25cm) – 6 soup plates (23 cm) – 6 plates (21,5cm) – 8 desert plates (17cm) – 2 cake plates (22cm) – 1 saucepan and its saucer – 3 oval plates (24,5cm) – 2 large cups and saucers – 8 small cups and 8 saucers – 6 egg cups – for a total of 71 pieces.

164

A PAIR OF JAPANESE SHELVES

Ref: 1536/1

Japan 5MQRQ MZI KQZKI

Carved wood, lacquer, mother-of-pearl, bone Height: 75 cm (29,5 in.); Width: 42 cm (16,5 in.)

JAPANISM RENAISSANCE REVIVAL

*MI]\QN]T XIQZ WN 5MQRQ 2IXIVM[M [PMT^M[ QV KIZ^ML QVTIQL _WWL IVL TIKY]MZ <PM [PMT^M[ IZM KWUXW[ML Ja I \_W TMIN KWV[WTM QV \PM TW_MZ XIZ\ []ZUW]\ML Ja I TIZOM XIVMT ITT KW^MZML _Q\P Ã&#x2020;W_MZ[ IVL JQZL[ patterns incrusted with mother-of-pearl, bone and woods. The sides are enriched with gold ornaments and carved open-work wood.

168

F. DUVINAGE

Ref: 0702/106

(1823-1876)

A. GIROUX

(Active from 1799-1885) ,M[QOVMZ IVL )Z\ 7JRMK\[ -LQ\WZ

"FAN" Signed FD Bté and Alph. Giroux Paris France, Circa 1875 Height: 30 cm (11,8 in.) ; Width : 55 cm (21,6 in.)

JAPANISM RENAISSANCE REVIVAL

Rare table mirror in the shape of an open fan ornamented with a naturalistic decoration in the Japanese style. It is made of tinted fruitwood marquetry on a cloisonné ivory background according to the technique invented and patented by Ferdinand Duvinage in 1874. The mirror rests on a gilt-bronze easel foot. The shape and the decoration of this mirror remind of extreme-oriental QVÆ]MVKM[ <PM NZIUM Q[ WZVIUMV\ML _Q\P I XTIV\ LMKWZI\QWV _Q\P QVTIQL JZIVKPM[ IVL ÆW_MZ[ WV I KTWQ[WVVu Q^WZa JIKSOZW]VL )\ \PM JW\\WU of the mirror, a centering bird, spreading its wings, stands on a rock, ready to catch an insect. The marquetry work and the wood varieties subtly reproduce the shades of foliage and feathers as a real painting. The copper cloisonné is a part of the decoration since it constitutes branches.

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

DUVINAGE’S MARQUETRY The marquetry technique used to adorn this writing case is a technique [XMKQÅK \W .MZLQVIVL ,]^QVIOM 7V \P 5Ia .MZLQVIVL ,]^QVIOM ÅTML I ÅZ[\ XI\MV\ NWZ ¹I SQVL WN UW[IQK QVTIaQVO UILM WN XIZ\Q\QWVML UM\IT \W JM ][ML WV N]ZVQ\]ZM IVL IZ\ WJRMK\[º <PM XZWKM[[ PM QV^MV\ML Q[ “the combined meeting of ivory as background, stained or exotic woods used for ornaments, and copper or other metal to partition ivory”. The ivory is intended to form the bottom and is hollowed to “insert the wooden UW[IQKº IVL \PM [WV WN KWXXMZ <PM ÅZ[\ XI\MV\ Q[ KWUXTMUMV\ML Ja \_W additions. In February 1876, Duvinage imagined replacing ivory by QUQ\I\QVO _WWL []KP I[ JW`_WWL 1V 6W^MUJMZ PM W‫ٺ‬MZML N]Z\PMZ to enrich the decoration by adding “applied metal or other material (...) inlaid with pearls and precious stones”. This latter type of ornamentation was however little used by Duvinage. The Japanese style decors were Tazza with a bird, Victoria and Albert Museum, always associated with nature, birds and plants. London. In 1876, Rosalie Duvinage named “the Duvinage widow” took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese inspiration, adding pearl decoration to the XZM^QW][ XI\MV\ ?M LW VW\ ]V\QT VW_ SVW_ IVa N]ZVQ\]ZM WJRMK\ WZ panel with pearl decoration. The presence of the Ferdinand Duvinage’s signature (FD Bté for « Ferdinand Duvinage Breveté ») allows us to precisely date our writing case, between 1874, the year of the patent, and 1876, the year of his death. 170

F. DUVINAGE

Ref: 1508/30

,M[QOVMZ IVL )Z\ 7JRMK\[ -LQ\WZ (1823-1876)

WRITING CASE Signed FD Bté France, circa 1875 Height: 10,5 cm (4 in.) ; Width : 33 cm (13 in.) ; Depth : 26 cm (10,2 in.)

JAPANISM RENAISSANCE REVIVAL

Precious kingwood writing case inlaid with a naturalistic decoration in the Japanese style. It is made of tinted fruitwood marquetry on a cloisonné ivory background according to the technique invented and patented by Ferdinand Duvinage in 1874. The writing case opens with a half-round cover revealing a pencil box, an inkpot and a powder box. <PM ÆIX NWTL[ LW_V IVL KWV[\Q\]\M[ \PM _ZQ\QVO []ZNIKM # Q\[ ]XXMZ XIZ\ opens onto a paper box. The writing case is adorned with a marquetry decoration with branches, ÆW_MZ[ IVL JMZZQM[ ) JQZL IUQL[\ JTW[[WUQVO JZIVKPM[ IVL [XZMILQVO Q\[ _QVO[ WZVI\M[ \PM UQLLTM WN \PM ÆIX <PM UIZY]M\Za _WZS IVL \PM wood varieties subtly reproduce the shades of foliage and feathers to create as a real painting. The copper cloisonné is a part of the decoration since it constitutes branches. DUVINAGE’S MARQUETERY The marquetry technique used to adorn this writing case is a technique [XMKQÅK \W .MZLQVIVL ,]^QVIOM 7V \P 5Ia .MZLQVIVL ,]^QVIOM ÅTML I ÅZ[\ XI\MV\ NWZ ¹I SQVL WN UW[IQK QVTIaQVO UILM WN XIZ\Q\QWVML UM\IT \W JM ][ML WV N]ZVQ\]ZM IVL IZ\ WJRMK\[º <PM XZWKM[[ PM QV^MV\ML is “the combined meeting of ivory as background, stained or exotic woods used for ornaments, and copper or other metal to partition ivory”. The ivory is intended to form the bottom and is hollowed to ¹QV[MZ\ \PM _WWLMV UW[IQKº IVL \PM [WV WN KWXXMZ <PM ÅZ[\ XI\MV\ Q[ complemented by two additions. In February 1876, Duvinage imagined replacing ivory by imitating wood, such as boxwood. In November PM W‫ٺ‬MZML N]Z\PMZ \W MVZQKP \PM LMKWZI\QWV Ja ILLQVO ¹IXXTQML metal or other material (...) inlaid with pearls and precious stones”. This latter type of ornamentation was however little used by Duvinage. The Japanese style decors were always associated with nature, birds and plants. In 1876, Rosalie Duvinage named “the Duvinage widow” took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese inspiration, adding pearl decoration to the XZM^QW][ XI\MV\ ?M LW VW\ ]V\QT VW_ SVW_ IVa N]ZVQ\]ZM WJRMK\ WZ panel with pearl decoration. The presence of the Ferdinand Duvinage’s signature (FD Bté for « Ferdinand Duvinage Breveté ») allows us to precisely date our writing case, between 1874, the year of the patent, and 1876, the year of his death. 174

OTHER DECORATIVE OBJECTS

Lâ&#x20AC;&#x2122;ESCALIER DE CRISTAL

Ref: 1631

,M[QOVMZ )Z\ WJRMK\[ -LQ\WZ (1804-1923) attributed to

JAPANESE STYLE TRAY Circa 1880 Porcelain, gilt-bronze Length : 47 cm (18.5 in.) ; Width : 33 cm (12.9 in.) Rare Japanese style diamond-shaped tray representing lake landscapes in cartouches, and adorned in its center with a lunch scene with a Japanese couple in traditional dress, all highlighted by a gilded decor of flowering branches on a pink porcelain background.

JAPANISM RENAISSANCE REVIVAL

The whole is framed by a gilded openwork bronze mount ending on the sides by two handles.

178

Lâ&#x20AC;&#x2122;ESCALIER DE CRISTAL

Ref: 1568/0

,M[QOVMZ )Z\ WJRMK\[ -LQ\WZ (1804-1923) attributed to

A FINE PAIR OF VASES Circa 1880 CloisonnÃ© Enamel, gilt-bronze Height : 29 cm (11,4 in.) ; Width : 12 cm (4,7 in.).

JAPANISM RENAISSANCE REVIVAL

) Ã&#x2026;VM XIQZ WN KTWQ[WVVu MVIUMT ^I[M[ QV I OQT\ JZWVbM UW]V\ <PM ^I[M Q[ LMKWZI\ML _Q\P XWTaKPZWUM Ã&#x2020;W_MZ[ IVL OMWUM\ZQK OQTLML WZVIUMV\[ WV I JT]M OZW]VL IVL \PM UW]V\ KWV[Q[\[ QV I NW]Z NMM\ JI[M two lionsâ&#x20AC;&#x2122; heads and rings handles and a chiselled top.

180

Lâ&#x20AC;&#x2122;ESCALIER DE CRISTAL

Ref: 3110/9

,M[QOVMZ )Z\ WJRMK\[ -LQ\WZ (19th Century) attributed to

RARE MURAL FOUNTAIN French gilt-bronze (Circa 1880) Chinese porcelain (Circa 1720) Height : 61 cm (24 in.) ; Width : 30 cm (11,8 in) ; Depth : 25 cm (9,8 in.)

JAPANISM RENAISSANCE REVIVAL

Rare 18th Century Famille verte China porcelain mural fountain, decorated with lotus, tree and bird motifs. The faucet coming out of a dragon mouth. Beautiful gilt-bronze mounts with rocks, rushes and water motifs. Small gilt-bronze basin ornamented with pearls. The Famille verte decors were developed by Chinese ceramists and then exported throughout Europe under the reign of Emperor Kangxi (1662-1730). Those China pieces were much appreciated for their motifs, using vivid colours, but never overdecorated. BIBLIOGRAPHY: Catalogue de lâ&#x20AC;&#x2122;Exposition Universelle, les Beaux-Arts et les Arts dĂŠcoratifs, t. I : lâ&#x20AC;&#x2122;Art moderne, Paris, 1878. Catalogue de lâ&#x20AC;&#x2122;Exposition Universelle, les Beaux-Arts et les Arts dĂŠcoratifs, Paris, 1889. Les crĂŠations de lâ&#x20AC;&#x2122;Escalier de Cristal, Philippe ThiĂŠbaut, Revue de lâ&#x20AC;&#x2122;Art, 1989, nÂ° 85.

182

L’ESCALIER DE CRISTAL

Ref 1539/1

Creator and seller-editor

attributed to

AESTHETIC MOVEMENT PLANTER France Circa 1880 Height : 25 cm (9,8 in.) ; Diam. : 28 cm (11 in.)

JAPANISM RENAISSANCE REVIVAL

<PQ[ ZIZM KQZK]TIZ XTIV\MZ QV MVIUMT KMZIUQK Q[ MUJMTTQ[PML _Q\P I ÆWZIT IVL ^MOM\IT XWTaKPZWUM LuKWZ upon a celestial blue background. Beautiful chiselled and gilded bronze openwork mounting of Fô dogs forming the handles. The planter rests on four elephant heads with reversed trunks.

184

BACCARAT

Ref 1563/0

Crystal manufacture

PLANT POT Mark of Baccarat on the mount France Circa 1880 Crystal, gilt bronze Height :12cm (4,7 in.); Width: 45cm (17,7 in.); Depth: 26cm (10,2 in.)

JAPANISM RENAISSANCE REVIVAL

A charming Baccarat crystal plant pot with a polychrome foliate enamelled decoration, resting on a gilt bronze mount on four foliate, brushwood and acorn feet.

186

BACCARAT

Ref 1539/0

Crystal manufacture

BEAUTIFUL AESTHETIC MOVEMENT PLANTER France Circa 1880 Height : 17 cm (6,7 in.) ; Width : 26 cm (10 in.) ; Length : 36 cm (14 in.)

JAPANISM RENAISSANCE REVIVAL

Very beautiful planter in engraved crystal with scribed edges, aquatic decors and gilded highlights. Rests on an aesthetic movement openwork gilded bronze base.

188

L.C. SEVIN

Ref : 0801/1

Ornemanist (1821-1888)

F. BARBEDIENNE Bronze-Caster (1810-1892)

JAPANESE TRAY Circa 1860

JAPANISM RENAISSANCE REVIVAL

Height : 13,5 cm (5,3 in.) ; Width : 68 cm (26,7 in.) ; Depth : 43 cm (16,9 in.) Rich landscape in cloisonné enamel on blue and brown background imitating Aventurine stone. The décor represents a river surrounded by wisterias, chrysanthemums, peonies, iris and reeds, led by birds IVL Å[PM[ ) NZQMbM _Q\P ÆWZIT XI\\MZV NZIUM[ \PM [M\ <PM MUIQT ZM[\[ WV I JMI]\QN]T JZWVbM NZIUM _Q\P four elephants heads feet topped by handles with typical lambrequin from Barbedienne’s production.

190

GAGNEAU

Ref: 1544/1

Bronze-Caster & Lighting Manufacturer (19th century)

PAIR OF LAMPS ;QOVML \_QKM /IOVMI] WV \PM JZWVbM TQOP\ Å\\QVO[ Circa 1880 Without Lampshade: Height: 57cm (22,4 in.) ; Diam.: 20cm (7,9 in.) With Lampshade : Height : 62cm (24,4 in.) ; Diam.: 42cm (16,5 in.)

JAPANISM RENAISSANCE REVIVAL

) ÅVM XIQZ WN +PQVM[M KTWQ[WVVu MVIUMT TIUX[ _Q\P XWTaKPZWUM NWTQI\M XI\\MZV[ UW]V\ML QV OQTLML and patinated bronze mounts. The neck is enriched with openwork mounts, and Greek frieze, and +PQVM[M QV[XQZML XI\\MZV[ <PM _PWTM ZM[\[ WV I JI[M _Q\P NW]Z MTMXPIV\¼[ PMIL[ IVL Å\\ML NWZ MTMK\ZQKQ\a

194

AESTHETIC MOVEMENT CHANDELIER

Ref : 313/45

France Circa 1880 Height : 67,5 cm (26,5 in) ; Diam. : 43 cm (16,9 in)

JAPANISM RENAISSANCE REVIVAL

Rich three lights Aesthetic movement chandelier in patinated, gilded and silvered bronze. The basket is composed of three patinated bronze contorted masks and of three stylised palm leafs each separated by I [MIPWZ[M I [XQLMZ IVL I LZIOWVÃ&#x2020;a +PMZZa \ZMM JZIVKPM[ KWUXTM\M \PM WZVIUMV\I\QWV <PM KPIVLMTQMZ is suspended by three gilded bronze links representing nodded ropes tied by a beautiful nod.

196

G. VIARDOT

Ref : 1508/29

Cabinet-maker (1830-1906) attributed to

AN AESTHETIC MOVEMENT MIRROR Circa 1880 Height : 132 cm (52 in.) ; Width : 98 cm (38,6 in.) ; Depth : 13 cm (5 in.)

JAPANISM RENAISSANCE REVIVAL

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

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

198

A. METGÉ

Ref: 0210/12

Cabinet-maker (1883-1970)

RARE COMMODE Signed Metgé France Circa 1910 Height : 102 cm (40 in.) ; Width : 130 cm (51 in.) ; Depth : 50 cm (19,7 in.)

JAPANISM RENAISSANCE REVIVAL

A beautiful cabinet made in waxed natural oakwood, whose structure and the door framing are MV\QZMTa KIZ^ML _Q\P \ZMM IVL ^QVM JZIVKPM [PIXML UW\QN[ <PM LWWZ NItILM[ IZM ÅVMTa WZVI\ML _Q\P mild coloured local wood marquetry, presenting a pastoral landscape and a scene with a deer in the woods. Opening with two doors, onto two drawers. Topped with “Escalette” marble. BIBLIOGRAPHY: Archives manuscrites et photographiques de la famille Metgé. Revue du Tarn

RELATED WORK : An inlaid table top designed and executed by Auguste Metgé.

200

G. VIARDOT

Ref: 0512/60

Cabinet-maker (1830-1906)

AESTHETIC MOVEMENT DISPLAY CABINET Signed G. Viardot and dated 1888 France

JAPANISM RENAISSANCE REVIVAL

Height : 166 cm (65, in.) ; Width : 67 cm (26,3 in.) ; Depth : 44 cm (17,3 in.)

A beautiful Japanese-style display cabinet made in carved and engraved tinted alder. Consisting of an WXMV [PW_KI[M I\ \PM ]XXMZ XIZ\ NZIUML Ja WZVI\ML XQTI[\MZ[ IVL Å\\ML _Q\P \_W I[aUUM\ZQK [PMT^M[ )\ the lower part, under a Japanese style engraved motifs drawer, a door opening on a shelf is beautifully decorated with an ivory inlaid panel with a bird perched on a branch of bamboo. The unit is tastefully decorated with decorative carved and openwork wood elements and “old gold” bronze ornaments such I[ WZVIUMV\IT Å\\QVO[ IVL M[XMKQITTa \PM LZIOWV LZW^M W]\ WN PQLQVO WV \PM XMLQUMV\ WN \PM KIJQVM\ which is truly the artistic mark of Gabriel Viardot. This display cabinet stands on a base and four feet carved with geometric windings.

202

G. VIARDOT

Ref: 1509/0

Cabinet-maker (1830-1906)

AN AESTHETIC MOVEMENT CABINET France Circa 1885 Height : 185 cm (72,8 in.) ; Width : 145 cm (57,1 in.) ; Depth : 45 cm (17,7 in.)

JAPANISM RENAISSANCE REVIVAL

Beautiful Aesthetic movement cabinet made of tainted, sculpted and engraved alder wood. It is composed of niches and shelves, opens with two doors ornamented of Japanese lacquered wood panels. An elegant mounting of varnished bronze dragons and lizards adorns this lovely cabinet.

204

G. VIARDOT

Ref: 1534/0

Cabinet-maker (1830-1906)

AESTHETIC MOVEMENT DISPLAY CABINET France Circa 1880 Height : 248 cm (96,1 in.) ; Width : 135 cm (53,1 in.) ; Depth : 45 cm (20,5 in.)

JAPANISM RENAISSANCE REVIVAL

A beautiful Japanese-style display cabinet made in carved tinted alder. The two-doors opening lower XIZ\ Q[ ILWZVML _Q\P QVKZ][\ML 2IXIVM[M XIVMT[ ZMXZM[MV\QVO JW]Y]M\[ WN ÆW_MZ[ IVL ZM[\[ WV NW]Z NMM\ The upper part consists in two door-opening compartments, a drawer and three open compartments with open-work sculpted ornaments. The whole is topped by a sculpted pediment and an important dragoon, which is a typical pattern in Gabriel Viardot’s works.

206

A. PERRET & E. VIBERT

Ref: 1508/53

,M[QOVMZ IVL )Z\ 7JRMK\[ -LQ\WZ (company active since 1872) attributed to

â&#x20AC;&#x153;LA MAISON DES BAMBOUSâ&#x20AC;? - A JAPANESE STYLE CABINET-SECRETARY France Circa 1880 Height : 167 cm (65,7 in.) ; Width : 65 cm (25,6 in.) ; Depth : 32 cm (12,6 in.)

JAPANISM RENAISSANCE REVIVAL

) 2IXIVM[M [\aTM KIZ^ML _WWL KIJQVM\ ) XIQV\ML LMKWZ QUQ\I\QVO 2IXIVM[M TIKY]MZ WZVI\ML _Q\P Ă&#x2020;W_MZ[ JQZL[ IVL J]\\MZĂ&#x2020;QM[ 7XMVQVO WV\W \_W LZI_MZ[ IVL I XIXMZ Ă&#x2026;TMZ \PM ]XZQOP\ [MKZM\IZa LWWZ Q[ IT[W Ă&#x2026;\\ML _Q\P ZML ^MT^M\ ;]ZUW]V\ML Ja I LZI_MZ IVL I[aUUM\ZQKIT [PMT^M[ KWUXW[ML QV \PM 2IXIVM[M ÂŽ bMV ÂŻ [XQZQ\ \PM KIJQVM\ [\IVL[ WV NW]Z TMO[ RWQVML Ja I MVOZI^ML [\ZM\KPMZ <PM OZMI\ QVĂ&#x2020;]MVKM WN \PM .IZ -I[\ \PZW]OP +PQVI IVL 2IXIV QV \PM [MKWVL PITN WN \PM !th century .ZMVKP IZ\ KW]TL JM NW]VL Ă&#x2026;Z[\ QV XIQV\QVO IVL [WWV IN\MZ QV LMKWZI\Q^M IZ\[ IVL N]ZVQ\]ZM I[ _MTT Following the Franco-English military campaign led in 1860 against the Imperial army in China, the French troops of Napoleon the IIIrd brought back from the Summer Palace, a part of the Chinese Imperial court treasure, which will make up the famous Chinese Museum of Empress EugĂŠnie at the Fontainebleau Palace. The French artists won't be long to take inspiration from those exotic and [WUX\]W][ WJRMK\[ NWZ \PMQZ KZMI\QWV[ I[ \PMa ][ML \W LW QV \PM th century, when the best French cabinet-makers adapted the Chinese lacquers on the luxurious royal chests. With Manet and Impressionists generation, the passion for Japanese art, more than a simple taste for an exotic style, was still in fashion until the turn of the 19th century. It provoked not only a craze among the French aristocratic families as well as the wealthy Paris high society, wishing renew their mansion inner decoration, but turned also to a real revolutionary movement among the "avant-garde" artists. Those artists, whoever they were, painters, cabinet-makers or designers of ceramic, bronze and crystal WJRMK\[ ILIX\ML \PMV \PW[M \MKPVQY]M[ IVL VI\]ZITQ[\QK UW\QN[ ]VSVW_V ]V\QT \PQ[ \QUM )VW\PMZ NIUW][ KWUXIVa \W JM UMV\QWVML Q[ 4 -[KITQMZ LM +ZQ[\IT XZWL]KQVO IZ\ WJRMK\[ IVL furniture, all of high standard quality and innovating much with their Japanese decor. Highly remarked during the Universal Exhibitions, "L'Escalier de Cristal" collaborated with the greatest artists, such GallĂŠ and Rousseau for glass and ceramic wares, and the cabinet-makers LiĂ¨vre and Viardot, whom made furniture including sometimes authentic Japanese elements.

208

G. VIARDOT

Ref: 1508/11

Cabinet-maker (1830-1906) attributed to

PAIR OF AESTHETIC MOVEMENT ARMCHAIRS France Circa 1880

JAPANISM RENAISSANCE REVIVAL

Height : 102 cm (40 in.)

These armchairs made of tinted alder are to be linked to another pair of armchairs executed by Gabriel Viardot, and now exhibited at the Decorative Arts Museum in Paris (Inv. 2006.105.1.2). They present a similar asymmetric design and an equal carving quality including the winding dragon on the back.

210

AESTHETIC STYLE TABLE

Ref: 0805/14

England Circa 1860 Height : 79 cm (31 in.) ; Diameter : 66 cm (26 in.)

JAPANISM RENAISSANCE REVIVAL

A Japanese style lacquered table consisting of a circular top ornated with a gold nuagé lacquered LMKWZ IVL _Q\P ZML M`W\QK ÆW_MZ[ IVL [KZWTTML NWTQIOM <PM \WX Q[ []XXWZ\ML Ja NW]Z OWTL IVL JZW_V lacquered uprights in form of large stylized acanthuses, constricted in the middle by a tapered ball, and ending with four other reversed legs. Standing on a square gold edged base decorated in the middle of I KPMKSMZJWIZL WN ÅVM OQTLML R]`\IXW[ML XWTaOWV[ WV I JZW_V JIKSOZW]VL <PM NZQMbM ITWVO \PQ[ JI[M Q[ LMKWZI\ML _Q\P [UITT IKIV\P][ TMI^M[ I KMV\MZQVO ÆW_MZ IVL NW]Z [\aTQbML MTMXPIV\ PMIL[ NWZUQVO the feet of the table.

212

AMATERASSU

GODDESS OF THE SUN “JAPANESE LEGEND” 8 BY

P.-F QUINSAC Painter (1858-1929)

SALON OF 1895

P.-F QUINSAC

Painter (1858-1929)

IMPORTANT PAINTING DEPICTING AMATERASSU, THE SUN GODDESS, SURROUNDED BY HER MAIDSERVANTS. Signed and dated P. Quinsac, 1895 Oil on canvas - France, 1895 Frame measurements: Height : 313 cm (123,2 in.) ; Width: 351 cm (138,2 in.) Provenance The annual Salon of the National Society of Fine Arts of 1895, Paris, exhibited under n°1576. By repute, from the Alexis Bordes’ parlour room, in Bordeaux.

JAPANISM RENAISSANCE REVIVAL

THE PAINTING : This masterpiece by Paul-François Quinsac, depicts Amaterassu, the Sun Goddess, surrounded by her maidservants. Sitting on a throne of stone, the goddess, that the whiteness of her neckline clearly differentiates from other characters, contemplates herself in a mirror. Her maids observe the scene in a lush forest near a river, in the shade of trees in flower and chrysanthemums on the ground. <PM []JRMK\ Q[ \ZMI\ML QV I ^MZa ZMITQ[\QK ITUW[\ IKILMUQK [\aTM KPIZIK\MZQ[\QK WN 8I]T .ZIVtWQ[ 9]QV[IK¼[ XIQV\QVO[ IVL KWV\ZI[\[ _Q\P \PM 2IXIVM[M []JRMK\ <PM XITM KWTWZ[ IVL \PM [WN\VM[[ WN \PM NMI\]ZM[ transform this goddess of the Japanese pantheon into a Venus at her toilet. If the faces appear to be European, the colorful silk costumes and hairstyles remind the Japanese origin WN \PM []JRMK\ I[ _MTT I[ \PM .WW LWO IVL \PM ]UJZMTTI VMIZ \PM \PZWVM

216

OTHER DECORATIVE OBJECTS

THE SUBJECT : Born from the left eye of her father, Amaterassu became upon his order, the Sun Goddess, thus LQZMK\QVO \PM SQVOLWU WN PMI^MV <PM 3WRQSQ KWTTMK\QWV WN Ua\P[ LM[KZQJQVO \PM WZQOQV WN 2IXIV \MTT[ that Amaterassu ordered her grandson to descend on Earth to govern. To enable it to perform his UQ[[QWV [PM OI^M PQU I [_WZL I UQZZWZ IVL I RM_MT _PQKP \PMV JMKIUM \PM [IKZML QV[QOVQI WN the Japanese imperial family, making Amaterassu the ancestor of all Japanese emperors. Moreover, according to Shinto, she would have introduced rice, wheat cultivation and silkworms. She appears on the Japanese flag in the appearance of the solar disk. THE JAPANESE INFLUENCE : The great influence of the Far-East, through China and Japan, in the second half of the 19th century French art could be found first in painting and soon after in decorative arts and furniture as well. Following the Franco-English military campaign led in 1860 against the Imperial army in China, the French troops of Napoleon the IIIrd brought back from the Summer Palace, a part of the Chinese Imperial court treasure, which will make up the famous Chinese Museum of Empress Eugénie at the Fontainebleau Palace. The French artists won’t be long to take inspiration from those exotic and [WUX\]W][ WJRMK\[ NWZ \PMQZ KZMI\QWV[ I[ \PMa ][ML \W LW QV \PM \P KMV\]Za _PMV \PM JM[\ .ZMVKP cabinet-makers adapted the Chinese lacquers on the luxurious royal chests. *]\ \PM QVNT]MVKM WN 2IXIV I\ \PM 5MQRQ XMZQWL ! KIUM IT[W ^MZa Y]QKSTa \W .ZIVKM \PIVS[ \W the opening of the country in the middle of the 19th century, as well as the development of traveling and the amazing Universal Exhibitions, in which Japan participated for the first time in 1867 in Paris. <PMV UIVa 2IXIVM[M WJRMK\[ IVL XZQV\[ _MZM QUXWZ\ML \W .ZIVKM IVL \W ITT -]ZWXM IVL NWZ _PQKP [WUM collectors spent already fortunes. With Manet and Impressionists generation, the passion for Japanese art, more than a simple taste for an exotic style, was still in fashion until the turn of the 19th century. It provoked not only a craze among the French aristocratic families as well as the wealthy Paris high society, wishing renew their mansion inner decoration, but turned also to a real revolutionary movement among the “avant-garde” artists. Those artists, whoever they were, painters, cabinet-makers or designers of ceramic, bronze and crystal WJRMK\[ ILIX\ML \PMV \PW[M \MKPVQY]M[ IVL VI\]ZITQ[\QK UW\QN[ ]VSVW_V ]V\QT \PQ[ \QUM THE SALON OF 1895 : Founded in 1862 under the chairmanship of Théophile Gautier (1811-1872), the Société Nationale des Beaux-Arts (National Society of Fine Arts) organized at the beginning few art exhibitions. It was not until 1890 that the annual Salons were held at the Champ-de-Mars in Paris, bringing together renowned and young artists in a spirit of creative emulation. More open to new trends that the Salon of the French Artists, the Salon de la Société Nationale des Beaux-Arts welcomed over time more and more young artists and art critics. Started his carreer at the Salon of the French Artists in 1880, Paul-François Quinsac showed this painting at the 1895 Salon de la Société Nationale des Beaux-Arts (National Society of Fine Arts). It was listed in the Salon catalogue under n°1576 with the title Amaterassu, The Sun Goddess, Japanese Legend. MUSEOLOGY : - La Fontaine de Jouvence, 1889, Fine arts Museum, Bordeaux (Inv. Bx M 6015). - Diane, 1894, Fine arts Museum, Bordeaux (Inv. Bx M 6909). - Many portraits, among which Madame Gardère, Fine arts Museum, Bordeaux (Inv. Bx M 6912). - La Tentation, 1889, Fine arts Museum, Marseille (Inv. 631). BIBLIOGRAPHY : - Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit, Gründ, Paris, 1999, t. XI, p. 358. - Exposition des Beaux-Arts, Catalogue illustré de peinture et sculpture (Dix-Septième Année), Salon de 1895, Ludovic Baschet Editeur, Paris, 1896.

219

JAPANISM RENAISSANCE REVIVAL

Cover page of the Catalogue illustré Painting exhibited under n°1576, de peinture et sculpture, Salon of by P. Quinsac, having his residence 1895. in Paris at 40 rue de la Barre.

Reproduction of Amaterassu, La déesse du Soleil ; Légende Japonisante - 1895 within the catalogue of the 1895 Salon. Published by Ludovic Baschet, Editeur.

220

ARTISTS AND

MANUFACTURES 8

ARTISTS AND MANUFACTURES Edouard Agneesens (1842-1885)

Edouard Joseph Alexandre Agneesens, as a portrait painter, Edouard Agneesens occupies an important place among the realistic movement, with important compositions carefully elaborated yet natural. As soon I[ \PM Ă&#x2026;Z[\ [QOV[ WN UMV\IT QTTVM[[ IXXMIZ IVL _QTT XMZ[Q[\ ]V\QTT PQ[ XZMUI\]ZM LMI\P I\ aMIZ[ WTL

DĂŠsirĂŠ Attarge (c.1820-1878)

D. Attarge won also the Crozatier Prize in 1862 and 1864, which was awarding the France best chaser, and was once again awarded at the 1867 Universal Exhibition with a Silver medal as Barbedienneâ&#x20AC;&#x2122;s co-worker. Juryâ&#x20AC;&#x2122;s report was then very explicit: "Itâ&#x20AC;&#x2122;s impossible to show more taste in composition and more maestria QV \PM UISQVO WN \PM[M TMI^M[ IVL MTMOIV\ Ă&#x2020;W_MZ[ ITT KPI[ML _Q\P [W M`\ZMUM LMTQKIKa <PM []KKM[[ WN *IZJMLQMVVMÂź[ Ă&#x2026;ZU JZW]OP\ PQU UIVa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT 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 dâ&#x20AC;&#x2122;Aubusson

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

Giuseppe Aureli (1858-1929)

Although Giuseppe Aureli owed his fame to his history paintings and portraits of the Italian royal family, he depicted a large number of harem scenes either with oil or watercolor. Giuseppe Aureli never traveled in the East, but like many of his Roman contemporaries of the late nineteenth century, he drew much his QV[XQZI\QWV NZWU \PM \ZI^MTMZ[ ZMXWZ\[ []KP I[ XPW\WOZIXP[ WJRMK\[ IVL XZQV\[ )]ZMTQ [\]LQML XIQV\QVO I\ the Academia di San Luca under the direction of Pietro Gabarini (1856-1926) and Cesare Maccari (18401919). He often exhibited his work in Rome, Turin and Bologna between 1883 and 1907, and in Paris at the 1889 Universal Exhibition and Salons of 1891, 1893 and 1897. He also presented historical paintings at the International Exhibition of 1888 in Munich and at the 1893 Chicago World Fair. Apart from exotic musical instruments, lion or leopard skin blankets and Moorish ceramics, the same greenhouse plants are to be seen in his paintings. They were probably permanently decorating his studio in Rome located 48 Via Margutta. Some of his works are now exhibited in the Galleria Nazionale dâ&#x20AC;&#x2122;Arte Moderna and the Aula del Consiglio Provincial in Rome.

Baccarat (Since the 18th century)

The famous crystal manufacture of Baccarat, that dates back to the 18th KMV\]Za _I[ I_IZLML Q\[ Ă&#x2026;Z[\ medal in 1823, during the "Exposition des Produits de lâ&#x20AC;&#x2122;Industrie" for the "brilliance and the sharpness of its crystal" and became then the most renowned French "cristallerie". Baccarat was undoubtedly the WVTa .ZMVKP UIV]NIK\]ZM \PI\ M`PQJQ\ML [\MILQTa IVL UIOVQĂ&#x2026;KMV\Ta Q\[ XZWL]K\[ I\ \PM ^IZQW][ =VQ^MZ[IT Exhibitions, and especially between 1855 and 1867. In all reports one can read about the "perfection of the material and of its cut". To keep its wealthy clientele, among which the Royal family, Baccarat must discover new styles and decors as well as new material, as shows that beautiful Opaline crystal, which became one of Baccaratâ&#x20AC;&#x2122;s specialities in the 1850â&#x20AC;&#x2122;s.

Ferdinand Barbedienne (1810-1892)

Born in 1810, Ferdinand Barbedienne started at nÂ°30 boulevard PoissonniĂ¨re in Paris one of the most famous 19th century artistic bronze casting companies. He died in 1892. In addition to his personal production, he worked for famous artists such as Auguste ClĂŠsinger (1814-1883), Albert-Ernest Carrier-Belleuse (18241887) and Louis Barrias (1841-1905 At the London Universal Exhibition of 1862 Barbedienne exhibited some "opaque cloisonnĂŠ" enamel works, which were for most of them designed by Constant SĂŠvin (1821 IVL _WV UMLIT[ QV \PZMM LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ KI\MOWZQM[" .]ZVQ\]ZM ;QT^MZ[UQ\P _WZS IVL )Z\Q[\QK JZWVbM[ KWUJQVQVO NWZ [WUM pieces with enamels (Oriental style cup, ChĂ˘teau de CompiĂ¨gne, Inv. C 71-122). Barbedienneâ&#x20AC;&#x2122;s production was always highly esteemed and he was himself admired by contemporary art critics who compared him during the 1878 Universal Exhibition to a "prince of industry and the king of bronze-casting".

225

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 ! Ă&#x2026;VITTa *]Ka [\ZMM\ IZW]VL ! [XMKQITQbML QV \PM UISQVO WN KTWKS[ made in inlaid wood or bronze. They went in partnership with Dâ&#x20AC;&#x2122;Aureville et Chameroy who supplied the clockworks.

L. Bazzani (1836-1927) 4]QOQ *IbbIVQ _I[ JWZV QV *WTWOVI _PMZM PM [\]LQML I\ \PM )KILMUa WN .QVM )Z\[ 0Q[ Ă&#x2026;Z[\ [\MX[ QV \PM artistic world were taken as a stage designer for the Bologna town theatre in 1857, in notable collaboration with Tito Azzolini and Francesco Bertolotti. He traveled in France and Germany in order to perfect his art. In 1861 he settled in Rome where he worked as a decorator, landscape painter and stage designer for \PM 7XMZI 0M _WZSML _Q\P -TMVI .ZIKI[[QVQ ;MZIĂ&#x2026;VQ WV ^IZQW][ QV\MZQWZ LM[QOV[ ]V\QT 0M MY]ITTa distinguished himself with his religious paintings during the Roman Exhibition of Catholic Art in 1870, where he was awarded a medal of encouragement. Pope Pius 9th even commissioned him to decorate the Basilica of San Lorenzo. He painted frescoes for numerous public and private buildings such as the hall of the Roman Palace of Justice. Towards 1883 he exhibited paintings of Pompeian architecture successively in Rome, Monaco, Berlin and Turin. Each of these KWUXW[Q\QWV[ WN [\]LQML XMZ[XMK\Q^M IVL \PMI\ZQKIT KWV\MV\ _I[ WN \PM Ă&#x2026;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 â&#x20AC;&#x153;The House of the Tragic Poet in Pompeiiâ&#x20AC;?. Each of his representations of Pompeian life is thoroughly researched which gives his work an almost historical value. Antoine-Louis Barye

)V\WQVM 4W]Q[ *IZaM Q[ I UIRWZ IZ\Q[\ NZWU \PM !\P KMV\]Za " PM _I[ WVM WN \PM Ă&#x2026;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 his training with the sculptor Bosio in 1816, with the painter Gros in 1817, and at the Ecole des Beaux-Arts 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 LQâ&#x20AC;ŤŮťâ&#x20AC;ŹK]T\ JMOQVVQVO[ L]ZQVO \PM aMIZ[ PM ZMKMQ^ML OTWZQW][ KWUUMV\[ NZWU \PM X]JTQK I\ \PM ;ITWV QV _Q\P PQ[ XTI[\MZ" <QOMZ LM^W]ZQVO I /I^QIT 1N NWZ [WUM IKILMUQKQIV[ _QTL TQNM _I[ VW\ \W JM KWV[QLMZML I []JRMK\ NWZ .QVM )Z\[ other critics praised the life force that came from A.-L. Baryeâ&#x20AC;&#x2122;s works. The artist then took part in several Salons during the years 1830. In 1838, he created a bronze foundry. From then on to 1850, he stopped exhibiting at the Salons. At the time he returned, he was hugely successful at the Exposition Universelle of 1855, with his work Jaguar devouring a hare. He received the Great Medal of Honour and the Cross of the Legion of Honor. Simultaneously, the State commissioned several works from him : a low-relief lion for the base of the colonne de Juillet, place de la Bastille (1836), a lion for the Tuileries Gardens (1846), eagles for the Iena Bridge (1847), and four monumental animals for the Longchamp Palace in Marseille (1869). Numerous works exhibited at the Salons were edited in bronze. Barye equally modelled a great number of small animals directly for edition: wild animals, elephants, horses, stags, dogs, rabbits, and birds. After living with Millet, Rousseau and Diaz in Barbizon, he came back to Paris and in 1873, he sold a bronze copy of each of his works (circa 120 works) to the American amateur W.T.Walters for the Corcoran Gallery in Washington (the collection is now at the Walters Art Gallery of Baltimore). The content of his workshop was sold in 1876 after he died, and the celebrated Maison Barbedienne acquired 125 models with their reproduction rights.

Antoine-Henri Beau (1855-1937) Antoine-Henri Beau, born in 1855 in Paris, studied at the Ă&#x2030;cole Polytechnique, where he graduated in MTMK\ZQKIT MVOQVMMZQVO QV 0M JMKIUM I UIV]NIK\]ZMZ WN TQOP\QVO Ă&#x2026;`\]ZM[ IVL Z]V PQ[ KWUXIVa 0MVZQ Beau, located 11 rue Francois-Millet at Auteuil. The art of lighting went through a considerable change with the industrialisation of gaz prior to the introduction of elecricity. French cities and salons alike were equiped with candelabras. But it was not until 1890 that apartements were supplied with electricity, yet \W ZMUIQV I OZMI\ T]`]Za NWZ Y]Q\M [WUM \QUM 0MVZQ *MI] UILM \PM Ă&#x2026;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-ElysĂŠes 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 Honorâ&#x20AC;&#x2122; 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 CompiĂ¨gne imperial Palace. For the occasion, this sumptuous castle is renovated, refurbished and illuminated. "Electric lighting is perfect. This is a triumph for Henri Beau, who indeed, throughout the palace, completed in less than three weeks, a veritable tour de force". Le Figaro noted in its edition of September 21, 1901. Mathieu Befort (1816-c.1880)

From 1844 to 1880, Mathieu Befort (1816-c.1880) also named Befort The Young worked as a â&#x20AC;&#x153;Boulleâ&#x20AC;? style furniture craftsman at Neuve-Saint-Gilles Street in Paris.

226

Jean Bérain (1637-1711)

Jean Berain the Elder (Saint-Mihiel, Meuse, 1637 – 24 January 1711, Paris) was a draughtsman and 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 furnishings not covered by the Bâtiments du Roi. The “Berainesque” style of light arabesques and playful grotesques was an essential element in the style Régence that led to the French rococo.

Alfred-Emmanuel Beurdeley (1847-1919)

*M]ZLMTMa Q[ WVM WN \PM UW[\ [QOVQÅKIV\ 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 ÅZU IVL Q[ \PMV KWV[QLMZML I[ WVM WN \PM OZMI\M[\ KIJQVM\ UISMZ ]VLMZ \PM ;MKWVL -UXQZM# ÅVITTa \PM OZIVL[WV )TNZML -UUIV]MT 4W]Q[ ! ! _PW UIQV\IQV[ \PM PQOP NIUM WN \PM ÅZU \PIVS[ \W PQ[ PQOP [\IVLIZL quality furniture. In 1875, Alfred Beurdeley replaced his father Louis-Auguste as one of the main cabinet-makers of the Second Empire, specialising in 18th century furniture and particularly in the Louis XVI style. If Louis-Auguste was the star whenever he exhibited and was "most favored by the royal and imperial families", Alfred was a skilled bronze-caster as well as a well-known art collector. With Dasson, Grohé, Sauvresy and Fourdinois, the most famous artists of the period, he took part in the 1878 Paris Universal Exhibition where he won the gold medal. Crowned in glory he went so far as to open a shop in New York. His participation in the 1883 Amsterdam Universal Exhibition drew considerable attention to his work and "Alfred Beurdeley, Fabricant de bronzes d’art" was then awarded the Ordre National de la Légion d’Honneur, France’s 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 wrote in his report: "The talent of Mr Beurdeley is self evident when one inspects his furniture".

Pierre-Marie Beyle (1838-1902) Pierre-Marie Beyle (1838-1902) was born in Lyon. He came to Paris to follow his studies, and in 1865, PM JMKIUM I NZMMTIVKM QTT][\ZI\WZ _WZSQVO NWZ Å^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 ÅZ[\ \QUM PQ[ works at the Salon of 1867. Following a trip to Algeria in the 1870s, Beyle sent to the Salon his paintings to be exhibited, including historical events and pictures on the theme : the Casbah of Algiers. At the Salon of 1877, the artist exhibited two paintings, including this one Bazaar, at the Casbah of Algiers and Yamina, a Moorish of Algiers. In 1878, he presented The Adornment of the bride. The Parisian painter then focused on Normandy, where his UIQV []JRMK\[ _MZM \PM ,QMXXM KWI[\ IVL \PM TQ^M[ WN Å[PMZUMV *MaTM XIZ\QKQXI\ML QV \PM =VQ^MZ[IT -`PQJQ\QWV WN ! IVL still sent works to the Salon until 1902. Fernand Blayn (1853-1892)

Blayn Fernand studied painting under Alexandre Cabanel (1823-1889). He specialized in portraits and genre paintings depicting everyday-life scenes. F. Blayn exhibited from 1878 at the Salon of French Artists. He obtained a third class medal at the 1886 Salon and a bronze medal at the Salon of 1889. Dedicated to the circus, the composition of this painting, painted the year of the death of the artist, of 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 Florence in 1608. He studied his art in Antwerp with the architect and sculptor Jacques Du Broeucq before leaving for Rome from 1555 to 1557. He then settled in Florence under the protection of Francesco I de’ Medici, where he produced for the Piazza della Signoria the equestrian statue of Cosimo I de’ Medici, and statues in the Loggia dei Lanzi. In 1614, the equestrian statue of King Henri IV commissioned to Jean de Boulogne by Queen Marie de Medicis was inaugurated in Paris on the Ile de la Cité (statue destroyed during the Revolution).

Louis Boizot (1743-1809)

Louis Boizot, a French sculptor, was a pupil of the sculptor Michel-Ange Slodtz (1705-1764), as he won in 1762 \PM ÅZ[\ XZQbM NWZ [K]TX\]ZM <PQ[ []KKM[[ ITTW_ML PQU \W OW \W :WUM QV _PMZM PM [\IaML NWZ Å^M aMIZ[ I\ \PM .Zench )KILMUa )XIZ\ \PM 1UXMZQIT +I\PMZQVM 11 WN :][[QI KWUUQ[[QWV[ he _WZSML 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 succeed to Falconet in 1774, at the head of sculpture workshops of the Sèvres Manufacture where until 1785 he created small allegorical models according to the new neo-classical style of the time.

227

Lucien Bonvallet (1861-1919)

Lucien Bonvallet was a designer. He exposed his works on Cardeilhacâ&#x20AC;&#x2122;s stand at the 1900 Paris Universal Exhibition, and at the Autumn Salon of 1919.

AndrĂŠ-Charles Boulle (1642-1732)

AndrĂŠ-Charles Boulle (1642-1732) is considered to be the true inventor of 17th century French furniture. ;WWV IN\MZ PM _I[ LQ[KW^MZML Ja +WTJMZ\ *W]TTM JMKIUM \PM ÂšĂ&#x2026;Z[\ KIJQVM\ UISMZ WN \PM SQVOÂş PQ[ N]TT \Q\TM JMQVO ÂšIZKPQ\MK\ XIQV\MZ UW[IQK [K]TX\WZ MVOZI^MZ UIZY]M\Za KZIN\[UIV IVL QV^MV\WZ WN Ă&#x2026;O]ZM[Âş <P][ started for him the beginning of a period of great renown. With his royal privilege, Boulle was able to KWUJQVM LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ IK\Q^Q\QM[ ][]ITTa ZM[\ZQK\ML Ja KWZXWZI\QWV[ 0MVKMNWZ\P PM _WZSML I[ I UI[\MZ \WZ\WQ[M[PMTT and bronze marquetry craftsman, with such innovations as motifs both in the foreground and in the background. He also innovated by making a generous use of bronze, to decorate but also to protect the pieces of furniture. These innovations brought him fame throughout centuries.

Jean Brandely

In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style, which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehlâ&#x20AC;&#x2122;s work that they received extensive commentary by the art critic J. Mesnard in his book ÂŤ Les Merveilles de lâ&#x20AC;&#x2122;Exposition Universal de 1867 Âť (vol. II, pp. 133 & 149). He writes of a table of which ÂŤ the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved _Q\P TW^M ÂŻ X IVL I RM_MTTMZa KI[M _PMZM ÂŽ <PM PMIL QV Ă&#x2026;VM /ZMKQIV [\aTM UISM[ ]X \PM M[[MV\QIT XIZ\ WN \PM Ă&#x2026;VM OQT\ bronze ornementation Âť (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[\QĂ&#x2026;ML Ja \PM _WZS[ WN IZ\ PM [MV\ \W \PM ;ITWV[ WN IVL 5W[\ WN \PM[M XQMKM[ were in the Grecian style, which was very fashionable at the time. Victor Champierâ&#x20AC;&#x2122;s article "Industrial Artists" , which appeared in the Decorative Arts Review (December 1888) echoed the genius of the artist:

*IZJMLQMVVM PIL R][\ TW[\ QV \ISMV Ja KPWTMZI QV \PM XZQUM WN TQNM \PQ[ aW]VO UIV _Q\P []KP I promising future, whose works, infused with graceful taste, showed him to be a master. At the 1855 Universal Exhibition in 8IZQ[ \PM[M TIUX[ _PQKP Ă&#x2026;O]ZML I[ \PM TI[\ \M[\QUWVa WN 0MVZa +IPQM]` _WV I UMLIT WN PWVW]Z NWZ *IZJMLQMVVMÂź[ [\IVL 0Q[ []KKM[[QWV QV \PM Ă&#x2026;ZU _I[ I[[]ZML Ja 4W]Q[ +WV[\IV\ ;u^QV _Q\P OZMI\ []KKM[[

JosĂŠphine Calamatta (1817-1893)

JosĂŠphine Calamatta was born JosĂŠphine Raoul-Rochette in Paris, the granddaughter of the sculptor Jean-Antoine Houdon (1741-1828) was a pupil of the painter Hippolyte Flandrin (1809-1864) and of her husband Luigi Calamatta (1801-1869), an engraver and professor at the Fine Arts Academy in Brussels, himself a student of Jean-Auguste-Dominique Ingres (1780-1867). So naturally JosĂŠphine Calamatta, NWTTW_QVO \PM XZMKMX\[ WN 1VOZM[ XIQV\ML [MV\QUMV\IT OMVZM [KMVM[ XWZ\ZIQ\[ IVL ZMTQOQW][ []JRMK\[ _Q\P I symbolistic aspect in her allegories. Married since 1840, JosĂŠphine left Luigi her husband and Lina her daughter to stay in Paris in 1852 and live her life as an artist at No. 3 rue JJ Rousseau, then at No. 24 rue Ventimiglia. She was a friend of the writer George Sand (1804-1876) and attended her home in Nohant. She started to exhibit at the Salon of 1842, where she won a 3rd class medal for The Virgin and Child Jesus. A 2nd KTI[[ UMLIT KWVĂ&#x2026;ZUML PMZ \ITMV\ I\ \PM ;ITWV NWZ Woman at her toilet and Charles Baudelaire quoted her in his Critique of the 1846 Fair, writing that she was known for the severity of her style and her Pre-Raphaelites tendencies. JosĂŠphine Calamatta exhibited â&#x20AC;&#x153;hors concoursâ&#x20AC;? at the Salon from 1875. She 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 Ă&#x2020;I\_IZM <PZW]OPW]\ \PM 19th century, the company had passed from father to son, with Armand-Edouard and Ernest then, and continued to successfully produce pieces highly inspired for most of them from ironwork models, richly WZVIUMV\ML _Q\P Ă&#x2026;VM UW\QN[ <PM[M _WZS[ WN ^IZQML NWZU[ IVL [\aTM[ _MZM ITT KWV[QLMZML ZMUIZSIJTM NWZ \PMQZ KPQ[MTTQVO <PM +IZLMQTPIK Ă&#x2026;ZU _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 Ă&#x2026;VITTa 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[\WĂ&#x2020;M \WWS W^MZ +IZLMQTPIK J][QVM[[ in 1951.

228

Albert-Ernest Carrier-Belleuse (1824-1887)

Albert-Ernest Carrier-Belleuse, nick-named the "Clodion of the 19th KMV\]Za # _I[ I ^MZa XZWTQĂ&#x2026;K [K]TX\WZ \ZMI\QVO PQ[ LMKWZI\Q^M WJRMK\[ IVL PQ[ XWZ\ZIQ\[ _Q\P MY]IT VI\]ZITQ[\QK ZQOWZ N]TT WN KPIZU IVL TQNM 0M entered the Paris Fine-Arts School in 1840, where he studied sculpture under David dâ&#x20AC;&#x2122;Angers. From the early 1860â&#x20AC;&#x2122;s, he won success with his sculptures presented at the French Artists Salon and particularly during the 1867 Salon, where he was awarded a "mĂŠdaille dâ&#x20AC;&#x2122;honneur" and the "LĂŠgion dâ&#x20AC;&#x2122;honneur" for his Messiah. The "new" Paris redesigned by the Baron Haussmann during Napoleon IIIrdâ&#x20AC;&#x2122;s reign, commissioned many of Carrier-Belleuseâ&#x20AC;&#x2122;s masterpieces: at the Louvre palace with the high-relief "Lâ&#x20AC;&#x2122;Abondance" on the Flore Pavilion (1865), or the sumptuous decoration made for the most famous Parisian palace on the Champs-ElysĂŠes Avenue, owned by the Marchioness of PaĂŻva. But it is especially with the torcheres-statues of the large staircase of the Paris Opera house (1873), recently built by Charles Garnier, that Carrier-Belleuse meets a huge success with the Parisian public. In the catalogue of the 1878 Universal Exhibition an art critic praised Carrier-Belleuse and added: "Even the English come from London to ask him to work for them". His busts, nudes, group compositions as well as his candelabras, vases and clocks, all chased remarkably, had a considerable success during the Second Empire.

Alexandre Chertier (active from 1855 until 1878)

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

+PIZTM[ +PZQ[\WĂ&#x2020;M (1805-1863)

+PIZTM[ +PZQ[\WĂ&#x2020;M JMOIV PQ[ KIZMMZ Ja UIVIOQVO I RM_MTZa Ă&#x2026;ZU IVL I NM_ aMIZ[ TI\MZ PM [M\ ]X PQ[ W_V J][QVM[[" \PM +PZQ[\WĂ&#x2020;M [QT^MZ[UQ\P KWUXIVa 0Q[ [WV 8I]T ! IVL PQ[ VMXPM_ 0MVZQ *W]QTPM\ (1830-1910) took over the business after his death. After his success at the Paris Products of Industry Exhibition of 1839, he bought the patents of gold and silver-plating by electrolysis from both Ruolz and Elkington, which enabled him again to win the gold medal at the 1844 Products of Industry Exhibition. 0M _I[ VIUML [QT^MZ [UQ\P \W \PM ZWaIT NIUQTa IVL PQ[ []KKM[[ _I[ KWVĂ&#x2026;ZUML 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 SĂŠvignĂŠ Street in Paris, cast as soon as 1855 for the most wellknow masters of France sculpture, such A.E. Carrier-Belleuse (Le Zouave), J. Pradier (Les Trois GrĂ˘ces, VĂŠnus consolant lâ&#x20AC;&#x2122;Amour) or J.B. Carpeaux since 1875 (Lâ&#x20AC;&#x2122;Enfant au cor), as well as the famous Parisian [QT^MZ[UQ\P +PZQ[\WĂ&#x2020;M +WTQV ][ML \W [\IUX PQ[ JZWVbM[ WN \PM UMV\QWV -UQTM +WTQV +ie" from 1882 until 1898. That mark became later "M. Colin & Cie" from 1898 until 1906, then "Ancienne Maison Colin, ie Jollet & C " from 1906 until 1923. Worldwide renowned, Emile Colin sent to the Chicago Universal Exhibition of 1893 bronze works of art, with among them, ormolu mounted marble urns and clocks. The Colin Company counted then at the turn of the century among the greatest bronze-casters at the sides of Barbedienne, Susse and Siot-Decauville.

The ÂŤCompagnie des marbres Onyx dâ&#x20AC;&#x2122;AlgĂŠrieÂť (19th century)

The ÂŤCompagnie des marbres Onyx dâ&#x20AC;&#x2122;AlgĂŠrieÂť, led by G. Viot and named also ÂŤThe Algerian Onyx5IZJTM[ +W ÂŻ ZMNMZQVO \W \PM Y]IZZQM[ WN WVa` \PM Ă&#x2026;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\ Ă&#x2026;ZU ZMUIQVML WXMVML ]V\QT \PM JMOQVVQVO WN the 20th century. Onyx, although known since antiquity was not rediscovered until 1849 in Oran Province, )TOMZQI Ja ,MTUWV\M I UIZJTM _WZSMZ IVL N]TTa M`XTWQ\ML Ja 8ITT] QV \PM TI\M Âź[ <PM Ă&#x2026;ZU / >QW\ Cie produced, after models created by the most well-known sculptors, such as Cordier, Cornu and Carrier-Belleuse, luxuous N]ZVQ\]ZM IVL IZ\ WJRMK\[ QVKWZXWZI\QVO WVa` UIZJTM[ IVL JZWVbM _PQKP I_IZLML >QW\ UMLIT[ I\ \PM ^IZQW][ M`PQJQ\QWV[ such the Gold Medal at the 1867 Paris Universal Exhibition.

Charles Cordier (1827-1905)

Charles-Henri-Joseph Cordier entered the Paris School of Fine Arts in 1846, and then left in order to study ]VLMZ \PM NIUW][ [K]TX\WZ .ZIVtWQ[ :]LM 0Q[ Ă&#x2026;Z[\ []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 ZMVWÎ\ML \PM ÎT]M WN [K]TX\]ZM IVL QVVWÎ\ML \PM [\]La WN LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ ZIKM[ \P][ enlarging the circle of beauty". Two years later, encouraged by the reception given his work, he executed The African Venus. These two bronzes were bought by Queen Victoria at the 1851 Universal Exhibition in London. The French government commissioned replicas for the anthropological gallery of the Natural History Museum in Paris which wished \W QVI]O]ZI\M IV M\PVWOZIXPQKIT OITTMZa \W XZM[MV\ LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ ZIKQIT \aXM[ +WZLQMZ \PMZMNWZ JMOIV \W KWV[\Q\]\M I KWTTMK\QWV WN sculptures and in 1856 he requested a mission to Algeria in order to reproduce the various morphologies: Kabyles, Jews, Moors, Arabs, Berbers and Negroes; some in marble and others in bronze. This voyage was of capital importance to his work, not only in the mixture of art and ethnology but also in that he discovered marble and onyx quarries exploited since ancient times. It should be noted that alongside these documentary and naturalistic expeditions, the imperial couple Napoleon 229

III and Eugenie, aristocrats as well as the wealthy high society in search of exotism, look especially to see the picturesque, wealth and sensuality that emerg from these multi-ethnic cultures.

Eugène Cornu (1827-1899)

The sculptor Eugène Cornu worked closely with G. Viot and Cie, set up Boulevard des Italiens N. 24, in 8IZQ[ <PMa XZWL]KML T]`]ZQW][ N]ZVQ\]ZM IVL IZ\ WJRMK\[ QVKWZXWZI\QVO WVa` UIZJTM IVL JZWVbM _Q\P sometimes enamel, a combination then considered as a novelty and become quickly highly prized among _MIT\Pa KWTTMK\WZ[ <PMa JW\P [PW_ML I\ \PM =VQ^MZ[IT -`PQJQ\QWV PMTL QV 8IZQ[ I ÅVM XIQZ WN WVa` bronze and enamel vases (signed "G. Viot et Cie, Exposition de 1867, Eugène Cornu Inventeur"; Catalogue 7‫ٻ‬KQMT LM T¼-`XW[Q\QWV OZW]XM 111 KTI[[M @1> UM]JTM[ LM T]`M V NWZ _PQKP +WZV] IVL >QW\ _WV \PM /WTL 5MLIT (Rapports du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, groupe III, classe XV, chapître II, § 2, p°45 & 46).

Joseph-Désiré Court (1797-1865)

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

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 Paris Fine Arts School. He spent then the next four years at the France Academy in Rome and knew his JZQTTQIV\ LMJ]\ I\ \PM ;ITWV WN I_IZLQVO PQU \PM ÅZ[\ KTI[[ UMLIT 0Q[ [QOVQÅKIV\ 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 New York’s Grand Central Station and a monument to Carlos Pelligrini in Buenos Aires. He was director of design at the 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) manufactures began producing "English style" white paste earthenware as soon as the 18th century. At Montereau, English potters refugees in France shared their skills with Louis Leboeuf (1792-1854). Under the Second Empire, technical innovations, added to the enthusiasm of the middle classes in the decorative IZ\[ XZW^QLML I XZWL]K\QWV WN ÅVM [\IVLIZL UWZM IKKWUXTQ[PML IVL UWZM LQ^MZ[M <PM _PQ\M KTIa _I[ then relayed by the opaque porcelain, then whiter, harder and tougher. With the merger of Manufactures of Montereau and Creil in 1840, Lebeuf went into partnership with Milliet (marks "Lebeuf Milliet and Co." from 1840 to 1874, followed by "Lebeuf and Co." from 1875 to 1876). Both partners were constantly seeking to discover new and various techniques and patterns of decoration. This golden age lasted until the early 20th century as the economic crisis appeared. A restructuring process was started and Montereau was preferred to Creil. The takeover by the Choisy Manufacture in 1920 continued the UI[[ XZWL]K\QWV ]V\QT ! _PMV 5WV\MZMI] LMÅVQ\MTa KTW[ML LW_V Q\[ _WZS[PWX[

Charles Cressent (1685-1768)

Charles Cressent, famous French cabinet-maker and sculptor. He was taught by his father, François Cressent, a sculptor in Amiens, and became a maître ébéniste on 9 January 1708. He subsequently became a pupil of François Girardon and became a maître sculpteur in the Académie de Saint-Luc, Paris, on 14 August 1714. He obtained the title of Ebéniste du Régent in 1719, which allowed him to trade as a cabinet-maker free from guild restrictions. The richest French patrons, the Portuguese Court and many German princes bought furniture from him. His work is of exceptional quality and epitomizes the Régence and early Louis XV styles, to which he remained faithful throughout his career. The forms of his pieces were perfectly curved and rendered sumptuous 230

Ja IJ]VLIV\ ^QZ\]W[W JZWVbM UW]V\[ IVL MUXPI\QKITTa [MZZI\ML IOZIâ&#x20AC;ŤŮşâ&#x20AC;ŹM 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 Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKMZ IVL I .ZMVKP UW\PMZ IZZQ^QVO QV 8IZQ[ I\ PQ[ MIZTa IOM ;\]LMV\ WN \PM [K]TX\WZ 2IUM[ 8ZILQMZ ! PM RWQVML \PM .QVM )Z\[ ;KPWWT QV ! IVL _WV \PM :WUM OZIVL XZQbM QV J]\ PM _I[ LQ[Y]ITQĂ&#x2026;ML 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 as allegorical statues of classical style. He made the statues of Queen Marie-AmĂŠlie (1842) and the Duke of Montpensier (1847). As many artists, Charles Cumberworth signed a contract as early as 1837 with the Susse brothers company, one of the greatest bronze editors-founders of the time.

Albert Louis Dammouse (1848-1926)

Albert Louis Dammouse was a French sculptor, designer and ceramist, who worked as his father sculptor 8QMZZM )LWTXPM ,IUUW][M I\ \PM ;v^ZM[ XWZKMTIQV 5IV]NIK\]ZM 0M Ă&#x2026;Z[\ ZMKMQ^ML \ZIQVQVO QV \PM _WZS[PWX WN \PM [K]TX\WZ .ZIVtWQ[ 2W]â&#x20AC;ŤŮşâ&#x20AC;ŹZWa _PMZM PM UILM [K]TX\]ZM[ NWZ \PM 4W]^ZM palace. From 1863 to 1868, he studied at the Ă&#x2030;cole Nationale des Arts DĂŠcoratifs in Paris, then studied at the Ă&#x2030;cole des Beaux-Arts. He began to expose at the Salon of 1869 with a plaster bust. In 1871, he founded a workshop in SĂ¨vres and kept it until his death in 1926. There, he made and decorated porcelain pieces as well as stoneware and earthenware. He exhibited at the Paris Universal Exhibition of 1878, where he met a huge success and won a gold medal at the Universal Exhibition of 1889.

Henry Dasson (1825-1896)

Henry Dasson, as a cabinet-maker and bronze-caster, executed in his Paris workshop sumptuous copies of royal 18th KMV\]Za UWLMT[ IVL [WUM XQMKM[ WN PQ[ W_V UWLQĂ&#x2026;ML th century design. For his pieces of N]ZVQ\]ZM PM ][ML \PM ^MZa Ă&#x2026;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 remarked with a Louis XVI style table, all made of bronze and considered as a "chasing masterpiece", and a copy of the famous King Louis XV desk (original piece exhibited at Versailles), which was also admired by critics. At the 1889 Universal Exhibition, he won a "grand Prix" for his outstanding furniture. Dasson closed down his business in 1894.

Pierre-Louis Dagoty (1771-1840)

Pierre-Louis Dagoty (1771-1840) was a perfect illustration of the golden age of Paris porcelain in the early nineteenth century. The production of the Dagoty factory was characterized by the elegance of forms, the use of great colors and the decorative richness. P.L. Dagoty was born in Paris into a family of painters and sculptors. With the help of his brothers, Isidore and Ă&#x2030;tienne Jean-Baptiste, he took over in ! I [UITT _WZS[PWX NWZ XWZKMTIQV IVL [XMKQITQbML QV Ă&#x2026;VM KPQVI XIQV\QVO >MZa Y]QKSTa \PM XZWL]K\[ WN the manufacture knew a great reputation, especially when, in December 1804, the Empress Josephine KW]TL []XXWZ\ PQU <PM NIK\WZa \WWS \PM VIUM WN Âš5IV]NIK\]ZM WN 0MZ 5IRM[\a \PM -UXZM[[ 8 4 ,IOW\a QV 8IZQ[Âş NZWU 1804-1814) and after the fall of the First Empire, â&#x20AC;&#x153;Manufacture of HRH the Duchess of Angouleme. P.L. Dagotyâ&#x20AC;? (1815 to 1820). In 1810, P.L. Dagoty worked closely with FranĂ§ois Maurice HonorĂŠ (dead in 1833), a porcelain maker who set rue de Chevreuse in Paris. After 1820, date of the end of their association, Dagoty continued alone with his own workshop in 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\ LMĂ&#x2026;VQ\MTa _I[ ZMTWKI\ML QV 4QUWOM[ QV IJW]\ !

ThĂŠodore Deck (1823-1891)

The renowned ceramist ThĂŠodore Deck, born in Guebwiller in 1823, made his apprenticeship in the HĂźgelin earthenware factory in Strasbourg. After a European tour of initiation he arrived in Paris in 1847. 0M UILM PQ[ Ă&#x2026;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 QVĂ&#x2020;]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[\WĂ&#x2020;M IT[W UILM [SM\KPM[ NWZ ,MKS <PM NIUM PM UMZQ\ML through long hours of work was assured by his success at Universal Exhibitions in which he participated: Vienna in 1873 where all his rivals were left far behind; Paris in 1878 where he won the Grand Prize for his portraits on gold backgrounds. Showered with praise by the critics at the Central Union of Decorative Arts Exhibition in 1874, the "Gazette des Beaux Arts" (Paris,1874, vol. XXXV, p. 310) reported that "Mr. Deck, master of masters is the greatest glory of French ceramics". His life was devoted to the amelioration of earthenware technology by a succession of achievements. He thus improved the rending of colours, one of which, a new turquoise blue, became known as "Bleu de Deck". Theodore Deck had talent and he knew it. He did not keep it to himself however, but shared it with others and helped to promote young artists who lacked means. He thus became an example for the renaissance of ceramic art during the second half of the 19th century. All his techniques were made public and circulated in a book on earthenware. His Genius recognized and promoted to the grade WN 7â&#x20AC;ŤŮťâ&#x20AC;ŹKQMZ LM TI 4uOQWV LÂźPWVVM]Z , PM _I[ VWUQVI\ML LQZMK\WZ WN \PM ;v^ZM[ 8WZKMTIQV .IK\WZa QV 231

EugĂ¨ne Delaplanche (1836-1891)

The sculptor EugĂ¨ne Delaplanche was a pupil of Francisque Duret (1804-1865), won the Prix de Rome in 1864 (spending 1864-67 at the Villa Medici in Rome). He was a very talented artist, much appreciated ]VLMZ \PM ;MKWVL -UXQZM 0Q[ JM[\ _WZS Q[ VI\]ZITQ[\QK J]\ I\ \PM [IUM \QUM KTI[[QKIT LQOVQĂ&#x2026;ML IVL [QUXTM in line, and shows sound mastery of technique. With some of his colleagues, he was against the Realism artistic movement. Delaplanche exhibited several times at the Salon of the French artists in Paris, such in 1877, and obtained the Medal of honour in 1878.

Jean-Louis-FranĂ§ois 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 Paris Salon from 1827 until 1846. He then represented lively scenes depicting markets, fairs, festivals, and peasant life, at the time of the French Restoration (1815-1830).

Guillaume DeniĂ¨re (1815-1903)

The bronze-caster Guillaume DeniĂ¨re was the pupil of the famous ornementalist AimĂŠ Chenavard (17981838) and of the architect Henri Labrouste (1801-1875). In 1844, DeniĂ¨re succeeded his father in the family workshop, established in 1804, at 15, rue Vivienne in Paris. The business was at this time prosperous and four hundred workers worked to satisfy the numerous commissions from King Louis-Philippe and the upper classes. He made bronze furnishings, candelabras and centrepieces. He collaborated with a number of artists, amongst whom Carrier-Belleuse (1848-1913) and Constant SĂŠvin (1821-1888). He turned out several clocks for the Tuileries Palace in 1852, as well as a â&#x20AC;&#x2DC;globeâ&#x20AC;&#x2122; clock with rotating dials for the Grand Salon of the ChĂ˘teau of Bagatelle. DeniĂ¨reâ&#x20AC;&#x2122;s work was very often remarked upon at the Universal Exhibitions, so much so in fact that the Emporer Napoleon III bought, at the Paris Exhibition of 1867, a clock set. His renown was by this point international. Amongst his most prestigious commissions, DeniĂ¨re produced in 1854 a spectacular bronze centrepiece for the Russian ambassador, Kisselef, and decorative bronzes for the Viceroy of Egypt, SaĂŻd Pacha, as well as railings for the Throne Room for the King of Cambodia, Norodom I, in 1862. At the 1889 Universal Exhibition, G. DeniĂ¨re 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 Ă&#x2026;ZU at 19 rue Michel-le-Comte in 1885. His workshop produced elegant little pieces of furniture in rosewood IVL \P]RI IVL VW^MT\QM[ _Q\P JZWVbM IVL XWZKMTIQV MUJMTTQ[PUMV\[ [MM "Les ĂŠbĂŠnistes du XIXĂ¨me siĂ¨cle",D. Ledoux-Lebard, Ed. de lâ&#x20AC;&#x2122;amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar KIJQVM\[ OIUM[ JW`M[ KI[PUMZM KI[M[ RM_MTZa KI[M[ _PQKP I[[]ZML ,QMPTÂź[ ZMVW_V [MM "lâ&#x20AC;&#x2122;Art en France sous le Second Empire", Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal -`PQJQ\QWV WN QV 8IZQ[ PM M`PQJQ\ML I RIZLQVQvZM _Q\P KPQVI KWT]UV[ IVL I TQY]M]Z KIJQVM\ I\ \PM 1VL][\ZQIT )Z\[ Exhibition in 1861.In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehlâ&#x20AC;&#x2122;s work that they received extensive commentary by the art critic J. Mesnard in his book "Les Merveilles de lâ&#x20AC;&#x2122;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 " X IVL I RM_MTZa KI[M _PMZM <PM PMIL QV Ă&#x2026;VM /ZMKQIV [\aTM UISM[ ]X \PM M[[MV\QIT XIZ\ WN \PM Ă&#x2026;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 FrĂŠmiet (1824-1910) who executed the low relief for a cedar medal cabinet with marquetry and silver plated bronzes (Orsay Museum, Paris, Inv. O.A. 10440). Diehl was again rewarded with a medal of honour at the Union Central Exhibition of 1869 and a progress medal at the Universal Exhibition in Vienna in 1873 (Sideboard in blackened pear wood and lemon wood with galvanic bronzes, designed by J. Brandely with a low relief by E. Guillemin, Orsay Museum, Paris, Inv. O.A.O. 336). Showered with praise by the critics, Diehl is considered as one of the most innovating artists of the 19th century. His final appearance was at the 1878 Universal Exhibition in Paris where he presented outside the competition his most recent creations, including a work table in marquetry which, with its naturalistic grasshopper motif, anticipated "Art Nouveau" (MusĂŠe de lâ&#x20AC;&#x2122;Ă&#x2030;cole de Nancy, Nancy).

Maison Dienst (19th century)

The Dienst company practiced in Paris, No.58 rue du Faubourg-Saint-Antoine from 1836 and subsequently \W 6W ! IVL ]V\QT -]OvVM ,QMV[\ \WWS W^MZ QV PQ[ NI\PMZÂź[ N]ZVQ[PQVO Ă&#x2026;ZU \PMV _Q\P the sign ÂŤTo the King of SiamÂť 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, ÂŤA Louis XV bed, of a very distinguished and KPIZUQVO LM[QOV I :MVIQ[[IVKM Ă&#x2026;ZMXTIKM IVL [WUM VQKM [MI\[ÂŻ <PM R]Za WN \PM M`PQJQ\QWV PWVW]ZML -]OvVM ,QMV[\ and reported that they regretted that ÂŤMr Dienst doesnâ&#x20AC;&#x2122;t have recalled us that he was a talented cabinet-maker as well as a sculptorÂť.

232

Gustave DorÃ© (1832-1883)

Gustave DorÃ© was a French illustrator, engraver, painter and sculptor, born in Strasbourg in 1832 and dead in Paris in 1883. He was internationally recognized during his lifetime especially through his many book illustrations like the Works by Rabelais or The Divine Comedy by Dante. Gustave DorÃ© also excelled in sculpture, as evidenced by his bronze mirror with cherubs made in 1877 (now in the museum of the Royal Monastery of Brou in Bourg-en-Bresse, France), The Fates and Love presented at the Salon of 1871, or Glory introduced in 1878 which had received a laudatory article by Paul de Saint-Victor. At the Paris Universal Exhibition held in 1878, Gustave DorÃ© showed a huge vase of 2.90 meters, named Le PoÃ¨me de la Vigne on which a cascade of putti makes a stunning work. Cast in bronze by ThiÃ©bault FrÃ¨res in 1882, this vase dedicated to winemakers was presented at the Universal Exposition in Chicago in 1893 and San Francisco in 1894 where it was bought by businessman Michael Henry de Young (still exposed in the de Young Museum in San Francisco). The achievement of DorÃ©â&#x20AC;&#x2122;s short career as a sculptor is undoubtedly the monument to the memory of his friend Alexandre Dumas (located Place du GÃ©nÃ©ral Catroux, Paris). /][\I^M ,WZu [IQL WN \PQ[ _WZS \PI\ Q\ _I[ \PM OZMI\M[\ Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\ 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&#x2026;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 Salon, Edouard Drouot asserted his style and his skill in sculptures mainly cast in bronze. He sculpted only one large sculpture, The Amateur, a marble work presented at the 1893 Salon, and then at the Universal Exhibition of 1900 where he received an honorable mention. Drouot focused in his work on movement and expression \PZW]OP PQ[ Ã&#x2026;O]ZM[ XW[QVO _Q\P XZMKIZQW][ JITIVKM OQ^QVO \PMU U]KP OZIKM 0M NW]VL PQ[ []JRMK\[ QV I _QLM ZMXMZ\WQZM XTMV\a of genre, sport and Orientalist scenes. But the theme in which the artist excelled was the representation of mythological Ã&#x2026;O]ZM[ UISQVO PQU I TMILQVO Ã&#x2026;O]ZM WN \PM [K]TX\]ZM WN \PM TI\M !th and early 20th century.

Paul Dubois (1827-1905)

Paul Dubois entered the Paris Beaux-Arts School in 1858. He exhibited at the 1865 Salon the Chanteur .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 in silvered bronze, was exhibited at the 1867 Paris Universal Exhibition (now preserved at the Orsay museum). Duboisâ&#x20AC;&#x2122; success brought him many commissions, both private (Portrait of Duc dâ&#x20AC;&#x2122;Aumale) and public (Jeanne dâ&#x20AC;&#x2122;Arc, in Reims). Appointed curator at the Luxembourg museum in 1873, Dubois became IT[W I UMUJMZ WN \PM 1V[\Q\]\M IVL Ã&#x2026;VITTa PMILUI[\MZ I\ \PM *MI]` )Z\[ ;KPWWT QV

Gervais Durand (1839-1920)

The cabinet-maker Gervais Durand participated in the 1889 Universal Exhibition where he was awarded a silver medal. A. Picardâ&#x20AC;&#x2122;s exhibition report stated that, "Mr Durand, cabinet-maker, as skilful as modest, LQ[XTIa[ NWZ \PM Ã&#x2026;Z[\ \QUM ^MZa Ã&#x2026;VM N]ZVQ\]ZM _PQKP PI[ JMMV LM[QOVML IVL UILM Ja PQU 0M Q[ _ITSQVO QV the footsteps of giants such as Beurdeley and Dasson". Durand made almost exclusively reproductions of 18th century masterpieces.

Ferdinand Duvinage (1823-1876)

As early as 1863, Ferdinand Duvinage was a dealer of paintings and fans. In 1867, he teamed up with Alphonse Giroux for running the company installed Boulevard des Capucines. This partnership allowed him to label "Maison Giroux Paris" and then "Ancienne Maison Giroux" on his works mounts. On 6 May .MZLQVIVL ,]^QVIOM Ã&#x2026;TML I Ã&#x2026;Z[\ XI\MV\ NWZ "a kind of mosaic inlaying made of partitioned metal to be used on furniture and art objects". <PQ[ XI\MV\ Ã&#x2026;TML 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\[ <PM Ã&#x2026;Z[\ XI\MV\ Q[ KWUXTMUMV\ML Ja \_W ILLQ\QWV[ 1VLMML QV .MJZ]IZa ,]^QVIOM QUIOQVML ZMXTIKQVO Q^WZa Ja QUQ\I\QVO _WWL []KP I[ JW`_WWL ) NM_ UWV\P[ TI\MZ QV 6W^MUJMZ PM Wâ&#x20AC;«Ùºâ&#x20AC;¬MZML N]Z\PMZ \W MVZQKP \PM LMKWZI\QWV WN Q^WZa XIZ\Q\QWVML N]ZVQ\]ZM IVL WJRMK\[ Ja ILLQVO "applied metal or other material depicting JQZL[ IVQUIT[ [PZ]J[ Ã&#x2020;W_MZ[ NWTQIOM NZ]Q\ M\K QVTIQL _Q\P XMIZT[ IVL XZMKQW][ [\WVM[ This type of ornamentation was however TQ\\TM ][ML Ja ,]^QVIOM UW[\ WN \PM \QUM PQ[ XZWL]K\QWV[ _MZM KWVÃ&#x2026;VML \W \PM \MKPVQY]M LM[KZQJML QV \PM Ã&#x2026;Z[\ XI\MV\ <PM Japanese style decors were always associated with nature, with birds and plants. In 1876, Rosalie Duvinage named "the Duvinage widow" took over the business after the death of her husband and took a patent in 1877 for a marquetry of Japanese QV[XQZI\QWV ILLQVO XMIZT LMKWZI\QWV \W \PM XZM^QW][ XI\MV\ ?M LW VW\ ]V\QT VW_ SVW_ IVa N]ZVQ\]ZM WJRMK\ WZ XIVMT _Q\P pearl decoration. ;QOVML _WZS[ MUJMTTQ[PML _Q\P \PM[M LM[QOV[ _MZM Ã&#x2026;Z[\ M`PQJQ\ML \W OZMI\ IKKTIQU I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV (D. Kisluk-Grosheid, "Maison Giroux and its 'Oriental' Marquetry Technique", 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 LMÃ&#x2026;VQ\Q^MTa LW_V QV 233

George Richards Elkington (1800-1865)

<PM OZMI\ *QZUQVOPIU Ã&#x2026;ZU WN -TSQVO\WV[ _I[ TIZOMTa \PM KZMI\QWV WN /MWZOM :QKPIZL[ -TSQVO\WV 1865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 \PM J][QVM[[ PIL M`XIVLML []â&#x20AC;«Ù»â&#x20AC;¬KQMV\Ta NWZ I JZIVKP \W PI^M JMMV M[\IJTQ[PML QV 4WVLWV 1V \PM TI\M Â¼[ the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then emloyed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtonsâ&#x20AC;&#x2122; reputation with their elaborate exhibition pieces.

Lâ&#x20AC;&#x2122;Escalier de Cristal (19th century)

4Â¼-[KITQMZ LM +ZQ[\IT 8IZQ[QIV Ã&#x2026;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 lâ&#x20AC;&#x2122;Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, Lâ&#x20AC;&#x2122;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&#x2026;ZU IVL then his sons from 1885 to 1923, whom gave the name of Pannier FrÃ¨res to the company, located at the corner of Scribe and Auber streets, next to the new built Paris Opera house. Lâ&#x20AC;&#x2122;Escalier de Cristal suggesting also since the 1880â&#x20AC;&#x2122;s furniture and art bronze pieces, was several times awarded medals at the various International Exhibitions held in Paris, London and New York, and for instance a gold medal at the 1900 Paris Universal Exhibition. Numerous artists, such Emile GallÃ©, Louis 5IRWZMTTM IVL /IJZQMT >QIZLW\ _WZSML NWZ \PM 4Â¼-[KITQMZ LM +ZQ[\ITÂ¼[ _WTL_QLM ZMVW_V IVL QV\ZWL]KML \PMV [WUM WN \PMQZ greatest Japanese style creations (adorned with "cloisonnÃ©" enamels, Japanese motifsâ&#x20AC;¦).

Gilbert Fabre (active around 1900)

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

Ã&#x2030;tienne-Maurice Falconet (1716-1791)

Ã&#x2030;tienne-Maurice Falconet, adapted the classical style of the French Baroque to an intimate and decorative Rococo ideal. He was patronized by Mme de Pompadour and is best known for his small sculptures on mythological and genre themes and for the designs he made for the SÃ¨vres 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 Wâ&#x20AC;«Ù»â&#x20AC;¬KQIT XI\ZWVIOM 1V 5UM LM 8WUXILW]Z IXXWQV\ML .ITKWVM\ director of the sculpture studios at the SÃ¨vres porcelain factory. While director, he executed many models for the factory IVL XZWL]KML [UITT [K]TX\]ZM[ WN Ua\PWTWOQKIT Ã&#x2026;O]ZM[ []KP I[ >MV][ IVL +]XQL IVL I [MZQM[ WN V]LM NMUITM JI\PMZ[ 0M also executed a few monumental and religious works. In 1766 he was summoned to Russia by Catherine II at the suggestion of his friend Denis Diderot to produce a bronze equestrian statue of Peter the Great for St. Petersburg. The resulting work, dedicated in 1782, is one of the most powerful and original equestrian portraits of the age. Falconet left Russia in 1778, and, [WWV IN\MZ PM []â&#x20AC;«Ùºâ&#x20AC;¬MZML I LMJQTQ\I\QVO [\ZWSM \PI\ TMN\ PQU ]VIJTM \W [K]TX\ 0M Q[ IT[W ZMUMUJMZML NWZ PQ[ _ZQ\QVO[ QVKT]LQVO :uÃ&#x2020;M`QWV[ []Z TI [K]TX\]ZM # Â¹:MÃ&#x2020;MK\QWV[ WV ;K]TX\]ZMÂº XZWL]KML I\ ,QLMZW\Â¼[ ZMY]M[\ NWZ \PM -VKaKTWXuLQM

Alexandre FalguiÃ¨re (1831-1900)

)TM`IVLZM .ITO]QvZM [\]LQML [K]TX\]ZM ]VLMZ 2W]â&#x20AC;«Ùºâ&#x20AC;¬ZWa I\ \PM 8IZQ[ jKWTM LM[ *MI]` )Z\[ JMOIV PQ[ KIZMMZ at the Paris Salon in 1857 and won as soon as 1859 the "Prix de Rome". FalguiÃ¨re became very quickly successful and was several times awarded medals at the Salon, such in 1868 with his marble sculpture <IZKQ[Q][ \PM +PZQ[\QIV *Wa 5IZ\aZ WZ I\ \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _WV \PM Ã&#x2026;Z[\ UMLIT in his category. Thanks to that success, he was immediately commissioned by private collectors as well as by the French State, whom asked him in 1878 to realize the Triomphe de la RÃ©publique, placed in 1881 at the summit of the Paris Arch of Triumph (taken down in 1886). After having created in the conventional classical mould, FalguiÃ¨re turned his art to Realism, as shows this bust of Diana, very close in style to portraits of Parisian ladies. FalguiÃ¨re 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 LÂ¼PWVVM]Z .ZIVKMÂ¼[ PQOP\M[\ Wâ&#x20AC;«Ù»â&#x20AC;¬KQIT 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&#x2026;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&#x2026;VM LMKWZI\QWV 5IQ[WV .WZM[\ XZM[MV\ML \PMQZ XZWL]K\[ I\ \PM =VQ^MZ[IT -`PQJQ\QWV held in Chicago in 1893.

234

Maison Fourdinois (founded in 1835)

The Fourdinois company was founded in 1835 by the cabinet-maker Alexandre-Georges Fourdinois (1799 <PM =VQ^MZ[IT -`PQJQ\QWV PMTL QV 4WVLWV QV _I[ ]VLW]J\MLTa \PMQZ Ă&#x2026;Z[\ OZMI\ IZ\Q[\QK IVL X]JTQK []KKM[[ ?QVVQVO \PM /ZMI\ UMLIT NWZ I VMW :MVIQ[[IVKM J]â&#x20AC;ŤŮşâ&#x20AC;ŹM\ \ZQOOMZML I KWUXM\Q\QWV IUWVO other cabinetmakers, as the press was unanimously greeting their success. His son Henri-Auguste (18301907) was taught design by the architect Duban, then by the silversmith Morel in London, before working _Q\P \PM JZWVbM NW]VLMZ 8IQTTIZL 0M RWQVML \PM Ă&#x2026;ZU 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 Ă&#x2026;ZU \W \PM []UUQ\ WN Q\[ IKPQM^MUMV\[ I\ \PM =VQ^MZ[IT Exhibition in Paris by winning the Grand Prix (classes 14 and 15) as well as at the 1878 Exhibition. The 1862-1880 period marks truly the peak for the Fourdinois house, which remains for many cabinet-makers, whether French, English or American, an example to follow.

Charles-Auguste Fraikin (1817-1893)

Charles-Auguste Fraikin, the son of a notary, attended the Academy in Antwerp from 1829 to 1831 before receiving his diploma as a pharmacist in 1835. In 1836 he discovered the work of Guillaume Geefs (18051883), one of the greatest Belgian sculptors in the early 19th century, and decided to abandon pharmacy for sculpture. Pierre Puyenbroeck (1804-1884) noticed his talent and took him on in his studio. Fraikin was encouraged by the famous painter FranĂ§ois-Joseph Navez (1787-1869), the director of the Brussels Royal .QVM IZ\[ )KILMUa IVL [\]LQML \PMZM ]VLMZ 4W]Q[ 2uPW\\M 0M M`PQJQ\ML NWZ \PM Ă&#x2026;Z[\ \QUM QV 1839 in Brussels where, six years later, his Cupid held Captive won a gold medal and considerable success. Two versions in marble were ordered by King Leopold I for the Royal Fine arts Museums in Brussels, and by Grand Duchess of Russia for the Hermitage in Saint Petersburg. Fraikin was then during all his life honoured for his delicate and seductive classicism, I_IZLQVO PQU U]KP []KKM[[ IVL UIVa XZQ^I\M IVL Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT KWUUIVL[

Emmanuel FrĂŠmiet

Nephew and pupil in 1842 by sculptor FranĂ§ois Rude (1784-1855) who took part in the decoration of the )ZK LM <ZQWUXPM QV 8IZQ[ -UUIV]MT .ZuUQM\ ! M`XMZQMVKML I LQâ&#x20AC;ŤŮťâ&#x20AC;ŹK]T\ [\IZ\ IVL _WZSML I\ \PM zoological Studies and in Paris. He was remarked at the Salon of the living artists of 1843 with a plaster 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 with success Bassets dogs ÂŤ Ravageot and RavageodeÂť and Chef Gauls at the 1867 Paris Universal Exhibition. FrĂŠmiet 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 Cain (1821-1894) and Alfred Jacquemart (1824-1896). At the Universal Exhibition of 1889 in Paris, FrĂŠmiet exhibited +ZMLW _PQKP _I[ I ZM[W]VLQVO []KKM[[ _Q\P \PM X]JTQK )\ \PM =VQ^MZ[IT -`PQJQ\QWV WN ! PM Ă&#x2026;VITTa _WV \PM Âš/ZIVL 8ZQ`Âş )UWVO PQ[ UI[\MZXQMKM[ IVQUIT []JRMK\ -UUIV]MT .ZuUQM\ UILM [M^MZIT MY]M[\ZQIV [\I\]M[ KWUJQVQVO I \PWZW]OP naturalism for horses to academic likeness of their riders. Chevalier of the Legion of Honor in 1860, E. FrĂŠmiet was IXXWQV\ML /ZIVL 7â&#x20AC;ŤŮťâ&#x20AC;ŹKMZ QV \PM 7ZLMZ QV !

Gagneau (19th century)

Famous lighting manufacture established in Paris, participated in many exhibitions, such the Industry Products expositions since 1819, and received numerous awards throughout the 19th century. Appreciated Ja PQ[ KWV\MUXWZIZa NMTTW_[ / /IOVMI] JMKIUM XIZ\ WN \PM R]Za QV \PM KI\MOWZa WN IZ\ JZWVbM[ +TI[[ at the 1889 Paris Universal Exhibition.

Emile GallĂŠ (Nancy, 1846-1904) As a ceramist, carpenter and glassmaker, is one of the founding artists of Art Nouveau. His father, +PIZTM[ /ITTu ! ITZMILa I UIRWZ IZ\Q[\ PIL []KKM[[N]TTa TI]VKPML \PM NIUQTa J][QVM[[ QV \PM production of pottery. After school in Nancy, Emile GallĂŠ went to Weimar in 1865 and studied there mineralogy. He then went to Meisenthal for learning glass and ceramics crafts. He added to this a good knowledge of woodworking and of natural sciences, the family passion, especially for plants that led him to drawing. 1V _WZSQVO PIZL PM \WWS W^MZ PQ[ NI\PMZÂź[ IK\Q^Q\QM[ IVL LM^MTWXXML \PM Ă&#x2026;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 7â&#x20AC;ŤŮťâ&#x20AC;ŹKMZ WN \PM 4MOQWV WN 0WVWZ

Jean-Baptiste Gamichon ( ?-1832)

Was successively established rue Mauconseil (1799), rue de ClĂŠry (1810) and 16, faubourg Saint-Denis (1828). He used two stamps, one with his name and the other inscribed Ă Paris, placed on top of each other or at each side of the piece of furniture. Sometimes, a label was added : rue de ClĂŠry, nÂ°58 GAMICHON, marchand ĂŠbĂŠniste tient magasin et fabrique dâ&#x20AC;&#x2122;ĂŠbĂŠnisterie en tous genres, il fait aussi des envois dans les dĂŠpartements, Ă Paris. In 1827, he exhibited furniture in maple, lemonwood an amaranth 235

at the Exposition des Produits de lâ&#x20AC;&#x2122;Industrie.

FranĂ§ois Gautier (19th century)

Francois Gautier founded his bronze workshop in 1850 and settled at 3, rue des Fosses-Montmartre in Paris. 0M _I[ I_IZLML I Ă&#x2026;Z[\ KTI[[ UMLIT QV _Q\P \IJTM KMV\ZMXQMKM[ Ă&#x2026;O]ZM OZW]X[ [\I\]M[ IZ\ IVL JZWVbM furniture mounts. He exhibited again in 1862 and soon after sold his company to J. Albinet and G. Coulon, then installed at 4, rue de Choiseul in Paris, and specialized in bronze clocks and chimney clock sets. In 1874 they both exhibited bronze artworks, clocks and candelabras of various styles.

)LWTXPM >QK\WZ /MWâ&#x20AC;ŤŮşâ&#x20AC;ŹZWa ,MKPI]UM (1810-1892)

)LWTXPM >QK\WZ /MWâ&#x20AC;ŤŮşâ&#x20AC;ŹZWa ,MKPI]UM ! _I[ I .ZMVKP LM[QOVMZ IVL [K]TX\WZ 0M [\]LQML I\ \PM LZI_QVO NZMM XZWOZIU [KPWWT JMNWZM RWQVQVO QV \PM 8IZQ[ .QVM )Z\[ ;KPWWT 0M JMKIUM I X]XQT WN the renowned sculptors David dâ&#x20AC;&#x2122;Angers (1788-1856) and James Pradier (1790-1852). He devoted himself XZQUIZQTa \W LMKWZI\Q^M IZ\[ JMNWZM _WZSQVO NWZ UMLQM^IT IZ\ <P][ PM LZM_ IVL UWLMTTML M`\ZMUMTa ZMĂ&#x2026;VML [QT^MZ_IZM _Q\P ^MZa Ă&#x2026;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 Âš0ITTÂş _PW _IV\ML \W QV\ZWL]KM Ă&#x2026;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 Ă&#x2026;VIVKQIT LQâ&#x20AC;ŤŮťâ&#x20AC;ŹK]T\QM[ IVL Y]QKSTa XI[[ML WV W_VMZ[PQX WN \PM J][QVM[[ [M^MZIT \QUM[ L]ZQVO \PM XMZQWL 1826 to 1862. A new partner, Jean-FĂŠlix Bapterosses, who recently bought the old ceramics factory of Briare, then came in 1866, bringing new capital to the manufacture. The company eventually became known as â&#x20AC;&#x153;Gien Faiencerieâ&#x20AC;? in 1875 on \PM WKKI[QWV WN Q\[ \ZIV[NWZUI\QWV QV\W I X]JTQK KWUXIVa 8ZWL]K\QWV Ă&#x2026;Z[\ JMOIV _Q\P N]VK\QWVIT \IJTM_IZM IVL \PMV _MV\ on to make fancier dinnerware, decorative pieces and tableware emblazoned with notable familiesâ&#x20AC;&#x2122; coats of arms, calling on the savoir-faire of talented potters. The climax of the production of faience of Gien was between 1855 and 1900 at the time of the famous Universal Exhibitions, during which they won numerous awards.

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

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

Alphonse Giroux (active from 1799 until 1885)

Alphonse Giroux and Company, famous curiosity and luxury goods shop was situated at No. 7 rue du CoqSaint-HonorĂŠ and in business from the time of the Consulate until the end of the Second Empire. The company was founded by Francois-Simon-Alphonse and continued in 1838 by his two sons, AlphonseGustave (1810-1886) and AndrĂŠ (1801-1879). The father became a close associate of the royal family and [XMKQITQbML QV \PM UIV]NIK\]ZM WN ZMĂ&#x2026;VML Q\MU[ NWZ OQN\[ _QVVQVO I [QT^MZ UMLIT I\ \PM QV 3QVO[ 4W]Q[ XVIII and then Charles X were both supplied with gifts for "The Children of France" by Giroux. Making progressively [UITT N]ZVQ\]ZM \PMa _MZM UMV\QWVVML NWZ \PM Ă&#x2026;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 Ă&#x2026;ZU I[ Q[ \M[\QĂ&#x2026;ML Ja \PM ZMXWZ\ WN \PM R]Za I\ \PM ! Products of Industry Exhibition awarding him another silver medal. Alphonse was also quick to participate in the famous IVL [WWV Ă&#x2026;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 Napoleon IIIrd bought several other pieces of furniture, candelabras and clocks from Giroux for the CompiĂ¨gne Palace. In 1857 Alphonse Giroux transferred his shop to No. 43, boulevard des Capucines where he continued to do business until 1867, when he ceded the company to Duvinage and Harinkouck.

Oscar Gladenbeck (1850-1921)

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

Pierre Philippe GouthiĂ¨re (1732-1813)

Pierre Philippe GouthiĂ¨re is one of the masters of bronze crafting under the reign of Louis XVI. He was the master of Pierre Philippe Thomire. 236

Michele Grandville (1758-1836)

Few crafts have experienced the span of one century - the 19th - the splendor, recognition, and international LQâ&#x20AC;«[]Ùºâ&#x20AC;¬QWV \PI\ <IZ[QI ;WZMV\QI ;WZZMV\W 1VTIa MVRWaML <PM JMOQVVQVO WN \PQ[ MVKPIV\QVO IZ\ KIV JM LI\ML to the 1827 with the work of the Sorrentine Antonio Damora, who was summoned by Francis I of Bourbon to restore and furnish Naples Palazzo Reale (The Royal Court at Naples). Returning to Sorrento, Damora learned the wood inlaying techniques along with other artists, such as Michele Grandville, Luigi Gargiulo IVL /]Q[MXXM 5IOOQWTQVQ <PMa TML \PM _Ia NWZ \PM XZWL]K\QWV WN QVTIa WJRMK\[ \PI\ _WV I_IZL[ and medals, and reached half the worldâ&#x20AC;&#x2122;s market in the mid-19th century. Important patrons of the arts such as Ferdinand WN *W]ZJWV IVL 8WXM 8Q][ 1@ KWV\ZQJ]\ML \W \PM OZW_\P WN \PM ;WZZMV\QVM QVTIa QVL][\Za <PM UIQV []JRMK\ WN LMKWZI\QWV used in Michele Grandvilleâ&#x20AC;&#x2122;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 LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ KWTWZML _WWL[ ;WZZMV\QVM QVTIa JI[ML Q\[ KPZWUI\QK Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\[ WV \PM XTIa WN \PM \WVIT KWV\ZI[\[ WN \_W TWKIT _WWL[" _ITV]\ IVL WZIVOM I\ Ã&#x2026;Z[\ IVL \PMV WTQ^M IVL [WUM W\PMZ QUXWZ\ML _WWL[ *]\ \PM reason for the high artistic value of Sorrentine inlay is its absolute independence from contemporary forms of inlay work. The initial technique of mosaic-like inlay evolved into painting with watercolors on the wood design, known as "enamel on wood", although the inlay work was still performed with gouges and saws.

Granja Royal Crystal Manufacture

4I :MIT .nJZQKI LM +ZQ[\ITM[ LM 4I /ZIVRI _I[ M[\IJTQ[PML QV QV ;IV 1TLMNWV[W ]VLMZ WZLMZ WN \PM *W]ZJWV SQVO .MTQXM > WN ;XIQV QV WZLMZ \W N]ZJQ[P \PM ZWaIT XITIKM WN \PM /ZIVRI QV OTIKM[ IVL UQZZWZ[ French glass masters came at the royal manufacture in 1746, and then masters from Germany and Bohemia (1750). Like the Buen Retiro royal manufacture of porcelain, the Santa Barbara tapestry manufacture, the /ZIVRI ZWaIT UIV]NIK\]ZM WN KZa[\IT \WWS XIZ\ QV \PM LQâ&#x20AC;«[]Ùºâ&#x20AC;¬QWV 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 private owners, and exported in Europe and in America. To pay tribute to this tradition and know-how, a museum and a dedicated centre was founded in 1982.

Jean-Louis GrÃ©goire studied sculpture with Jean-Jules Salmson (1823-1902). Since 1867, he exhibited portraits of contemporaries as well as mythological works at the Salon of Paris, where he won a honorable mention, and later at the Salon of the French Artists. After the 1870 war, GrÃ©goire was several times KWUUQ[[QWVML NWZ XI\ZQW\QK []JRMK\[ []KP L'Alsace (1874), La Lorraine or La DÃ©fense du drapeau (1888).

Guillaume GrohÃ© settled down as a cabinet-maker in Paris in 1827 with his brother Jean-Michel and started I KWUXIVa UISQVO IVL [MTTQVO N]ZVQ\]ZM IVL IZ\ WJRMK\[ _PQKP JMKIUM NIUW][ ^MZa Y]QKSTa <PMa \WWS part in the 1834 "Exposition des Produits de lâ&#x20AC;&#x2122;Industrie FranÃ§aise". In 1849 he was awarded the "LÃ©gion LÂ¼PWVVM]Z IVL TI\MZ Wâ&#x20AC;«Ù»â&#x20AC;¬KMZ 0Q[ ZMX]\I\QWV Q[ UIQVTa JI[ML WV I [\aTM N]ZVQ\]ZM [XMKQITQ[I\QWV 0M _I[ WVM of the most well-known cabinet-makers at his time, providing King Louis-Philippe, Emperor Napoleon the IIIrd and Empress EugÃ©nie, princes and princesses, even Queen Victoria in Great-Britain after 1862. He naturally XIZ\QKQXI\ML QV UIVa LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ M`PQJQ\QWV[ IVL _I[ R]Za UMUJMZ QV =VQ^MZ[IT -`PQJQ\QWV[

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 Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\[" IKK]ZI\M KW[\]UQVO UQV]\M LM\IQTQVO IVL M`XZM[[Q^M NIKM[ 5W[\ WN PQ[ _WZS[ UILM QV JZWVbM IVL KI[\ QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ [QbM[ _MZM QV[XQZML Ja M`W\QK []JRMK\[ []KP I[ JQJTQKIT PMZWM[ KWVY]Q[\ILWZ[ IVL IJW^M ITT TQNM TQSM 7ZQMV\IT Ã&#x2026;O]ZM[

EugÃ¨ne Hazart (19th century)

EugÃ¨ne Hazart entered the "RÃ©union des Fabricants de Bronze" in 1839. Well-known since 1843 in the making of ancient style reproductions, not only with his Gothic and Renaissance style bronzes but also very at ease in the 18th KMV\]Za [\aTM 0M _I[ LMÃ&#x2026;VQ\MTa _MTT IXpZMKQI\ML JMKI][M PQ[ XZM[MVKM QV QV the Pannier brothersâ&#x20AC;&#x2122;s bronze-casters booklet. The Pannier brothers managed beautifully the so-famous house "A lâ&#x20AC;&#x2122;Escalier de Cristal", which took place at the Palais-Royal in Paris and was selling porcelain and KZQ[\IT WJRMK\[ I[ _MTT I[ N]ZVQ\]ZM <PQ[ KWUXIVa LZM_ I\\MV\QWV \W PQ[ _WZS L]ZQVO Q\[ XIZ\QKQXI\QWV[ QV \PM !th century "Expositions des Produits de lâ&#x20AC;&#x2122;Industrie".

-UQTM 0uJMZ\ [\]LQML [K]TX\]ZM _Q\P PQ[ NI\PMZ IVL \PM ZMVW_VML IZ\Q[\ .M]KPvZM 0M XIZ\QKQXI\ML QV ITT UIRWZ M`PQJQ\[ []KP \PM ;ITWV WN \PM .ZMVKP )Z\Q[\[ NZWU \W ! _Q\P J][\[ IVL Ua\PWTWOQKIT []JRMK\[ WZ \PM Paris Universal Exhibitions. At the 1867 Universal Exhibition, HÃ©bert was awarded a gold medal for having collaborated on the clock described above (Exposition Universelle 1867, Groupe III, Classe 25, catÃ©gorie 237

des bronzes dâ&#x20AC;&#x2122;art) with Georges Servant (1828-c.1890), whom had a foundry, rue Vieille-du-Temple, in Paris, specialized in neo-Greek and neo-Egyptian style clocks. HĂŠbert participated with equal success at the 1878 Universal Exhibition, where PM _WV WVKM IOIQV I OWTL UMLIT NWZ [WUM W\PMZ -OaX\QIV [\aTM WJRMK\[ <PM ZMXWZ\ WN \PM R]Za -`XW[Q\QWV =VQ^MZ[MTTM LM 1878, Rapport sur les bronzes dâ&#x20AC;&#x2122;art, Groupe III, Classe 25, p.26) noticed, that "the chasing by HĂŠbert is under perfect KWV\ZWT IVL IT_Ia[ IXXZMKQI\ML Ja IZ\Q[\[ 0Q[ IV\QY]M [\aTM Ă&#x2026;O]ZM[ /ZMMS :WUIV WZ -OaX\QIV IZM [WUM WN PQ[ UW[\ popular works following the tradition of ethnographic decorative sculpture in late 19th century France. HĂŠbert became also renowned for having sculpted two allegories, La ComĂŠdie and Le Drame, for the faĂ§ade of the Paris "Vaudeville" Theater.

Nicolas Heurtaut (1720-1771)

Nicolas Heurtaut learnt woodcarving in his fatherâ&#x20AC;&#x2122;s carpentry workshop. In 1742 he became a "maĂŽtre [K]TX\M]Z IVL QV UI{\ZM UMV]Q[QMZ NWZ KPIQZ[ 6QKWTI[ 0M]Z\I]\ _WZSML _Q\PQV LQâ&#x20AC;ŤŮşâ&#x20AC;ŹMZMV\ [\aTM[ between the Louis XV and the Louis XVI period. He realized many pieces of furniture, but specialized mainly in sittings. Among the 18th century chairs production, his works showing great technical mastery, are considered to be unsurpassed.

Henri Houdebine (active since 1845)

The bronze-caster Henri Houdebine founded his company in 1845. He gained a great reputation in the making of clocks and decorative bronze pieces. His works, appreciated for their high artistic quality, took inspiration from various styles, including the neo-Greek style, very fashionable with artists in the 1860s. His work was immediatedly successful with the public, and one can say from 1862, that 50% of his production was exported. Houdebine set up his workshops at number 64, rue de Turenne, in Paris during the period 0M XIZ\QKQXI\ML UIOVQĂ&#x2026;KMV\Ta QV [M^MZIT =VQ^MZ[IT -`PQJQ\QWV[ []KP \PW[M PMTL QV 8IZQ[ QV _PMZM PM _I[ awarded a 2nd class medal for his statuettes and display cups, in London in 1862, and again in Paris in 1878 and 1889, where PM _WV I /WTL UMLIT NWZ PQ[ ITT \PM _WZS[ PM M`PQJQ\ML 0W]LMJQVM XIZ\QKQXI\ML Ă&#x2026;VITTa QV \PM +PQKIOW =VQ^MZ[IT -`PQJQ\QWV of 1893, where he presented splendid cressets, clocks and some sculptures.

Henry Paul Hudelet (1849-1878)

Born in Langres in 1849, Henry Paul Hudelet entered the drawing school of his town in 1864 and continued his training at the Paris Fine Arts School in 1866, where he studied under the direction of the sculptor Augustin Dumont (1801-1884). Hudelet presented in the Fine Arts contest of 1867 a Mercury and an academy made after the antique, then two further works in the contest of 1869 with Achilles and a Bacchante playing with a panther. Hudelet exhibited at the Salon of the French artists in 1876 and 1877. That same year, he competed for the Grand Prix de Rome with a bas-relief of .Q[PMZUMV Ă&#x2026;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 (1674-1751) Coming from a famous family of painters, he learns from his father, Claude Huilliot, a very well known still-life painter. In 1722 he is elected at the "AcadĂŠmie Royale de Peinture". During his prestigious career, he works for the royal entourage in Versailles, Fontainebleau and CompiĂ¨gne. This fecund artist paints with OZMI\ \I[\M \PM UW[\ [QUXTM []JRMK\[ []KP I[ IVQUIT[ Ă&#x2020;W_MZ[ NZ]Q\[ WZ LMKWZI\Q^M TIVL[KIXM[ .ZWU \W 1750, his still-life paintings, allegories and decorations are exhibited at the "Salon". Georges Jacob (1739-1814)

After having been received Master in 1765, Georges Jacob worked from 1773 to the French Revolution for the Crown Furniture Repository. Its clientele was the most brilliant with Louis XVI and Queen MarieAntoinette, the royal family, especially the Count of Provence, future Louis XVIII, the Count of Artois, future Charles X, the Prince of CondĂŠ, the Duke of PenthiĂ¨vre as well as foreign courts. In 1785 he KZMI\ML \PM Ă&#x2026;Z[\ UIPWOIVa KPIQZ[ KITTML ÂŽ*ZQ\Q[P KPIQZ[ÂŻ NWZ \PM +W]V\ WN 8ZW^MVKM 0M TI]VKPML \PM Etruscan style in 1788 by delivering ÂŤEtruscanÂť carved mahogany furniture for the dairy of the castle of Rambouillet. He also participated in the furnishings of the Petit Trianon at Versailles. Georges Jacob spent the revolutionary period without being harassed thanks to the famous painter David. He retired in 1796, leaving his workshop to his sons Georges Jr. and FranĂ§ois-HonorĂŠ, who created the company Jacob Brothers at MeslĂŠe Street, making Directoire and Consulate style furniture and seating. Because of their success, George interrupted retirement to help his sons to supply the imperial residences of Napoleon I. FranĂ§ois-HonorĂŠ added the name of Desmalter, after the death of his father, in memory of the family estate in Burgundy.

Jean-Baptiste-Jules Klagmann (1810-1867)

The sculptor Jean-Baptiste-Jules Klagmann worked throughout his career in both a monumental scale, in marble and bronze sculpture, and on a smaller scale for goldsmiths. In 1828 he entered the Ă&#x2030;cole des Beaux)Z\[ .ZIVKMÂź[ TMILQVO VI\QWVIT Ă&#x2026;VM IZ\[ IKILMUa _PMZM PM _I[ \I]OP\ Ja 2MIV 2IKY]M[ .M]KPvZM 1852). FeuchĂ¨re introduced Klagmann to the art of the Renaissance with his decorative repertory. Klagmann made his debut at the Salon of 1831 and the French state as soon as 1841 commissioned him to execute the decoration of the doors of the Salle de SĂŠances at the Senate. At the same time Klagmann was involved, alongside FeuchĂ¨re, 238

in the commission for a centrepiece from the Duc dâ&#x20AC;&#x2122;OrlÃ©ans in 1834 and then cast by Jean-FranÃ§ois DeniÃ¨re (1774-1866), VW_ XZM[MZ^ML I\ \PM 8IZQ[ ,MKWZI\Q^M IZ\[ 5][M]U 1V^ 3TIOUIV \P][ ZMITQ[ML TIZOM LMKWZI\Q^M Ã&#x2026;O]ZM[ NWZ I ^IZQM\a of Parisian buildings, theatres and the Louvre palace, recently enlarged by the Emperor Napoleon III, and continued to provide models for goldsmiths such as FranÃ§ois-DÃ©sirÃ© Froment-Meurice (sword of the Comte de Paris), FranÃ§ois Durand ^I[M OQ^MV Ja \PM ,]K LÂ¼7ZTuIV[ \W \PM /WWL_WWL ZIKM[ IVL WN KW]Z[M +PIZTM[ +PZQ[\WÃ&#x2020;M 1[IIK 8MZMQZMÂ¼[ KMV\MZXQMKM 0W_M^MZ 2 * 3TIOUIVV IT[W XZWL]KML Ã&#x2026;Z[\ ZI\M _WZS[ QV KWTTIJWZI\QWV _Q\P JZWVbM KI[\MZ[ []KP I[ /]QTTI]UM ,MVQvZM 1V 1848, Klagmann was nominated for the council of the Gobelins, Beauvais and SÃ¨vres manufactories and was also one of the founders of the Central Union of the Arts Applied to Industry.

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

<PM 3ZQMOMZ Ã&#x2026;ZU 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 Ã&#x2026;ZU UILM ITT [SM\KPM[ IVL LM[QOV[ QV ITT SQVL WN [\aTM[ IVKQMV\ or contemporary. About one thousand workers were employed at nÂ°74-76 Faubourg-Saint-Antoine Street in Paris, producing luxurious as well as standard furniture. But the making was always of very high quality with WIS_WWL WZ [MTMK\ML UIPWOIVa KIJQVM\[ LMKWZI\ML _Q\P Ã&#x2026;VMTa KPW[MV ^MVMMZ[ <PM 3ZQMOMZ Ã&#x2026;ZU _WV [M^MZIT UMLIT[ IUWVO which a second-class medal at the 1851 Universal Exhibition of London and took part in further international exhibitions, such as the one held in Paris in 1855.

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\ Ã&#x2026;Z[\ +PQVM[M IVL Dutch merchants were buying mainly Imari ceramics in Japan for resale in Europe. The East India Company started to export Imari ceramics towards Europe around 1700. At this period Kutani production was only starting: European customers were probably more appealed to the colourful copy of China porcelain in which 1UIZQ []KKMMLML <PMZM IZM \_W LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ \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 Ã&#x2026;\ -]ZWXMIV VMML[ NWZ QV[\IVKM Ã&#x2020;W_MZ ^I[M[ LQVVMZ XTI\M[ KWâ&#x20AC;«Ùºâ&#x20AC;¬MM [M\[ M\K QV _PQKP 2IXIV PIL NM_ QV\MZM[\ )[ I UI\\MZ WN NIK\ 2IXIVM[M K][\WUMZ[ QOVWZML \PQ[ XZWL]K\QWV _PQKP _I[ [W LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ NZWU _PI\ _I[ made for the Japanese daily use. It is the change in the political landscape that suddenly allowed the opening to the world. Many NWZMQOV KWUXIVQM[ M[\IJTQ[PML Wâ&#x20AC;«Ù»â&#x20AC;¬KM[ QV 3WJM IVL AWSWPIUI _Q\P \PM IQU WN LWQVO QUXWZ\ IVL M`XWZ\ J][QVM[[ :MXZM[MV\I\Q^M[ NZWU 3IVIbI_I 8ZMNMK\]ZM WXMVML Wâ&#x20AC;«Ù»â&#x20AC;¬KM[ QV \PM[M XWZ\[" QV ?I\IVW 3QKPQRQ M[\IJTQ[PML I JZIVKP Wâ&#x20AC;«Ù»â&#x20AC;¬KM QV 3WJM <PM JM[\ Kutani potters and painters were present at the International exhibition held in Paris in 1867, greatly stimulating the production. ?I\IVW 3QKPQRQ _I[ \PM JQOOM[\ 3]\IVQ UMZKPIV\ JMQVO WVM WN \PM Ã&#x2026;Z[\ \W []KKMML QV QV LWQVO LQZMK\ M`XWZ\ [PQXUMV\ \W Europe and to sale locally in Paris.

LacarriÃ¨re - Delatour (19th century)

It was at 3 bis rue Ste-Elisabeth that LacarriÃ¨re, a simple craftsman opened a workshop that was soon to specialise and to excell in the production of bronze lighting equipment. From 1834 to 1844 he was awarded several prizes. LacarriÃ¨re, Delatour & Cie IN\MZ KI[\ IVL KIZ^ML \PM OZMI\ UIRWZQ\a WN \PM lamps, candelabras and chandeliers of the Paris Opera Garnier, among which the chandelier in the concert hall, designed by Garnier himself and modeled by Corboz. At the 1878 Universal Exhibition, there was a special note in the catalogue declaring that: "their exhibition proves their craft to be very pure and precise, their taste very sure in bronzes used for interior lighting". LacarriÃ¨re, Delatour & Cie participated in the creation of the chandelier at the Queenâ&#x20AC;&#x2122;s Theatre in London. They also produced fourteen monumental candelabras for the Paris Alexandre III Bridge, which was an amazing feat at the time considering some of the pieces weighed up to 1470 pounds, and measured 14 ft. 9 in. with a diametre of 15 ft. 5 in.

EugÃ¨ne-Armand Lachaise (1857-1925)

Born 1857 in New York, EugÃ¨ne-Armand Lachaise went to Paris to study painting. Installed at NÂ°84 Avenue des Champs-ElysÃ©es, he became the pupil of some renowned artists such as Gustave Boulanger (1824-1888) and Jules Lefebvre (1836-1911). Both of them taught painting at the famous Julian Academy, located on Dragon Street in Paris. That art school was founded in 1868 in reaction to the established "Ã&#x2030;cole des Beaux-Arts". The reference books mention a remarked participation of E.-A. Lachaise in the 1888 "Salon", at the Paris Industry Palace on the Champs-ElysÃ©es, with a painted portrait of M. Le Commandant G... Lachaise became later a prized member of the "Paris Society of American Painters", whose goal was to promote American artists not WVTa QV 8IZQ[ J]\ \PZW]OP _WZTL_QLM M`PQJQ\QWV[ 1V \PM Â¼[ \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 successful career in Paris, E.-A. Lachaise was naturally considered as a French artist. He was even awarded Knight of the 4uOQWV LÂ¼PWVVM]Z IVL 7â&#x20AC;«Ù»â&#x20AC;¬KMZ QV \PI\ VI\QWVIT 7ZLMZ L]ZQVO ?WZTL ?IZ 1 4IKPIQ[M LQML QV 8IZQ[ QV !

239

Jules-Isidore Lafrance (1841-1881)

Jules-Isidore Lafrance was a sculptor, himself the son of a sculptor ornamentalist. He studied sculpture under the direction of Francisque Duret (1804-1865) and Jules Cavelier (1814-1894). He began to exhibit his work at the Salon of 1861 (Repentant Magdalene) and won the Prix de Rome in 1870 (Samson breaking ties). Back from Rome, where he was seriously ill, he sculpted Mathieu MolÃ©, Portrait of Puget, St. John, Achilles. For the Pavillon de Flore, at the Louvre palace, he received a commission in 1876 to sculpt two ITTMOWZQKIT Ã&#x2026;O]ZM[ 4I_ IVL 8Z]LMVKM 0M WJ\IQVML I Ã&#x2026;Z[\ KTI[[ UMLIT QV IVL _WV I UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV of 1878.

Louis-Edouard Lemarchand (1795-1872)

Son of Charles-Joseph Lemarchand (1759-1826), who founded the Lemarchand cabinet-making dynasty around 1789, he came back to Paris in 1815 in order to help his father with the studio, after he studied architecture and spent two years in the military. They were successful and became Fournisseur BrevetÃ© du Garde-Meuble in 1817. After his wedding in 1828, Louis-Edouard settled his workshop at 17, rue des <W]ZVMTTM[ 0M RWQVML NWZKM[ QV _Q\P )VLZu 4MUWaVM _PW _QTT JM IV Wâ&#x20AC;«Ù»â&#x20AC;¬KQIT 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&#x2026;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&#x2026;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 modÃ¨les dâ&#x20AC;&#x2122;Ã©bÃ©nisterie composÃ© pour la maison LEMARCHAND, Ã©bÃ©niste du Garde-Meuble, continuÃ©e par THEILLIER, undated and kept at the library of the Decorative Arts Museum, Paris, provides an overview of the production through original drawings. Active under Charles X then under Louis Philippe (creating pieces for Saint-Cloud, the Trianon, the Tuileries), he produced numerous XQMKM[ WN N]ZVQ\]ZM UILM WN TQOP\ _WWL IVL UIPWOIVa ) NWZUMZ [WTLQMZ \W \PM -UXMZWZ PM UILM \PM MJWVa KWâ&#x20AC;«Ù»â&#x20AC;¬V WN Napoleon.

Lerolle FrÃ¨res (19th Century)

Alphonse Lerolle was a well-known bronze-caster based in Paris. Succeeding his father, he worked in partnership with his brother as Lerolle FrÃ¨res, 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 FrÃ¨res M`XW[ML UIQVTa N]ZVQ[PQVO WJRMK\[ IVL NM_ IZ\ JZWVbM KI[\[ J]\ \PMa _MZM U]KP IXXTI]LML L]ZQVO \PM 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV NWZ PI^QVO XZM[MV\ML IUWVO KTWKS[ IVL KPIVLMTQMZ[ \PW[M []XMZJ 1VLQIV Ã&#x2026;O]ZM[ [K]TX\ML by Charles Cordier.

Adolphe-Alexandre Lesrel (1839-1929)

)LWTXPM )TM`IVLZM 4M[ZMT MV\MZML \PM 8IZQ[ Ã&#x2026;VM )Z\[ ;KPWWT QV \PM 2MIV 4uWV /uZÂ&#x20AC;UMÂ¼[ 1904) studio, one of the greatest artists of the second half of the 19th century, then in the Jean-LouisErnest Meissonierâ&#x20AC;&#x2122;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&#x2026;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 Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\[ IZM \PMV []UX\]W][Ta T]UQVM[KMV\ 4M[ZMT _I[ SVW_V NWZ PQ[\WZQKIT IKK]ZIKa _Q\P I PQOPTa LM\IQTML IVL XWTQ[PML [\aTM 0Q[ UW[\ WN\MV ][ML ZMITQ[\QK QVLWWZ[ []JRMK\[ U]KP IXXZMKQI\ML IUWVO PQ[ KWV\MUXWZIZQM[ _MZM RW^QIT musketeers, courtly love and the frivolity of the upper classes mainly dressed in Louis XIII period costumes. Fabrics, gowns, WJRM\[ LÂ¼IZ\ N]ZVQ\]ZM ITT _MZM ZM[MIZKPML \W MV[]ZM \PM PQ[\WZQKIT IKK]ZIKa WN PQ[ _WZS 0Q[ []JRMK\ UI\\MZ IVL \MKPVQKIT virtuosity of his brushwork ensures his continuing popularity. Lesrel exposed during many years one or two paintings at the famous Paris Salon of the Society of French Artists as soon as 1885 and of the National Fine Arts Society from 1890. <PZW]OPW]\ PQ[ KIZMMZ 4M[ZMT _WV XZQKM[ UMLIT[ I[ _MTT I[ Wâ&#x20AC;«Ù»â&#x20AC;¬KQIT I_IZL[ )\ \PM ! 8IZQ[ =VQ^MZ[IT -`PQJQ\QWV PM _I[ awarded a honorable mention. In 1907, Lesrel left Paris for GenÃªts, his native town. He died there in 1929.

Ferdinand Levillain (1837-1905)

.MZLQVIVL 4M^QTTIQV \]LQML ]VLMZ \PM [K]TX\WZ 2W]â&#x20AC;«Ùºâ&#x20AC;¬ZWa JMNWZM UISQVO PQ[ LMJ]\ QV I\ the French Artists Salon where he continued to exhibit until 1903. At the 1867 Universal Exhibition in 8IZQ[ PM _I[ XZIQ[ML NWZ I 6MW /ZMMS [\aTM JZWVbM K]X PM UILM NWZ \PM Ã&#x2026;ZU WN *TW\ M\ ,ZW]IZL 0M _I[ not to become really famous, however, until 1871 thanks to his association with the great bronze founder Ferdinand Barbedienne, who began to exhibit Neo-Greek style lamps, cups, vases and candelabras on his stands. Levillain was averwhelmingly triumphant at the 1878 Universal Exhibition in Paris, where he was unanimously awarded the gold medal for his creations in the Classical style. The famous bronze-caster Servant (1828-c.1890) declared in \PM ZMXWZ\ WN \PM R]Za NWZ )Z\Q[\QK *ZWVbM[ \PI\ \PM _WZS WN 4M^QTTIQV KPI[ML TQSM \PM Ã&#x2026;VM[\ RM_MT[ IVL [W LQ^MZ[M IVL X]ZM WN NWZU Â° IZM WN \PM PQOPM[\ LMOZMM WN XMZNMK\QWV )N\MZ ZMKMQ^QVO I Ã&#x2026;Z[\ KTI[[ UMLIT I\ \PM ;ITWV NWZ I K]X MV\Q\TML "The Elements, the Months and the Seasons", he went on to win a silver medal at the 1889 Universal Exhibition in Paris.

in Saint Vincent de Paul in Paris and in the Bayeux cathedral), for the silversmith F. D. Froment-Meurice (Madeleine church in Paris), as well as cabinet-makers Ringuet-Leprince (1801-1886) and Guillaume GrohĂŠ.

Edouard LiĂ¨vre (1829-1886)

Edouard LiĂ¨vre studied under the painter Thomas Couture (1815-1879), one of the more conspicuous artists in the circle of the Empress Eugenie. E. LiĂ¨vre soon devoted himself, however, to the art of furniture design. A talented ornamentalist, marked by the eclecticism typical of the Second Empire, LiĂ¨vre knew how to avail himself of skillful collaborators in order to create pieces in various styles: Renaissance, Louis 16th or Oriental, which last were part of the great artistic movement in fashion since the 1860â&#x20AC;&#x2122;s: the Japanese style named also Aesthetic Movement. they recreated an imaginary Far East adapted to decorate Western reception rooms. As IV 1V\MZQWZ LMKWZI\WZ 4Qv^ZM IT[W UI\KPML PQ[ T]`]ZQW][ IVL ZMĂ&#x2026;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 Iâ&#x20AC;ŤŮşâ&#x20AC;ŹWZL IXXMITML \W JIVSMZ[ R]LOM[ IZ\Q[\[ IVL NIUW][ KW]Z\M[IV[ I[ _MTT as the Royal and Princely families. After the death of Edouard LiĂ¨vre, the greater part of his models, sketches and cabinet designs were bought by art publishers such as "lâ&#x20AC;&#x2122;Escalier de Cristal" or by Ferdinand Barbedienne, thus giving them the right to reproduce LiĂ¨vreâ&#x20AC;&#x2122;s furniture with their own stamp (see "Ventes de la succession LiĂ¨vre", Hotel Drouot, 27 fevrier 1890).

FranĂ§ois Linke (1855-1946)

FranĂ§ois Linke, born in 1855 in Bohemia (Czechoslovakia), worked as a cabinet-maker in Paris from about 1882 until his death in 1946. In 1900, at the apex of his career, he opened a new shop at the famous Parisian place VendĂ´me. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully mounted with gilt-bronze ornaments, and he received numerous commissions. Later Linke decided to collaborate with the well-known sculptor LĂŠon MessagĂŠ and integrated new lines and shapes announcing \PM )Z\ 6W]^MI] [\aTM 0Q[ OZMI\ []KKM[[ Q[ LMĂ&#x2026;VQ\MTa \PM ! =VQ^MZ[IT -`PQJQ\QWV _PMZM PM _I[ I_IZLML \PM OWTL medal for his extraordinary kingwood desk, designed by MessagĂŠ. At this occasion, the "Revue artistique et industrielle" commented that "Linkeâ&#x20AC;&#x2122;s stand is the biggest show in the history of art furniture".

Jan Lopienski (1838â&#x20AC;&#x201C;1907)

Jan Lopienski created a bronze workshop in Warsaw in 1862. He studied in Warsaw, Cracow, Vienna and Paris. He established his reputation with the Louis XVI style bronze balustrade commissioned for the palace of Count Jan Zawisza in Warsaw, which awarded him a silver medal at the Paris Universal Exhibition of 1878. Lopienski also executed numerous of great decorative pieces of great quality. Jan Lopienski had two sons, Grzegorz (1863-1939) and Felix (1866-1941), who took over their fatherâ&#x20AC;&#x2122;s business. Theyâ&#x20AC;&#x2122;ve been commissioned by the Polish State for many monuments, such in 1898, with the bronze cast of Adam Mickiewiczâ&#x20AC;&#x2122; one.

Paul Louchet (1854 -1936)

Louchet Paul, born 1854, dead 1936, a French complete and gifted artist, worked at the beginning at chiselling bronze pieces, as shows the beautiful mount of this oriental vase. Much talented, he was then complimented by his contemporaries and became even President of the Bronze Manufacturers Society, located in Paris. Afterwards, he dedicated himself entirely to painting, studying under the direction of the academic painter Jules Lefebvre (1836-1911) and the landscape painter Henri Harpignies (1819-1916). Louchet exhibited his paintings, mostly landscapes, at the famous Paris "Salon". Critics admired his paintings: "Louchetâ&#x20AC;&#x2122;s works are delicate and secret, simply composed without glare nor emphasis". He was awarded 1896 member of the Paris Beaux-Arts Society. As a multi-talented artist (He was also a culptor and engraver), he was a close friend to the 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 Ă&#x2026;Z[\ .ZMVKP WZQMV\ITQ[\ IVL VI\]ZITQ[\ painters of the nineteenth century. Son of a banker, Prosper Marilhat left Thiers for Paris in 1829 where 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 Âš)KK]ZI\MÂş *IZWV ^WV 0Â&#x2020;OMT XZMXIZQVO I [KQMV\QĂ&#x2026;K M`XMLQ\QWV QV \PM 5QLLTM East remarked the accuracy of his drawings and invited to accompany him as a designer. Marilhat then embarked in 1831. Visiting Upper Egypt, Marilhat made large drawings along the Nile that made his reputation. Having declined in Alexandria proposal of Baron to follow him to India, Marilhat returned to Cairo, where he drew street scenes and bazaars. Marilhat also focused on the outskirts of the city by visiting Bulak on the Nile or in the palm groves surrounding Cairo. It is from this period that the outstanding drawings of Cairo, point his ultimate art for architectural drawing. He returned to France in 1833 on the Sphinx, towing the obelisk of Luxor and brought back ten books of drawings and sketches, which were widely used by the artist to compose his paintings on his return to Paris. He then didnâ&#x20AC;&#x2122;t leave Paris until his death except the two trips he made in Italy and Provence. He attended the â&#x20AC;&#x153;Circle of Artsâ&#x20AC;? where he met Prosper MĂŠrimĂŠe. )\ \PM ;ITWV WN PQ[ -OaX\QIV []JRMK\[ IZW][ML \PM MV\P][QI[U WN <PuWXPQTM /I]\QMZ )\ \PM ;ITWV WN \PM 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 241

of sending Orientalist works. Sick, Marilhat can’t return to the East, and painted in Paris three royal commissions in 1844 and 1845. After losing the reason, he died in 1847.

Lajos Markos (1917-1993)

<PM XIQV\MZ 4IRW[ 5IZSW[ _I[ JWZV ! QV 5IZW[^n[nZPMTa 0]VOIZa 0M _I[ [\]LMV\ I\ .QVM )Z\[ School of Budapest, where he was awarded the prestigious National Zrinyi Prix. During World War II he went to Italy, opened a workshop in Rome, then in Milano. He came in 1952 to the United States 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 celebrities such as John Wayne, Robert Kennedy, The Royal Family of King Hassan II and Pablo Casals. 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 (1862-1918) Charles Malfroy (1862-1918), a native of Lyon, specialized in views of the Mediterranean harbors, and one of Martigues in particular, he liked to paint along its banks. Martigues, known as the “Venice of Provence”, located on the edge of the Etang de Berre and Caronte Canal, which connects the lake to the Mediterranean, and especially its port then inspired many artists in the mid-nineteenth century, such Raymond_Allègre (1857-1933), Henri Théophile Decanis (1847-1917) and of course Felix Ziem (18211911) who established there his workshop. Charles Malfroy himself settled in Martigues his studio, which was taken in the ÅZ[\ 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 Olive (1848-1936), a maritime landscape painter from Marseille, Charles Malfroy was much appreciated for his clear tones and his ability to deal with the Mediterranean light, subtly transposing on his palette the sky and the sea. From Le Havre \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 Société des Marbres et Bronzes Artistiques de Paris (the Paris Marbles and Artistic Bronzes Society) which was established since the middle of 19th century in Paris, on the Opera avenue and then at N.1, rue de la Paix. Managed by Charles de Marnyhac, the bronzefoundry company specialized production of luxurious pieces as well as casts from models made by the greatest sculptors of the time, such as Jean-Baptiste Clésinger (1814-1883), Amédée Charron (1847-1937) IVL -]OvVM ,M[XTuKPQV ! <PM 5IZVaPIK ÅZU _I[ I_IZLML I UMLIT I\ \PM =VQ^MZ[IT -`PQJQ\QWV IVL showed again their works at the Paris Universal Exhibition of 1900. The company closed down around 1910.

Louis-Auguste Marquis

Marquis Louis-Auguste (1811-1885) teamed up in 1839 with another bronze-caster named Gilbert Honoré Chaumont (1790-1868), already specialized in lightings. They were awarded at the Exhibition of Industrial Products a bronze medal with their Renaissance style candelabra, a clock and a large chandelier with branches supported by children and chimeras. At the 1844 Exhibition, they were awarded another bronze medal. It was at this time that Chaumont retired from business and Marquis entered the “Réunion des Fabricants de bronzes” in Paris. He then moved his store from 23 to 25 of the rue Chapon. Marquis showed then alone and successfully his bronze casts and chandeliers at the Exhibition of Industrial Products of 1849. Under the Second Empire, the Marquis company set at 66 Boulevard de Strasbourg. As a leading provider of royal and imperial palaces since the creation of the house by Chaumont, Marquis continued to receive the title “Manufacturer of furniture of the Crown”. He thus supplied various palaces with chandeliers, light-arms and andirons, made in the Gothic, Renaissance and Louis XIV styles.

Emilio Marsili (1841-1926)

Emilio Marsili, a Venitian sculptor who was the pupil of the renowned artist Ettore Ferrari (1844-1929) at the Fine Arts Academy in Venice. As many Italian artists of his time, he spent a while in Paris and Brussels. Marsili knew then increasing success with his portraits as well as his sculpted memorials. He participated in the 1880 Turin Fine Arts Exhibition, then in the 1881 Milano Exhibition, where he exposed his famous Vocazione, which was awarded a medal. Marsili also showed his beautiful work at the various art fairs of Vienna in 1882 and again in Turin in 1884, where he presented low-relief plaques (Music, Architecture, Sculpture) among further sculpted busts (Snow, Do ré mi fa). He drew much consideration with the busts of Victor Emmanuel II (1879) and Garibaldi (1885), made for the town of Pordenone, as well as with the monument dedicated to Paolo Sarpi (1892) at Campo Santa Fosca, in Venice. In his native city of Venice, he executed the low-reliefs set in the Piétà Church and also decorated the Franchetti Palace. In Paris, Marsili participated in the 1889 Universal Exhibition, where he won a bronze medal. He 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 over the world, from Paris to San Francisco. The greatest Italian modern art museums now show some of his works, such in Turin (The Pinafore dress, 1882), in Venice (Thought, Swallows), or at the Rome National Gallery of Modern Art with I JZWVbM ÅO]ZIT OZW]X 5I\MZVQ\a M`PQJQ\ML ÅZ[\ QV >MVQKM QV _Q\P ^MZa U]KP []KKM[[

242

Charles Stanislas Matifat (active since 1840)

Charles Stanislas Matifat studied under the direction of the silversmith Antoine Vechte. He then succeeded his father in 1840 at the head of the family business founded in 1820, whose workshops were located No. 9 Z]M LM TI 8MZTM QV 8IZQ[ +PIZTM[ 5I\QNI\ M`PQJQ\ML NWZ \PM Ă&#x2026;Z[\ \QUM QV PQ[ W_V VIUM I\ \PM 8IZQ[ -`PQJQ\QWV WN 1VL][\ZQIT 8ZWL]K\[ QV ! _PMZM \PM R]Za I_IZLML PQU I [QT^MZ UMLIT )\ \PM =VQ^MZ[IT -`PQJQ\QWV of 1851, taking place in the stunning Crystal Palace in London, Charles Matifat (No. 923 of the French section) presented among many pieces, this table entirely made of gilded bronze and a large Louis XIV style chandelier commissioned by the king of Holland, William III, to his palace in The Hague. His show widely commented by critics earned him a second class medal. In 1853, Matifat who already had premises in London, participated in the Exhibition of Industrial Arts in Dublin. He worked a lot for the English nobility, such as Lord Londesborough who commissioned bronze candelabra. At the London Universal Exhibition of 1862, Matifat presented a chandelier made for the Duchess of Sutherland. In addition to his small scale art production, Charles Matifat also produced monumental bronze works after the great French sculptors models. He cast in 1860 the statue of the Marquis Dupleix, sculpted by Theodore GruyĂ¨re, then in 1873 the statue of General Daumesnil, sculpted by Louis Rochet. The same year, he made two important casts: The Abruzzo Child after the plaster sent from Rome by AndrĂŠ-Joseph Allar and the Fountain of the Four Parts of the World created by JeanBaptiste Carpeaux and Emmanuel FrĂŠmiet 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 MĂ¨ne

8QMZZM 2]TM[ 5vVM _I[ JWZV QV 8IZQ[ QV 0M TMIZVML \PM Ă&#x2026;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, MĂ¨ne specialized in animal sculpture. Like Barye, he was committed into representing animals as accurately as XW[[QJTM IVL _MV\ ZMO]TIZTa \W \PM bWW \W _I\KP PQ[ []JRMK\[ 0M \WWS XIZ\ NWZ \PM Ă&#x2026;Z[\ \QUM QV \PM ÂŽ ;ITWV ÂŻ in 1938 et rapidly gained success. He kept showcasing et won many medals; in 1861, he was awarded the LĂŠgion dâ&#x20AC;&#x2122;honneur (Legion of Honour). In 1838, MĂ¨ne opened his own foundry at rue du Faubourg-du-Temple, Paris, to produce his models himself. Later on, he lead it with his son-in-law, the sculptor CaĂŻn. He produced there, from 1838 until JZWVbM [K]TX\]ZM[ WN I Ă&#x2026;VM Y]ITQ\a PIVLTQVO XMZ[WVITTa \PM KI[\QVO IVL \PM KPQ[MTTQVO 5vVMÂź[ _WZS Q[ QV[XQZML WN \PM ]VQ^MZ[M WN LWUM[\QK IVQUIT[ PWZ[M[ KW_[ J]TT[ [PMMX[ LWO[ I[ _MTT I[ _QTL WVM[ LMMZ[ RIO]IZ[ XIV\PMZ[ )TWVO _Q\P his success in France, MĂ¨ne became famous in Great Britain where he took part in exhibitions from 1851 until 1862. His works were particularly wanted by the English public and a large amount of his sculptures was exported across the Channel. )T\PW]OP PM _I[ ^MZa XWX]TIZ I\ \PQ[ \QUM 5vVM ZMKMQ^ML WVTa NM_ Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT WZLMZ[ )N\MZ PQ[ LMI\P UIVa WN PQ[ [K]TX\]ZM[ were produced by CaĂŻn and then by the Susse FrĂ¨res foundry, who acquired his models at the end of the 19th century, in 1894. Therefore these bronze sculptures bear the double signature of the artist and the caster. His works are showcased in U][M]U[ _WZTL_QLM IVL JM[QLM \PM 4W]^ZM \PM U][M]U[ WN 7`NWZL IVL 5MTJW]ZVM W_V [QOVQĂ&#x2026;KIV\ KWTTMK\QWV[

Mercier FrĂ¨res

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 Ă&#x2026;ZU PI[ JMMV UIQV\IQVML ]V\QT XZM[MV\ LIa[ )[ [WWV I[ \PM KWUXIVa JMKIUM 5MZKQMZ 8vZM M\ Ă&#x2026;T[ \PMV QV 5MZKQMZ Ă&#x2026;T[ I{Vu IVL Ă&#x2026;VITTa QV 5MZKQMZ .ZvZM[ still current name. Mercier was in 1855 supplier of the royal Court of Spain. His house quickly became well-known and participated from 1844 in all art exhibitions. At the French Industry Products Exhibition held in Paris in 1844, he was awarded an ÂŤ mention honorable Âť 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]â&#x20AC;ŤŮşâ&#x20AC;ŹM\ _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 his works very exceptionally (D. Ledoux-Lebard, Les ĂŠbĂŠnistes du XIXe siĂ¨cle, Les ĂŠditions de lâ&#x20AC;&#x2122;Amateur, Paris, 1984, pp. 478-9).

LĂŠon MessagĂŠ (1842-1901)

LĂŠon MessagĂŠ is ornemanist and designer. When drawing his ornaments, he related to the Rocaille asymmetry found in the sketchbooks of Nicolas Pineau or J. A. Meissonier, famous ornemanists of the Ă&#x2026;Z[\ XIZ\ WN \PM th century. But even though MessagĂŠ found inspiration with these artists, he didnâ&#x20AC;&#x2122;t simply copy their work and showed great originality, even extravagance, with some designs contained in "Cahier des dessins et croquis style Louis XV". He realized numerous sketches on gray paper before the execution of a reduced or life sized model of his ornaments, made of wax or Terra Cotta. From 1885, LĂŠon MessagĂŠ started working with important Parisian cabinet-makers such Joseph-Emmanuel Zwiener and FranĂ§ois Linke. FranĂ§ois Linke developed his personal style, with such talent and quality that he was named during the 1900 Universal Exhibition the "Linke Style". His tremendous success and his particular formal imagination came from his association with the designer LĂŠon MessagĂŠ. The U]\]IT QVĂ&#x2020;]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\ Ă&#x2026;Z[\ M`MK]\ML QV <MZZI +W\\I Ja 5M[[IOu 1\ was presented by Linke at the 1900 Universal Exhibition under the number 551.

243

The cabinet-maker Auguste MetgÃ© followed courses at the Ã&#x2030;cole des Beaux-Arts in Toulouse from 1899 until 1903, and won a scholarship from the Regional Council in order to continue his art studies in Paris, _PMZM PM Ã&#x2026;VITTa M`PQJQ\ML [K]TX\]ZM[ IVL XIQV\QVO[ I\ \PM ;ITWV LM[ .ZMVKP )Z\Q[\[ QV ! 0M \WWS IN\MZ the family entreprise, making seats and carved furniture in SorÃ¨ze (Southern France), and thanks to his education and talent, he gave a new impetus to the workshop, which quickly specialized in the artistic cabinet-making. Auguste MetgÃ© created furniture and ensure their perfect realization. While performing his own drawings, _WWL_WZSQVO IVL KIZ^QVO PQ[ _QNM UILM WV PMZ W_V \PM QVTIa _WZS IN\MZ PMZ P][JIVLÂ¼[ KWUXW[Q\QWV[ <PM Ã&#x2026;VMTa M`MK]\ML []JRMK\[ took their source in the SorÃ¨ze landscape. Marked by the Great War (1914-18), Auguste MetgÃ© withdrew gradually, responding to very few commands. His work include the bas-reliefs of the Memorials in SorÃ¨ze and Durfort, and a Christ for the Benedictine Abbey 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 LÂ¼0WVVM]Z .ZIVKMÂ¼[ PQOP\M[\ Wâ&#x20AC;«Ù»â&#x20AC;¬KQIT UIZS WN ZMKWOVQ\QWV

Maison Millet (active from 1853 until 1818)

<PM Ã&#x2026;ZU WN 5QTTM\ < _I[ NW]VLML QV 8IZQ[ QV ) ^MZa \ITMV\ML [XMKQITQ[\ QV th century reproductions, Millet produced furniture and artistic bronzes of the highest quality. He was one of the few cabinet-makers to obtain I]\PWZQ[I\QWV NZWU \PM +Pp\MI] LM >MZ[IQTTM[ \W UISM I ZMXTQKI WN 9]MMV 5IZQM )V\WQVM\\MÂ¼[ 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 views taken in the Milletâ&#x20AC;&#x2122;s workshop and his parisian shop, the stand held by him during the Saint-Louis Universal Exhibition of ! )UWVO 5QTTM\Â¼[ UI[\MZXQMKM[ \PMV M`XW[ML \PQ[ KPQUVMa LMKWZI\QWV Q[ \W JM [MMV <PM Ã&#x2026;ZU TI[\ML ]V\QT !

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

Martha Darlay Mutrie and Annie Ferray Mutrie were born in Manchester in 1824 and 1826. Both were pupils of Georges Wallis at the Royal Academy of Manchester. They specialized in still life paintings of Ã&#x2020;W_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. They also participated in numerous Universal Exhibitions, held such in Paris in 1867. Martha Darlay Mutrie was rewarded at the exhibitions of 1855 in Paris, 1876 in Philadelphia, 1879 in Sydney and 1880 in Melbourne.

Meynard

<PM ZMVW_VML Ã&#x2026;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, /]QTTI]UM 5I\PQM] \PM MTLM[\ KPQTL WN /]QTTI]UM 5MaVIZL RWQVML PQU 0Q[ NI\PMZ TMN\ PQ[ [WV ITWVM UIVIOQVO \PM NIUQTa W_VML J][QVM[[ NZWU /]QTTI]UM 5I\PQM] _I[ RWQVML Ja PQ[ [WV 4uWV /]QTTI]UM QV <PM Ã&#x2026;ZU was then called Meynard and Son. Under the same name, LÃ©on-Guillaume, then representing the third generation, took leadership from 1873 until 1889 when he sold his business to EugÃ¨ne Frager. After winning numerous awards at the Products of 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&#x2026;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 in 1860) at n.10 rue Cuissard. In 1855, Oudry is known for his cast vases and statuettes coated with pure KWXXMZ LMXW[Q\ML Ja MTMK\ZWXTI\QVO I XZWKM[[ _PW[M 8IZQ[QIV [QT^MZ[UQ\P +PIZTM[ +PZQ[\WÃ&#x2020;M PIL JW]OP\ \PM patents in 1839. Jean-Charles Alphand, director of public roads and walks in Paris under Napoleon III, ]VLMZ[\WWL \PM ILÎV\IOM WN \PQ[ [a[\MU NWZ \PM JMI]\QÃ&#x2026;KI\QWV IVL KWV[MZÎ\QWV WN UWV]UMV\IT NW]V\IQV[ IVL X]JTQK KIVLMTIJZI 7]LZa _I[ \PMV KWUUQ[[QWVML NWZ OITÎVQK XTI\QVO ITT KI[\ WJRMK\[ IVL UWV]UMV\[ WN \PM +Q\a WN Paris. The factory located in Auteuil becoming unsuitable, Oudry created thus a larger one at n.10 bis route de Versailles, welcoming an average of 150 workers. Participating in the famous Universal Exhibitions, Leopold Oudry won a 2nd class medal at the 1855 Paris World Fair. In 1861, he performed a real tour de force: the copper plating of the two monumental NW]V\IQV[ WV \PM +WVKWZLM [Y]IZM J]QT\ Ja 0Q\\WZâ&#x20AC;« Ùºâ&#x20AC;¬QV 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 (1805-1886)

Victor Paillard was one of the most distinguished bronze-casters in Paris during the second half of the 19th century. He was taught chasing by Guillaume DeniÃ¨re (1815-1903), then opened in the 1830â&#x20AC;&#x2122;s his own workshop making "Art bronzes and Furnishing bronzes", settled nÂ°105 boulevard Beaumarchais in Paris. 0M M`MK]\ML Ã&#x2026;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&#x2026;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 mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone for the exceptional quality of his 244

work. Appointed a Chevalier of the "LĂŠgion dâ&#x20AC;&#x2122;honneur" by the French Government, Paillard employed since the 1850â&#x20AC;&#x2122;s a hundred workers and proposed to his wealthy clients about four hundreds models, cast in bronze not only after famous [K]TX\WZ[Âź _WZS[ J]\ IT[W IN\MZ PQ[ W_V KZMI\QWV[ 1\ Q[ M[XMKQITTa QV\MZM[\QVO \PI\ PQ[ +PMZ]J Ă&#x2026;O]ZM[ []KP I[ \PW[M WVM[ presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the "happy and innocent moods of childhood".

Paris Porcelain (18th - 19th century)

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

Henri Pernot (1859-1937)

Henri Pernot born in Gent (Belgium) in 1859, was naturalized French. He studied sculpture at the Fine Arts School in Brussels. He was a renowned sculptor, well reguarded during his lifetime. He set up his workshop in Paris, participating with success as soon as 1895 at the famous Paris Salon of the French Artists (Salon des Artistes FranĂ§ais), where he was awarded a "mention honorable" in 1897 with "the Wolf Trap", then a third class medal in 1904. He steadily attended this Salon where he was a member since 1906. He won in 1909 a second class medal with "Coquettery". H. Pernot also supplied beautiful models to the porcelain manufacture of SĂ¨vres.

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\ Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML ÂšVI\]ZIT JIUJWW N]ZVQ\]ZM IVL KIVM [MI\[Âş IVL ITT SQVL[ WN \M`\QTM Ă&#x2026;\\QVO[ NWZ N]ZVQ\]ZM <PQ[ N]ZVQ\]ZM ][ML for winter gardens and terraces of mansions knew then a resounding success. They developped their business around 1884 with their Japanese style furniture, very close to that executed by Gabriel Viardot ! 1V \PM KWUXIVa IXXMIZQVO QV \PM KI\MOWZa WN Âš+PQVWQ[MZQM IVL 2IXWVMZQM[Âş Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML QV addition to furniture and seating creation, works of art and inlaid furniture directly imported from the Far East ; an activity that expanded rapidly. Their exotic fantasy furniture presented at the Universal Exhibition of Paris in 1889 and 1900, rewarded them two silver medals. In 1894, the company was listed under the name â&#x20AC;&#x153;Perret et Vibertâ&#x20AC;?, headed by the son of Alfred Perret and Ernest Vibert. The same year, they redesigned their store on rue du Quatre-Septembre, creating ten new show-rooms, showing complete furniture sets of Japanese and Chinese style inspiration. It was not until 1895, that \PM KWUXIVa _I[ Ă&#x2026;VITTa VIUML Âš4I 5IQ[WV LM[ *IUJW][Âş IVL WZOIVQbML \PMV QV \PMQZ [PWX[ IV ÂšM`PQJQ\QWV WN KW]V\Za furniture and seats for castles and villasâ&#x20AC;?, which was visited by Empress Eugenie to furnish her villa Cyrnos at Cap Martin. She actually was a regular customer of the â&#x20AC;&#x153;Maison des Bambousâ&#x20AC;? as she bought repeatedly furniture. In October of the same year, the king of Greece George I â&#x20AC;&#x153;chose a variety of these cute small woodcarved and decorated bamboo furniture and seatsâ&#x20AC;? as well as several bronze and porcelain pieces from Japan to garnish his Winter Palace near Athens. As for the American millionaire, Mr. Vanderbilt, he commissioned the Perret & Vibert house, to embellish the lobby and the OZMMVPW][M QV 6M_ AWZS I OZMI\ KWTTMK\QWV WN _PQ\M IVL OWTL TIKY]MZML Ă&#x2020;M`QJTM ZI\\IV [MI\[ IVL WJRMK\[ IZ\ WN 2IXIVM[M origin. â&#x20AC;&#x153;La Maison des Bambousâ&#x20AC;? which already had in 1910 a branch established 170 boulevard Haussmann, moved LMĂ&#x2026;VQ\MTa \PMZM Q\[ PMILY]IZ\MZ[ QV ! \W ZMUIQV ]V\QT Q\[ KTW[]ZM QV !!

Jacob Petit (1796-1865)

The famous French porcelain artist Jacob Petit (1796-1865) owned one of the most important and wellSVW_V XWZKMTIQV NIK\WZQM[ QV .ZIVKM JMKWUQVO WVM WN \PM UIRWZ XZWL]KMZ[ WN :WKWKW WZVIUMV\IT _IZM during the 1830s. He however didnâ&#x20AC;&#x2122;t attend to become a ceramist and began by studying painting under the painter Antoine-Jean Gros (1771-1835) and then travelled throughout Europe. England gave him a taste for ornamentation and back in France in 1830, he was quick to issue an interior design book including everything about furniture. Soon, he created a workshop at the SĂ¨vres 5IV]NIK\]ZM 2IKWJ 8M\Q\ VQKSVIUM KWUXW[ML WN PQ[ Ă&#x2026;Z[\ VIUM 2IKWJ 5IZLWKPu IVL PQ[ _QNMÂź[ NIUQTa VIUM [\IZ\ML I business in Belleville (Paris). He then bought in 1838 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, and retired in 1862 at Paradise-PoissonniĂ¨re street in Paris, giving his business to one of his workers named Jacquemain. Jacob Petit was imitated throughout Europe and his highly decorative porcelain was enormously popular in both England and France.

RaphaĂŤl Charles Peyre (1872-1949)

RaphaĂŤl Charles Peyre was born in Paris in 1872. He studied sculpture at the Ă&#x2030;cole des Beaux Arts in Paris with renowned sculptors Alexandre FalguiĂ¨re, Antonin MerciĂŠ and ThĂŠodore Barreau. He inherited the KTI[[QKIT ^WKIJ]TIZa \PMUM[ IVL MUW\QWVIT Ă&#x2026;O]ZM[ NZWU _PQKP MUMZOM[ OZIKM KWUJQVQVO Ă&#x2020;M`QJQTQ\a _Q\P VI\]ZITQ[\ [\ZMVO\P _PQKP UILM \P][ PQU I JZQTTQIV\ .ZMVKP [K]TX\WZ WN \PM Ă&#x2026;Z[\ PITN WN \PM th century. During his career, Peyre regularly presented his work at the Paris Salon des Artistes FranĂ§ais where he is 245

awarded several medals such at the 1902 and 1903 salons. He often worked with woman and childhood themes.

Henri Picard (active since 1831)

Henri Picard was established in Paris, 6 rue Jarente from 1831 to 1839 and then 10 rue de la Perle from 1840 to 1864. He worked on the Emperor Napoleon III’s apartments gilding at the Louvre Palace. His XZWL]K\QWV _I[ QV I ZQKP IVL ÅVM [\aTM TQSM I 2IXIVM[M [\aTM QVS_MTT WZ PQ[ 8WUXMQIV [\aTM LQVQVO \IJTM centerpieces.

Emile-Louis Picault (1833-1915)

Emile-Louis Picault, brilliant pupil of the Flemish sculptor Louis Royer (1793-1868), exhibited numerous sculptures at the French Artists Salon from 1863 to 1909. His allegorical, biblical and mythological subjects Perseus delivering Andromeda, Salon of 1880) are treated in a realistic style. Picault generally collaborated with the founders Colin, Houdebine and Susse, all three renowned NWZ \PM Y]ITQ\a WN \PMQZ KI[\[ 0M IT[W IKY]QZML IV QUXWZ\IV\ XWX]TIZQ\a NWZ PQ[ -OaX\QIV []JRMK\[ cast then by G. Servant. <PM 8QKI]T\¼[ 2IXIVM[M [\aTM []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\ only to Queen Marie-Antoinette of France but also to the King of Poland, Stanislas Auguste. During the IZ\Q[\¼[ RW]ZVMa QV >QMVVI PQ[ TIVL[KIXM[ _MZM QV OZMI\ LMUIVL Ja \PM 8ZQVKM WN 4QMKP\MV[\MQV IVL IT[W 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 makers, tapestry weavers, and particularly in his old age, for the Manufacture de Soie et des Indiennes in Lyon, where he ended his distinguished career.

Georges et Constantin Potheau (Late 19thcentury)

Georges and Constantin Potheau took over the cabinet-making company led by Charmois and Lemarinier, and installed their workshops at the n° 21, rue du Faubourg-Saint-Antoine in Paris. "Potheau Brothers" _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 dynasty of ciseleurs (chiselors). Active from 1765 to 1775, he was a member of Académie de Saint-Luc at the time of its dissolution in 1776. He was known as an «ornament sculptor, modeleur and ciseleur». In 1777, he lived at Faubourg Saint-Denis. He was chosen to execute the ormolu ornamentation for the coach of King Louis XVI coronation.

Gustave-Frédéric Quignon, born in 1843.

He worked with his father Napoléon Quignon, boulevard Richard-Lenoir. He took the lead in 1874 and M`XIVLML \PM XZWL]K\QWV WN \PM ÅZU _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 \PM =VQ^MZ[IT -`PQJQ\QWV QV IVL _WV I OWTL UMLIT 0M _I[ I UMUJMZ WN \PM R]Za I\ \PM =VQ^MZ[IT -`PQJQ\QWV QV ! HM relocated the [IUM aMIZ \PM ÅZU 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 International Exhibition of Chicago in 1893. He won the Grand Prix for his stand at the Universal Exhibition of 1900.

Paul-François Quinsac

Paul François Quinsac (1858-1929), born in Bordeaux in 1858, became a student of the famous painter Jean-Léon Gérôme (1824-1904) and started at the Salon of the French Artists in 1880. In 1884 he received an honorable mention, and was in 1887 appointed member of the Society of the French artists. With 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 ZMÅVML M`W\QK KW]V\Za 0Q[ \ZILQ\QWVITQ[\ [\aTM ITUW[\ IKILMUQK _I[ \PMV ^MZa U]KP QV ^WO]M I\ the time. During his career in Paris (he lived in Montmartre in the years 1880 to 1886), he worked as an illustrator for the “Courrier-Français” newspaper. Called “the painter of elegance”, he won a third-class medal and a travel scholarship at the Paris Universal Exhibition of 1889. In 1903, crowned with glory, he was awarded “Chevalier de la Légion d’honneur”, .ZIVKM¼[ PQOPM[\ W‫ٻ‬KQIT UIZS WN ZMKWOVQ\QWV 1V *WZLMI]` 8 9]QV[IK XZWL]KML V]UMZW][ LM[QOV[ NWZ \PM 8ZuNMK\]ZM \PM 246

Caisse d’épargne, the Château Bourran in Mérignac, as well as for the library of bibliophile Henri Bordes (The Apotheosis of Gutenberg, 1894) which was relocated on the ceiling of the Grand-Theatre smoking room. Quinsac formed a considerable number of artists in Bordeaux. He died in Bordeaux in 1929.

/QIKWUW :I‫ٺ‬IMTTQ (1743-1836)

Was probably the most talented mosaicist in Rome during the last quarter of the eighteenth and the beginning WN \PM VQVM\MMV\P KMV\]Za 0M _I[ WVM WN \PM ÅZ[\ QN VW\ \PM ÅZ[\ \W PI^M _WZSML QV ¹UW[IQKW QV XQKKWTWº 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[ technique, and worked not only for the papacy but also for foreign courts, like that of Stanislaus Poniatowski in Poland. He was invited to Russia by the imperial government but refused, accepting instead an invitation to the Milanese court of Napoleon, where his technical mastery was particularly appreciated. He produced there one of his masterpieces \PM UW[IQK U]ZIT KWXa WN 4MWVIZLW¼[ 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

The company Raingo Frères, founded in Paris in 1813, installed their workshops around 1830 at n°8 Touraine ;\ZMM\ \PMV I\ V >QMQTTM L] <MUXTM ;\ZMM\ <PM NW]Z :IQVOW JZW\PMZ[ ÅZ[\ SVW_V I[ KTWKSUISMZ[ added to their 1841 sale catalog some art bronze works as well as decorative bronze pieces. In 1860, they supplied the palaces of the Emperor Napoleon III. First specialized in Antique statues reproductions, they cast then models sculpted by contemporary artists such James Pradier (1790-1852), Albert Carrier-Belleuse (1824-1887) et Auguste Moreau (1834-1917).

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

On the retirement of William Henry Kerr (1823 – 1879) in 1862, The Worcester Royal Porcelain Company 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. Royal Worcester kept pace with public demand for novelty in design with the development of a wide range WN VM_ UI\MZQIT[ IVL OTIbM[ QVKT]LQVO OTIbML IVL ]VOTIbML 8IZQIV MIZ\PMV_IZM UIRWTQKI IVL JWVM KPQVI <PM ÅZU KWVKMV\ZI\ML WV \PM XZWL]K\QWV WN ÅO]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, Renaissance and Classical Greek. The Aesthetic Movement – In the 1860’s, after 100 years of isolation the Japanese started to trade again with Europe. In 1872 His Excellency Sionii Tomomi Iwakura, Junior Prime Minister of Japan, visited Royal Worcester and saw Japanese style wares being made for display in Vienna the following year. Japanese bronzes, ivories and prints, purchased by R.W. Binns in Europe, inspired the Worcester craftsmen who did not slavishly copy, but adapted ideas for the English market. The Royal Porcelain Manufactory of Berlin (19th century) The Royal Porcelain Manufactory of Berlin (German: Königliche Porzellan-Manufaktur Berlin, abbreviated KPM) was founded in 1763 by Frederick II of Prussia (1712-1786) to meet his desire to compete with factories of Dresden, Meissen and Sèvres in France. His troops occupied Meissen and Saxony during the Seven Years’ War, where famous manufactures had secrets which were highly coveted in Europe. The King of Prussia acquired the company to the brink of bankruptcy in 1763 and gave it therefore a new impetus.

Rousseau brothers

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

Charles Rudhardt (1829-1895)

Charles Rudhardt, born 1829 in Geneva, dead 1895 in Paris, was a great ceramist of the 19th century, as well as a talented painter. He settled in Paris in 1862, founded a workshop and presented at the Paris Universal Exhibition of 1867 some earthenware imitating the "old Rouen" and "Urbino" decors. He is also mentioned as a painter producing at the famous earthenware Loebnitz manufacture. +P :]LPIZL\ \PMV _WZSML QV 4WVO_a I NIUW][ XTIKM NWZ ÅVM LMKWZI\Q^M MIZ\PMV_IZM _PMZM PM VW\ WVTa produced prestigious pieces in collaboration with renowned artists such as the painter Eugène Carrière (1849-1906), but also executed his own creations. His signature is however relatively rare in Longwy, dating between 1882 and 1893, therefore a very brief period revealing his interesting work. Rudhardt achieved landscapes and portraits sometimes in addition of 247

Ă&#x2020;W_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 mark. FrĂŠdĂŠric-Jules Rudolphi (1808-1872) FrĂŠdĂŠric-Jules Rudolphi (1808-1872) ranks alongside FranĂ§ois-DĂŠsirĂŠ Froment-Meurice (1802-1855) and Jules WiĂ¨se (1819-1890) as one of the outstanding representatives of the goldsmithâ&#x20AC;&#x2122;s craft of French Romantic Historicism, which had been techinically and stylistically shaped by Charles Wagner (1799-1842) and Jacques-Henry Fauconnier (1776-1839) during the 1820s and 30s. Born in Copenhagen in 1808, Rudolphi worked under and collaborated with Charles Wagner. On the latterâ&#x20AC;&#x2122;s death in 1842, Rudolphi continued his workshop and in 1849 participated in Paris industrial exhibitions, initially under Wagnerâ&#x20AC;&#x2122;s name, but then under his own. At the same time he also collaborated with modellers, goldsmiths and MVOZI^MZ[ []KP I[ )LWTXPM >QK\WZ /MWâ&#x20AC;ŤŮşâ&#x20AC;ŹZWa ,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 Ă&#x2026;O]ZIT _WZS[ admired by his contemporaries for the excellence of its design and execution, Rudolphi adopted the motifs of the NeoGothic and Neo-Renaissance and combined these with elements of the so-called â&#x20AC;&#x2DC;Second Rococoâ&#x20AC;&#x2122; period.

Marius Joseph SaĂŻn (1877-1961)

Marius Joseph SaĂŻn, born 1877 near Avignon, dead 1961, studied sculpture at the Ă&#x2030;cole des Beaux-Arts in Avignon and Marseille. He was awarded there several medals and awards. Following the death of his parents in 1901, for whom he raised a monument to their memory (Montfavet cemetery, Vaucluse), he came to Paris in 1902 and moved rue de Seine. He successfully passed the exam to integrate the prestigious Paris Ă&#x2030;cole 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 Ă&#x2026;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 the famous Paris salon of the Society of French Artists, where he exhibited A la recherche des crabes, a work which gained him an honorable mention and acquired by the Baron Rothschild for the Grenoble Fine Arts Museum. In 1910, Marius SaĂŻn 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 SaĂŻn received the prize of the Society of navigation, awarded by the Colonial Society of French artists, and won the prize of French Equatorial Africa. In 1924, he exhibited at the Salon of the Colonial Society the two plaster models of an Arab girl and a young shepherd presented here. In 1926 SaĂŻn was awarded the Order of the Legion of Honor and exhibited at the Salon of the Society of French Artists until 1935.

Cristallerie St.Louis (since the 16th Century)

Q[ \PM WTLM[\ UIV]NIK\]ZMZ WN +Za[\IT QV -]ZWXM [QVKM I Ă&#x2026;Z[\ OTI[[_WZS NIK\WZa _I[ M[\IJTQ[PML QV QV MĂźnzthal, Valley of the Monks (current region of Lorraine). The Thirty Years War (1618-1648) caused havoc in the region and the glassware factory ceased operations in mid-seventeenth century. On 17 February 1767, King Louis XV authorized a decree of the State Council the recovery of the old industry. She held the title of royal glassware factory and was under the patronage of Saint Louis, in memory of King Louis IX. Fifteen years later, FranĂ§ois Beaufort developed the formula of the crystal there. Renamed Cristallerie royale de Saint-Louis, the manufacture as then directed by the Lassalle, before being sold in 1788 to \PM JIZWV +Wx\TW[Y]M\ 1V \PM VM_ ^MZZMZQM[ ZWaITM[ LM ;IQV\ 4W]Q[ _MZM IUWVO \PM Ă&#x2026;Z[\ WV \PM KWV\QVMV\ \W XZWL]KM crystal, that was previously the monopoly of England since its invention in 1627 in Newcastle and that Sebastien Zoude (1707-1779) produced in Namur since 1761. At the beginning of the 19th century, a director of St. Louis, AimĂŠ-Gabriel dâ&#x20AC;&#x2122;Artigues (1773-1848) rebuilt, restored production facilities and refocused production on crystal making. The manufacture employed in 1810 more than 650 workers and was then the biggest crystal factory of continental Europe. In 1829, it was renamed the Compagnie des Cristalleries de Saint Louis. Often put in competition with the Baccarat manufacture, St.Louis NIK\WZa \PMV XZM[MV\ML Q\[ Ă&#x2026;VM[\ KZMI\QWV[ \W \PM NIUW][ =VQ^MZ[IT -`PQJQ\QWV[ _PMZM Q\ MIZVML V]UMZW][ I_IZL[

EdmĂŠ Samson (1810-1891)

EdmĂŠ Samson, painter on ceramics established 1845 at nÂ°7 rue in Paris, bought his white porcelain pieces, in other words undecorated porcelains from various Paris manufactures. His son, Emile (1837-1913) who succeeded him, began to make reproductions from older models. Exhibiting at the 1863 Exposition of the Ă&#x2026;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 great success at the Paris International Exhibition of 1867 with their imitations of Saxony, China and 2IXIV XWZKMTIQV XQMKM[ ITT KWV[QLMZML WN ^MZa Ă&#x2026;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 wellknown museums, such as the Louvre Museum in Paris and the Victoria & Albert Museum in London. In 1891, Emile _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 factory, employing a large number of workers and decorators. In addition to the manufacturing of porcelain, they also made their own bronze decorative mounts used on the pieces.

248

Jean-Baptiste-Claude SĂŠnĂŠ (1748-1803)

Jean-Baptiste-Claude SĂŠnĂŠ member of a family of carpenters and cabinetmakers, was received as a mastercarpenter in 1769. In 1785, Queen Marie-Antoinette bought Saint-Cloud Castle from the Duke of OrlĂŠans. )\ Ă&#x2026;Z[\ Q\ _I[ Y]QKSTa N]ZVQ[PML _Q\P [QUXTM N]ZVQ\]ZM WZ \ISMV NZWU W\PMZ ZM[QLMVKM[ <PMV \PM /IZLM Meuble de la Couronne (Crown Furniture Repository) ordered the making of seats made of high standard 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 This command was made under the direction of the Quarter general master of the Crown Furniture Repository and of the Minister of Finance in order to refurnish the royal residences. To do this, they assigned to this task carpenters like Georges Jacob, Jean-BaptisteBoulard and Jean-Baptiste-Claude SĂŠnĂŠ, whom for the last one became one of the leading suppliers of the Royal Furniture Repository, making then the most beautiful Louis XVI style furniture, as evidenced by the bed he made for Queen Marie-Antoinette at Fontainebleau and King Louis XVIâ&#x20AC;&#x2122;s bed at Saint-Cloud.

Georges Emile Henri Servant (1828-c. 1890)

Georges Emile Henri Servant, who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860â&#x20AC;&#x2122;s, IVL IT[W \PM UISQVO WN /ZMMS [\aTM LMKWZI\Q^M WJRMK\[ 0M LZM_ KWV[QLMZIJTM I\\MV\QWV \W \PM PQOP Y]ITQ\a of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek works, among which was exposed this "vase of Bacchus". Jules Mensard explains in his report of the exhibition (Les Merveilles de lâ&#x20AC;&#x2122;Exposition Universelle de 1867, t. II, pÂ° 165 & 167): "The general shape and the details (of the piece) reach perfection in character and taste, and bear the same stamp as the best works left to us by antiquity, notably those from Pompeii, which was Roman, although many of the vases found there were of pure Greek style... This vase of Bacchus is made entirely of bronze". Servant _I[ M^MV I_IZLML QV \PM 7ZLZM VI\QWVIT LM TI 4uOQWV LÂź0WVVM]Z .ZIVKMÂź[ PQOPM[\ Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT UIZS WN ZMKWOVQ\QWV Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and [UITT JZWVbM XQMKM[ WN N]ZVQ\]ZM J]\ _I[ IT[W I UMUJMZ WN \PM R]Za NWZ \PM KTI[[ WN JZWVbM XQMKM[ WN IZ\ 0M Ă&#x2026;VITTa ZM\QZML shortly before the 1889 Paris Universal Exhibition.

Louis-Constant SĂŠvin (1821-1888)

4W]Q[ +WV[\IV\ ;u^QV _I[ IXXZMV\QKML \W \PM XIZQ[QIV [K]TX\WZ 5IZVM]N 1V ! PM RWQVML \PM [K]TX\WZ UWLMTWZ[ 8PuVQ` IVL 2WaI] I[ LM[QOVMZ IVL LM[QOVML [QT^MZ [UQ\PÂź[ WJRMK\[ NWZ NIUW][ Ă&#x2026;ZU[ TQSM ,MVQvZM .ZWUMV\ 5M]ZQKM 5WZMT IVL ,]XWVKPMT ,]ZQVO \PM :M^WT]\QWV QV + ;u^QV RWQVML 5WZMT QV 4WVLWV as workshop manager and designed pieces that Morel exhibited in 1851. Back in France in 1851, C. SĂŠvin went to Limoges and designed models for the porcelain factories of Jouhanneaud and Dubois of which many pieces were exhibited at the Universal Exhibition in 1855. From this date on, he worked for Ferdinand Barbedienne as sculptor-ornemanist until the end of his life. SĂŠvinâ&#x20AC;&#x2122;s works are considerable, he designed furniture bronzes for the "hĂ´tel de La PaĂŻva". At the London Exhibition in 1862, he was awarded a medal "pour lâ&#x20AC;&#x2122;excellence artistique des meubles quâ&#x20AC;&#x2122;il a dessinĂŠs et qui sont exposĂŠs par Barbedienne": for the artistic excellence of the furniture he designed and which is exhibited by F. Barbedienne. He won a second class medal at the Union centrale des Arts dĂŠcoratifs Exhibition in 1863 and was awarded a gold medal as "cooperator". F. Barbedienne said that posterity would remember SĂŠvinâ&#x20AC;&#x2122;s compositions. The most 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. SĂŠvin won a gold medal as well as was awarded the LĂŠgion of Honour at the Universal Exhibition in 1878. His triumph was still valid at the 1889 Universal Exhibition.

The SĂ¨vres Manufacture (active since 1738)

<PM ;v^ZM[ NIK\WZa WN [WN\ XI[\M XWZKMTIQV _I[ KZMI\ML IJW]\ I\ >QVKMVVM[ Ja JIVSMZ[ IVL Ă&#x2026;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 SĂ¨vres, closer to Versailles and the chĂ˘teau de Bellevue, acquired by the Marquise de Pompadour. The Marquise took a personal interest in SĂ¨vres activities, and encouraged production. In 1759, Louis XV bought out the other shareholders and SĂ¨vres became the exclusive property of the France Crown. From then, the manufactury mark was a symmetrically crossed Ls (the royal monogram) together with a letter indicating the year. The period between 1756 to 1779 represents the most successful and prosperous years for the factory. Louis XV, ordered large services for diplomatic and royal presents. The foremost artists, like the painters Boucher or Bachelier, the sculptors Falconet or Boizot, worked for SĂ¨vres, creating models. Experimentation in order to discover the hard-paste porcelain technic continued, and was discovered after 1769. The factory produced with success both soft-paste and hard-paste porcelain. In these years the most famous ground colours were invented: the dark blue (bleu lapis) about 1752, the turquoise blue (bleu cĂŠleste) in 1753, the applegreen in 1756, the famous rose in 1757, and the kingâ&#x20AC;&#x2122;s blue in 1763. These remarkable pieces were usually painted with scenes form engraving by famous XIQV\MZ[ .ZIVtWQ[ *W]KPMZ WZ WZVMUMV\ITQ[\[ _Q\P OIZTIVL[ JI[SM\[ WN Ă&#x2020;W_MZ[ IVL \ZWXPQM[ <PM XZWL]K\QWV QVKT]LML sculptures ("lâ&#x20AC;&#x2122;Amour menaĂ§ant" by Falconet), large services (the service for Rambouillet was delivered to Marie-Antoinette 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\[ XZWL]K\QWV XWX]TIZ ,IO]MZZM _I[ \PM Ă&#x2026;Z[\ \W LMKWZI\M N]ZVQ\]ZM _Q\P XWZKMTIQV WVM WN \PM UW[\ [\ZQSQVO innovations of the century and one of the most admired today. 249

Paul Sormani (1817-1877)

8I]T ;WZUIVQ JWZV QV 1\ITa QV LMIL QV [XMKQITQbML I\ ÅZ[\ QV \PM UISQVO WN [UITT N]ZVQ\]ZM 0M installed 1854 his workshops at the n°114 rue du Temple in Paris. The Sormani company knew then a great success and was much in favour with the Imperial Family as well as with the Paris high society. Empress Eugénie, who admired Queen Marie-Antoinette and the style at her time, furnished her palaces in the Louis XVI style, with some Sormani’s creations. Presenting his work at all important fairs, such the 1849 Exposition of the Industrial Products or the Universal Exhibitions from 1855 until 1867, Sormani was then honored by 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 Exhibition, Sormani enlarged and transfered his workshops to the n°10 rue Charlot. When Paul Sormani died (circa 1877), his wife and son took over the business and from this date onwards pieces are normally signed "Veuve Sormani & Fils à Paris".

Arthur Strasser (1854-1927)

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

Susse (19th century)

Susse Company awarded medals several times at the famous Paris "Expositions des Produits de l’Industrie", Susse Frères (Brothers), Victor (1806-1860) and Amédée (1808- 1880), were known since 1841 as makers of "Art bronze pieces for clocks, candelabras, statuettes, etc". Installed Place de la Bourse in Paris, they also XZM[MV\ML I\ \PM [MKWVL [\WZIOM WN \PMQZ T]`]ZQW][ [PWX ÅVM 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 ÅZ[\ PITN WN \PM !th century The most wellknown French sculptors gave their sculpted models to Susse in order to cast them, such Pradier who signed in 1841 the oldest known publishing contract for bronzes between a publisher and an artist. After the death of the two brothers, Albert Susse took over the business from 1880 until 1922.

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 cellarets as well as in luxurious small furniture registered under the « tabletterie » category. Thanks to him, \PM <IPIV +WUXIVa SVM_ U]KP []KKM[[ IVL JMKIUM WVM WN \PM UW[\ NIUW][ ÅZU[ QV 8IZQ[ <PMa [M\\TML rue de la Paix, from 1849 until 1866, then boulevard des Italiens, both fancy Parisian addresses under the Second Empire in the new built Opera district. Tahan became also very quickly one of the favourite providers of Emperor Napoléon III and Empress Eugénie. He delivered to the imperial palaces numerous tables, vitrines, KMTTIZM\[ IVL N]Z\PMZ ÅVM LMKWZI\Q^M WJRMK\[ 1V W\PMZ _WZL[ PM _I[ LMÅVQ\Q^MTa \PM OZMI\ [XMKQITQ[\ WN XZMKQW][ IVL PQOPTa [MTMK\ML WJRMK\[ <PM <IPIV PW][M XIZ\QKQXI\ML QV ^IZQW][ =VQ^MZ[IT -`PQJQ\QWV[ _PMZM \PMa _MZM [\MILQTa I_IZLML UMLIT[" a silver medal in 1849, another one in London in 1852 and the gold medal in Paris in 1867.

Pierre-Philippe Thomire (1751-1843)

Pierre-Philippe Thomire was considered as one of the most talented bronze-chaser under the First Empire. He studied chasing with the renowned Pierre Gouthière (1732-1813) and installe then in 1776 his Paris workshop, where all the famous cabinet-makers and the Sèvres Manufacture went into, to embellish their W_V XZWL]K\QWV <PWUQZM _I[ UIVa \QUM KWUUQ[[QWVML \W WZVI\M _Q\P TQOP\ Å\\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, Ua\PWTWOQKIT IVL PQ[\WZQKIT []JRMK\[ IVL QTT][\ZI\QWV ;WV WN I NI\PMZ IZKPQ\MK\ IVL MVOZI^MZ IVL I UW\PMZ 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[ ÅZ[\ WQT[ WV KIV^I[ I\ \PM Parisian Salon in 1867, and then won the Prix de Rome in 1871. He was many times awarded by medals at the Salon des Artistes français (1871, 1877) and at the Universal Exhibition in 1889 (Silver Medal). As one of the most famous decoration painter of the time, he obtained many private and public orders : the Ball Room of the Vanderbilt Mansion in New York; the ceiling and decorations of the Foyer of the Opéra Comique (Paris); models for a set of ten 250

Gobelinsâ&#x20AC;&#x2122; Tapestries destined to the Britain Parliament in Rennes; a large fresco for the Sorbonne University in Parisâ&#x20AC;Ś

Armand Toussaint (1806-1862)

Armand Toussaint (1806-1862) who was son of a Paris locksmith, trained with him before entering the Paris Fine Arts School in 1827. He followed the sculpture teachings of David dâ&#x20AC;&#x2122;Angers (1788-1856) and _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 Ă&#x2026;Z[\ \QUM I\ \PM ;ITWV WN Ja XZM[MV\QVO ) aW]VO .IZUMZ Ă&#x2026;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 Ă&#x2026;O]ZM[ []KP QV ! I\ \PM 8vZM 4IKPIQ[M KQUM\MZa NWZ \PM .WZM[\QMZÂź[ \WUJ _Q\P ) [MI\ML aW]VO ?WUIV <PM NWTTW_QVO aMIZ PM XIZ\QKQXI\ML QV \PM XZWRMK\ of the Dampierre Castle by making for the Duke of Luynes the sculpted decor of the main staircase and the Four Seasons drawing room. At the Salon of 1847, he exhibited the Indian Slave holding a torch and the Indian Slave maid holding I \WZKP 7V .MJZ]IZa \PM .ZMVKP 0WUM 7â&#x20AC;ŤŮťâ&#x20AC;ŹKM 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 Toussaintâ&#x20AC;&#x2122;s works, such the medallion Laissez venir Ă moi les petits Enfants, made in four sizes. In 1851, it made thus Law, Justice and Two seated Children for the clock of the Justice Palace in Paris. He executed several statues for the west front of Our-Lady Cathedral in Paris (St Marcel, St Peter, St Etienne, St Martin). In 1852 Toussaint was awarded the Cross of the Legion of Honor. In 1854 he made one of his greatest commands: the pediment of the newly built St. Clotilde Church in Paris, representing Christ surrounded by two angels bearing the instruments of the Passion. Also portraitist, Armand Toussaint sculpted a bust of David dâ&#x20AC;&#x2122;Angers in 1861 (exhibited in the David dâ&#x20AC;&#x2122;Angers museum, Angers) and a statue of Dr. Esquirol (1860, Charenton Hospital).

Willem Jan van den Berghe (1823-1901)

Willem Jan van den Berghe, born in 1823 in The Hague, Holland, became known as a painter of genre []JRMK\[ IVL TIVL[KIXM[ IVQUI\ML _Q\P Ă&#x2026;O]ZM[ 0M XIZ\QKQXI\ML QV \PM M`PQJQ\QWV PMTL QV )U[\MZLIU

Georges van der Straeten (1856-1928)

Georges van der Straeten, born in Ghent (Belgium) in 1856, dead 1928 in Paris, began his sculptor career in 1882, after having trained as a lawyer. He studied sculpture in Belgium under G. Kasteleyn and Jef Lambeaux, and left then Ghent for Paris, where he lived from 1883 until 1928. He met there a group of Belgian artists and was in particular very close to the painters Jan Van Beers and Rik Wouters. Straeten exhibited regularly his works at the Salon. He took inspiration from Antoine Watteauâ&#x20AC;&#x2122;s paintings to realize his numerous busts, made with elegant gestures and full of lively charm.

Joseph van Severdonck (1819-1905)

Joseph van Severdonck was a Belgian painter. He studied painting under Baron Wappers (1803-1874) from )V^MZ[ 0M [XMKQITQbML QV PQ[\WZQKIT IVL UQTQ\IZa XIQV\QVO[ QVKT]LQVO IVQUIT[ _PI\ IT[W KTI[[QĂ&#x2026;ML 2 ^IV Severdonck among animal painters. He also painted classic style allegories. He became professor at the Royal Academy of Brussels and had many pupils, among them, Walter Shaw Sparrow, whom considered him a "noted character" and wrote of him in his memoirs. J. van Severdonck is considered to be one of the last representative painter of the Rubens School. He also became the appointed professor to Queen Marie Henriette, wife of King Leopold II of Belgium.

Valentine Porcelain

The Valentine factory was a porcelain factory founded in 1832, following the discovery of a vein of kaolin in the central Pyrenees, at Saint -Gaudens. It was the only porcelain factory located in the south of France. Driven by political troubles, former porcelain makers of Moustiers-Sainte-Marie, founded in the early nineteenth century a factory in Toulouse. By 1820, this factory named â&#x20AC;&#x153;Fouque and Arnoux, earthenware manufacturers, Place Saint-Sernin in Toulouseâ&#x20AC;?, with seventy workers, installed a second factory in Saint/I]LMV[ WV \PM JIVS[ WN \PM ZQ^MZ /IZWVVM _PMZM \PM \_W NIK\WZQM[ Ă&#x2026;VITTa KWV[WTQLI\ML QV <PM NIK\WZa MUXTWaQVO up to 250 workers in the 1850s, was facing the Valentine hill, from where the 6 ovens of the factory were refuelling with wood, and which gave then its name to the porcelain wares. These â&#x20AC;&#x153;Valentine porcelain waresâ&#x20AC;?, produced until 1878 in Saint-Gaudens, were made in pure white and milky hard-paste, with very bright enamel, and whose famous â&#x20AC;?Valentine *T]MÂş ^I[M[ _MZM KWTWZML _Q\P KWJIT\ JT]M <PM LMKWZ _I[ WN\MV MVZQKPML _Q\P Ă&#x2020;WZIT JW]Y]M\[ IVL OWTL TQVM[ XIQV\ML WV enamel.

Emilio Vasarri (1862-1928)

Emilio Vasarri born in Montevarchi, in the province of Arezzo, in Tuscany, studied painting at the Academy of Fine Arts in Florence. Talented drawer and brilliant colourist, he regularly exhibited from 1878, both in Rome and Palermo, works full of meticulous details. He came to Paris in the late 19th century, where he participated in the Salon of French Artists. At the 1900 Universal Exhibition, Emilio Vasarri was awarded 251

a bronze medal, then a mention honorable at the 1904 Salon. As Jean-LĂŠon GĂŠrĂ´me (1824-1904) and Ernest Meissonier (1815-1891), Emilio Vasarri specialized in genre scenes, referring to the ancient Greco-Roman period. Keen on detail and XQK\]ZM[Y]M PM XIQV\ML _Q\P []KP I XZWLQOQW][ \ITMV\ \PM ^IZQW][ KWTWZML NIJZQK[ IVL UI\KPQVO RM_MTZa AndrĂŠ CĂŠsar Vermare (1869-1949) AndrĂŠ CĂŠsar Vermare (son of sculptor AndrĂŠ Vermare) grew up in a French and Italian renaissance admiration. He studies sculpture at the Lyon Ă&#x2030;cole 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 Ă&#x2026;VLQVO \PM JWLa WN Abel". This sculpted group, "triangular and compact, in a clay and smoke recently born world decor", is still displayed at the Paris Ă&#x2030;cole 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,â&#x20AC;Ś He became especially renowned for his light decorations of high quality.

Gabriel Viardot (1830-1906) Gabriel Viardot career began as a wood carver and he produced small furniture, sculpturally carved with VI\]ZITQ[\QK UW\QN[ IVL IVQUIT[ 1V \PM -`XW[Q\QWV =VQ^MZ[MTTM QV 8IZQ[ PQ[ Ă&#x2026;VMTa [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 succeded to his father's business in 1861 installed rue Rambuteau in Paris. Around 1870 he turned to the idea of producing "Meubles genre Chinois et Japonais". The taste in Europe for exotic furniture, incorporating sometimes authentic Chinese or Japanese WJRMK\[ _I[ _MTT M[\IJTQ[PML *]\ >QIZLW\ MIZTa LM[QOVML PQ[ W_V UWLMT[ MVZQKPML _Q\P Q^WZa UW\PMZ WN XMIZT IVL JMI]\QN]T gilt-bronze mounts. After having won four medals at the Paris Universal Exhibition of 1867, Viardot was awarded a silver medal at the 1878 Universal Exhibition in Paris. He was also awarded gold medals several times: Universal Exhibitions in Anvers (Belgium) in 1884, and again in Paris in 1889 and 1900. A contemporary commentator notes that he had a workshop employing approximately 100 men, both sculptors and cabinet-makers with another 25 to 30 outside contract _WZSMZ[ T -[KITQMZ LM +ZQ[\IT \PM NIUW][ 8IZQ[QIV Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZQVO T]`]Z]W][ N]ZVQ\]ZM OW\ \PM M`KT][Q^Q\a \W ][M \PMQZ W_V [\IUX on six Viardotâ&#x20AC;&#x2122;s furniture models.

Emmanuel Villanis (1858-1914)

The sculptor Emmanuel Villanis was born on 12 December 1858 in Lille, from Italian parents. In March 1861, the Italian Kingdom was proclaimed and the Villanis settled back in their country, in the Piemont region. From 1871 to 1880, Emmanuel Villanis studied at the Albertina Fine Arts Academy in Turin, ]VLMZ \PM LQZMK\QWV WN \PM ZMVW_VML [K]TX\WZ 7LWIZLW <IJIKKPQ ! )[ [WWV I[ PM Ă&#x2026;VQ[PML PQ[ studies, E. Villanis exposed in various Italian cities, such with Alda, a bust exhibited in Milano in 1881. In 1885, Villanis returned to France, living and working in Montmartre, where he stayed untill his death in 1914. From 1886 until 1910, he participated eleven times in the famous Paris Salon des Artistes FranĂ§ais, where he was awarded the Mention Honorable in 1892 for two plaster sculptures. Among his seventeen sculpted works shown there: NĂŠrina (1887 Salon); GaltĂŠe (1894 Salon); Mignon (1896 Salon) and Judith (1898 Salon). E. Villanis also participated in numerous Universal Exhibitions, such the the 1889 Paris Universal Exhibition, where he won the Mention Honorable for La SouriciĂ¨re. He sent to the 1893 Chicago Paris Universal Exhibition two busts named Europe and Orient.

Lina de Weiler (1823-c.1880)

Lina de Weiler (or von Weiler), born in Mannheim in 1823, in the dukedom of Bade (Germany) came to France in order to study painting at the Parisian School of Fine Arts, under the direction of the famous portrait painter LĂŠon Cogniet (1794-1880). There she met Edmond Lebel (1834-1908) who was soon to be noticed for his Italian scenes. In 1857 Lina de Weiler exhibited a full length portrait of sir William Forbes at the Living Artists Salon which took place in the Palace of Industry on the Champs-ElysĂŠes. With increasing 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\[ of Lina de Weilerâ&#x20AC;&#x2122;s paintings sometimes also included landscapes of her place of birth, as attested by the Fording of the river: Recalling the Black Forest, exhibited at the 1864 Salon.

Adam Weisweiler (1744-1820)

Adam Weisweiler became Master in cabinet-making on March 26th 1778. He settled his workshops in Paris, on Faubourg-Saint-Antoine Street. Weisweiler was one of the great masters of the Louis XVI style. From German origin, he is assumed having received his training in the workshop of Roentgen. He came to France before 1777, year of his wedding in the capital city. He worked primarily for the ÂŤmarchandmerciersÂť like Daguerre, whom sold Weisweilerâ&#x20AC;&#x2122;s works to Queen Marie-Antoinette. Very talented in his art, he developed a personal style, combining various materials such pietra-dura, lacquer or SĂ¨vres XWZKMTIQV XTIY]M[ =VTQSM UW[\ WN KIJQVM\ UISMZ[ \PM :M^WT]\QWV LQLVÂź\ Iâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ PQ[ XZWL]K\QWV# ?MQ[_MQTMZ _WZSML ]VLMZ \PM 252

First Empire for Queen Hortense. A large part of his production is now displayed in public collections such as in the Louvre Museum, the Paris Decorative Arts Museum, the New York Metropolitan Museum of Art.

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)

Albert Willms was apprenticed as modeler and engraver to Klagman, Dieterle and Constant in Paris before working for Morel & Co. in London in 1848. On his return to Paris he was employed by the great Parisian [QT^MZ[UQ\P[ QVKT]LQVO +PZQ[\WĂ&#x2020;M 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 Ă&#x2026;ZU WN -TSQVO\WV QV 4WVLWV I[ PMIL LMKWZI\WZ -TSQVO\WV _I[ [WWV \W JMKWUM WVM WN \PM Ă&#x2026;Z[\ \W XZWL]KM ZMĂ&#x2026;VML XQMKM[ QV KPIUXTM^u enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in 1862 (see Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, J.B. Waring, London, 1863, III, pl. 211). Willmsâ&#x20AC;&#x2122; "champlevĂŠ" enamels could not be compared, however, with the delicate "cloisonnĂŠ" enamels exhibited by Japan at the Universal Exhibition in Paris in 1867. This explains why Elkington adapted the ancient Japanese technique to produce pieces according to European taste and custom. In London, Albert Willms presented his luxurious vases and cups in "cloisonnĂŠ" enamel for Elkington (see Illustrations of Art Manufacturers in the Precious Metals exhibited by Elkington & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) produced in the workshops of Ferdinand Barbedienne (1810-1892) a tray decorated with a golden pheasant in "cloisonnĂŠ" MVIUMT WV KWXXMZ IVL -UQTM )]O][\M :MQJMZ ! LM[QOVML NWZ \PM +PZQ[\WĂ&#x2020;M Ă&#x2026;ZU I TIZOM KTWKS _Q\P UI\KPQVO candelabras in the Japanese style (MusĂŠe dâ&#x20AC;&#x2122;Orsay, Paris, Inv. O.A.O. 1360-1361) with "cloisonnĂŠ" enamels executed by Antoine Tard. Albert Willms nevertheless became a specialist of "cloisonnĂŠ" enamel on gilt metal between 1870 and 1876. The 1876 Philadelphia Universal Exhibition where Elkington presented to the public his latest creations in the Japanese style, an extensive set of vases and dishes in "cloisonnĂŠ" enamel (reproduced in Contributions to the Centennial and International Exhibition at Philadelphia, 1876, London, 1876) assured him a resounding success. Referring to his enamels the critics said "They surpass by far modern Chinese and Japanese works and approach the exquisite beauty of ancient Japanese pieces".

Charles-Guillaume Winckelsen (1812-1871)

Born in 1812, Charles-Guillaume Winckelsen is one of the most talented cabinet-makers of the Second Empire period, taking inspiration from 18th century furniture. He mainly used the Louis XVI style decorative motifs but without reverting to simple pastiche and creating then beautiful furniture. Winckelsenâ&#x20AC;&#x2122;s bronze casting was of the highest quality. He had his workshops in Paris at NÂ°23 Val-Sainte-Catherine in 1854, moved in 1860 to NÂ°21 rue Saint-Louis in the Marais, and in 1867 to NÂ°49 rue de Turenne. His production varied from furniture to decorative works of art, specializing in particular in the Louis XVI style to a very high quality standard. As a very talented cabinet-maker he was often honoured the commands from the aristocrats as well as \PM 8IZQ[ _MIT\Pa PQOP [WKQM\a []KP I[ 4IĂ&#x2026;\\M LM *uPIO]M XZQVKM :ILbQ_QTT .WTTW_QVO ?QVKSMT[MVÂź[ LMI\P QV 0MVZa Dasson (1825-1896) purchased on July 27 the workshop and stock from Winckelsenâ&#x20AC;&#x2122;s widow.

Jean-Henri Zweiner-Jansen (1854-1928)

2MIV 0MVZQ 2IV[MV NW]VLML \PM NIUW][ QV\MZQWZ LMKWZI\QWV Ă&#x2026;ZU WN 5IQ[WV 2IV[MV QV 5IV]NIK\]ZQVO revival and Nouveau furniture he became Fournisseur de la Cour dâ&#x20AC;&#x2122;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 Ă&#x2026;ZU ZMTWKI\ML \W ! Z]M :WaITM 8IZQ[ QV IZW]VL _QKP \QUM Q\ QVKWZXWZI\ML \PM M[\IJTQ[PML Ă&#x2026;ZU 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)

Joseph-Emmanuel Zwiener was born in Germany in 1849. In 1880 he set up his extensive workshops in rue de la Roquette in Paris where he created many original pieces of furniture. He immitated practically every style, ranging from ÂŤBoulleÂť to ÂŤLouis XVIÂť and including extraordinary personal interpretations of the ÂŤexhuberentÂť 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\ ÂŽif Mr. Zwiener had limited himself to literal reproductions, he wouldnâ&#x20AC;&#x2122;t have attracted the attention of the jury so strongly. But alongside his very skillful copies, he has shown us works inspired by his own imaginationÂť. At the 1889 Universal Exhibition, held in Paris, he was awarded the gold medal for his remarkable copy of that most famous piece of furniture, Louis XVâ&#x20AC;&#x2122;s desk. The catalogue of the exhibition included a wonderful elegy qualifying the work as perfect: ÂŤNo criticism what-so-ever could be madeÂť. As that other famous cabinetmaker FranĂ§ois Linke (1855-1946), Zwiener had most of his bronzes modelled by LĂŠon MessagĂŠ (1842-1901) whose work was considered as being of the best possible quality. Zwiener was active until 1895, when Jean-Henri Jansen (1854-1928) purchased his business and stock. Operating under the name of ÂŤZwiener Jansen SuccesseurÂť, Jansen continued to faithfully produce Zwienerâ&#x20AC;&#x2122;s creations, using the original models and lavishing the utmost care on these ÂŤmeubles de luxeÂť.

SIGNATURES 8

255

SIGNATURES Edouard Agneesens (1842-1885)

Désiré 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 (1805-1863)

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

Charles-Henri-Joseph Cordier (1827-1905)

Eugène Cornu (1827-1899)

Alfred Daubrée

Joseph-Désiré Court (1797-1865)

256

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

Albert Louis Dammouse (1848-1926)

Henry Dasson (1825-1896)

Théodore Deck (1823-1891)

Eugène Delaplanche (1836-1891)

Charles-Guillaume Diehl (1811-1885)

Paul Dubois (1827 - 1905)

Ferdinand Duvinage (1823-1876)

L'Escalier de Cristal (19th century)

Alexandre Falguière (1831-1900)

Charles-Auguste Fraikin (1817-1893)

Gagneau (19th century)

François Gautier (19th century)

Alphonse Giroux et Cie (1799-1885)

Oscar Gladenbeck (1850-1921)

Michele Grandville (1758-1836) 257

Jean-Louis Grégoire (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 (1855-1946)

Paul Louchet (1854 -1936)

Emilio Marsili (1841-1926)

Pierre-Jules Mène (1810-1879)

Auguste Metgé (1883-1910)

Maison Meynard (1808-1889)

Victor Paillard (1805-1886) 258

RaphaĂŤl Charles Peyre (1872-1949)

Henri Picard (active since 1831)

Emile-Louis Picault (1833-1915)

Quinsac (1858-1929)

Raingo FrĂ¨res (founded in 1813)

Charles Rudhardt (1829-1895)

Susse Company (19th century)

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

Paul Sormani (1817-1877)

Arthur Strasser (1854-1927)

Jean-Pierre-Alexandre Tahan (1813-1892)

Thesmar (1843-1912)

Pierre-Philippe Thomire (1751-1843)

259

Edouard Toudouze (1848-1907)

Armand Toussaint (1806-1862)

Willem Jan van den Berghe (1823-1901)

Georges van der Straeten (1856-1928)

Joseph van Severdonck (1806-1862)

Emilio Vasarri (1862-1928)

AndrĂŠ CĂŠsar Vermare (1869-1949)

Henri Vian (19th century)

Emmanuel Villanis (1858-1914)

L. de Weiler (1823-c.1880

Charles-Guillaume Winckelsen (1812-1871)

Zwiener Jansen successeur (active since 1880)

260

261

262