Bronzie maker (XIXe – XXe s.)                    Sculptor (1869-1947)

(attributed to)

Neo-Gothic Dragons Chandelier

France

Circa 1900

Gilt bronze, Alabaster

Height : 107 cm (42,1 in.) ; Diameter : 71 cm (28 in.)

Elegant neo-Gothic gilt bronze chandelier with seven lights, composed of a veined alabaster bowl mounted in a bronze frame and ending in a gallery and a finial. The basin is surmounted by a wide openwork frieze of quatrefoils and fleurons, punctuated by capitals and foliated crockets, in an architectural vocabulary directly borrowed from Gothic art. The most spectacular element lies in the three dragons arranged in corbelling, mouths open, wings spread. Each carries a glass tulip at the end of its snout. The whole is supported by three arched uprights decorated with dolphins and acanthus leaves, all attached to a crown with foliage motifs from which emanates a seventh light.

This chandelier is probably the fruit of the successful collaboration between the sculptor Olivier Lelièvre (1869-1947) and the prestigious Parisian art foundry Susse Frères, for which he designed and modeled models.

Biography

A world-renowned foundry, Maison Susse began producing bronzes in the first half of the 19th century. Confirming their success during the famous Exhibitions of Products of French Industry in Paris, the Susse brothers, Victor (1806-1860) and Amédée (1808-1880), appear as early as 1841 as manufacturers of “Art bronzes for clocks, candelabras, vases, statuettes, etc.” The greatest French sculptors entrusted them with their sculpted works to be cast in bronze, such as James Pradier (1790-1852) who signed the oldest currently known publishing contract in 1841. After the death of the two brothers, Albert Susse succeeded them from 1880 to 1922 at the head of the firm. He gave it new impetus and considerably developed the foundry. Albert then opened a luxurious store at 13 boulevard de la Madeleine in Paris.

Octave Georges Lelièvre (1869-1947) is a French sculptor and ornamentalist associated with the decorative arts of the Belle Époque and the revisited Louis XVI style. A student of the sculptor Théodore Eugène Victor Barrau, as well as Dumont and Gumery, his work is primarily known through furnishing bronzes, clocks, candelabras, desk sets, and decorative objects published by great houses of art bronziers, notably the Susse Frères house. Active around 1890-1930, he worked in the tradition of French decorative sculpture, mixing neoclassical influences and Art Nouveau then Art Deco refinement. His creations frequently use gilt bronze, with decorations of acanthus leaves, garlands, mascarons, and motifs inspired by the French 18th century.

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(attributed to)

Neo-Gothic Chandelier “with Salamanders”

France

Circa 1925

Wrought iron

Height : 82 cm (32,3 in.) ; Diameter : 59,5 cm (23,4 in.)

Neo-gothic style chandelier with four light arms typical of the art ironwork of the Art Deco period. The square central shaft, whose faces are decorated with punched circular motifs, has at its top four large flat iron scrolls that unfold. The middle section is adorned with four repoussé iron shields representing salamanders in relief, surmounted by pointed details evoking crowns or fleurs-de-lis. Underneath these shields, two smooth rings with a coppery hue encircle the shaft, initiating a material contrast that extends over the top of the horizontal arms, themselves covered with a similar metal band. These arms, supported by thick scrolls, hold at their extremities light arms in the shape of torches made of a geometric repetition of small flat iron scrolls.

Biography

Paul Kiss (1885-1962) was a master ironworker of Romanian origin who became one of the major figures of Art Deco in France. Active in Paris from the 1920s, he distinguished himself with a rigorous and geometric style, sublimating hammered wrought iron by often associating it with contrasting details in bronze or copper. Particularly famous for his interior ironwork and his very refined lighting fixtures, he achieved public acclaim at the International Exhibition of Modern Decorative and Industrial Arts in 1925, definitively establishing himself as one of the greatest creators of the interwar period.

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Art light Creator (since 1840)

(attributed to)

 « Nave » Chandelier

France

20^th Century

Crystal, Iron

Height : 72 cm (28.4 in.) ; Length : 82 cm (32,3 in.) ; Depth : 47 cm (18,5 in.)

Rare chandelier in the shape of a nave with 4 lights, with a metal frame and richly adorned with pearls, flowers, prisms, crystal drops forming the hull, the mast and the two sails of the boat. Two light-arms illuminate each side of the hull.

related work

Iron and crystal chandelier with 13 lights, whose original model was created by Baguès in 1932 for a Parisian exhibition

Biography

Art light creator, Baguès was founded by Noël Baguès around 1840 in Auvergne. Specialized in liturgical bronzes, the company grew at the end of the 19th century and started to make lighting bronzes, thanks to the generalization of electricity. In the 1920s, Baguès created his own models in fine ironwork.

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Crystal Manufacture

(attributed to)

néo-greek suspension

France

Circa 1860

Opaline, Gilt bronze

Height : 100 cm (39,37 in) ; Diameter : 28 cm (11,02 in)

White opaline suspension lamp with neo-Greek inspired polychrome decoration. The bulging bowl, flared and cut into pointed festoons highlighted by a turquoise thread, narrows in its lower part to form a bell-shaped base decorated with turquoise leaves, resting in a gilt bronze cup finished with a spinning top finial. It is decorated with a central medallion featuring an antique-style female profile evoking a cameo, framed by an orange Greek key frieze, and surrounded by a wide band of black Greek keys on a turquoise background. It is suspended by three baluster-shaped double rods from a gilt bronze ceiling rose decorated with foliage.

This suspension lamp is a fine example of the virtuosity of mid-19th century glass manufacturing (such as Baccarat, Saint-Louis, or other Parisian workshops specializing in opaline). The use of light—the opaline becoming diaphanous and incandescent when lit from the inside—magnificently enhances the decoration. The work bears witness to a colorful and theatrical “reinvented” antiquity, typical of the taste of bourgeois and aristocratic interiors during the Napoleonic period.

Biographie

The famous Baccarat crystal works, whose origins date back to the 18th century, won its first medal at the Exhibition of French Industrial Products in 1823, where it was praised for “the brilliance and finesse of the crystal,” becoming the premier crystal works in France. Baccarat was undoubtedly the only French industry consistently and masterfully represented at the various exhibitions in which it participated, thereby winning honors and prestigious awards. A recurring praise, “the perfection of the material and the cut,” appears in all the Universal Exhibition reports between 1855 and 1867, where the Baccarat crystal works dominated due to the quality of its crystal, deemed superior to that of Bohemia and England. In order to retain its wealthy clientele, which naturally included members of the Royal Family, Baccarat had to continually discover and launch new fashions, new decorations, as well as new materials.

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Crystal Manufactory
(attributed to)

Orientalist Chandelier

France
Circa 1890

Gilded, Crystal

Height : 80 cm (31,5 in.) ; Diameter : 60 cm (23,6 in.)

Charming Orientalist chandelier in chiseled and gilded bronze, clear and “ruby” crystal. The shaft consists of six tubular gilded bronze mounts shaped in curves and counter-curves, from which extend six light arms ending in corolla-shaped bobèches and fluted binets. The top is crowned by a spherical globe from which the upper volutes emerge. The entire chandelier is embellished with a network of fine chains with twisted links, from which hang numerous pendants and drops in smooth and cut crystal, both clear and “ruby.” 

The Oriental-inspired style of this chandelier is evident in the complex interweaving of its sinuous lines and in its warm color scheme, which combines the brilliance of gilded bronze with the depth of tinted crystals. This type of design reflected the era’s fascination with a romanticized vision of the Orient, evoking the opulence of Moorish or Ottoman palaces.

Biography

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867. Reports of the Universal Exhibition, from 1855 to 1867, talk about the “perfection of the material and of its cut”, considered superior of those from Bohemia or England.

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France
Circa 1880

Patinated and gilded bronze, crystal

Height : 136 cm (53,5 in.) ; Diameter : 115 cm (45,3 in.)

A thirty-six-light Oriental-inspired chandelier in patinated and gilded bronze and cut and faceted crystal, featuring two independent lighting circuits that can be lit together or separately. Centered around a baluster-style shaft adorned with foliage, acanthus leaves, gadroons, and a central element in patinated bronze, fluted and decorated with plant motifs, this splendid chandelier embodies the splendor and opulence of late 19th-century decorative arts.

From the central shaft extend two tiers of light arms in graceful scrollwork, terminating in leafy lampshades and embellished with crystal petals. The cascade of cut crystals is exceptionally rich. From the top, crystal beads, faceted prisms, almond-shaped pendants, and crystal daggers hang in abundance from each arm, each lampshade, and the central structure, creating a dazzling play of light. A sphere of cut crystal crowns the chandelier.

The term “Orientalism” emerged around 1830, although the 17th and 18th centuries had already developed the theme of “Turquerie” with great imagination. This style, steeped in exoticism and picturesque charm, can even be found in the decoration of the private apartments of Marie-Antoinette and the Count of Artois in the late 1780s. But it was truly in the 19th century, with the expedition

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Bronze-caster (1860-1905)
(attributed to)

Pair of wall sconces with goats

France
Circa 1870

Gilt Bronze

Height : 57 cm ( 22,4 in.) ; Width : 33 cm (12,9 in.) ; Depth : 19 cm (7,5 in.)

An elegant pair of Louis XVI-style wall sconces in chiseled and gilded bronze, each consisting of a thyrsus-shaped shaft centered with a feminine medallion, featuring fluting and scrollwork of leaves, surmounted by a pinecone. Topped with goat heads, the two twisted arms, adorned with acanthus scrolls and ending in cornucopias, are embellished with eagles holding a garland of flowers in their talons.

The design is based on a drawing attributed to Jean-Louis Prieur, circa 1780, held in the library of the Musée des Arts Décoratifs in Paris.

Related work

Examples of this same model are now housed in major collections, such as this pair by Pierre Gouthière at the Château de Fontainebleau (inv. no. F 616 C.2) and the pair at the Cleveland Museum of Art (inv. no. 1944.469.1)

Biography

Henri Vian, a bronze artist active in the second half of the 19th century, created numerous interior decorative pieces: fireplaces, vases with bronze mounts, chandeliers, balustrades… all of the highest quality. His signature is usually in cursive, with the initial of his first name followed by his last name. On his later works, only the two initials “h.V.” appear. The firm, located at 5 Rue de Thorigny in Paris (the Hôtel Salé, now the Picasso Museum), continued under the direction of Madame Vian after her husband’s death in 1905.

Jean-Louis Prieur (1732–1795) was one of the most illustrious bronze casters of the Neoclassical period, born into a family of Parisian artisans specializing in the decorative arts. Active from about 1765 to 1775, he was admitted as a master sculptor at the Académie de Saint-Luc in 1765 and became a master foundryman “in clay and sand” in 1769. He is described as an “ornamental sculptor, modeler, and engraver.” Around 1770, he produced design drawings for bronze works. In 1777, he was living in the Faubourg Saint-Denis. Among other works, he created the gilded bronze ornaments for King Louis XVI’s Coronation Carriage. After his bankruptcy in 1778, Jean-Louis Prieur took refuge in the Enclos du Temple under the protection of the Count of Artois to escape his creditors and royal jurisdiction. His work as an ornamental artist then became his primary focus.

Bibliography

H. Ottomeyer, et alii, Vergoldete Bronzen, T. I, Klinkhardt & Biermann, Munich, 1986, p° 241.

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France
Circa 1890

Gilt Bronze, Cloisonné enamel

Height : 67 cm (23,4 in.) ; Length : 69 cm (27,2 in.) ; Width : 54 cm (21,2 in.)

Beautiful pair of gilded bronze and cloisonné enamel wall sconces of Oriental inspiration. Five light arms extend from an elegant central scroll, terminating in bowls decorated with polychrome cloisonné enamel depicting a floral motif of Orientalist inspiration. Each basin is topped by a bobèche, evoking a chalice or a flower. These correspond to the four plant-shaped bells arranged on either side of the central axis, as well as to the budding stem at the top and the rows of pearls. The entire assembly is held in place by a wall hook at the center of an openwork cartouche, which forms the wall sconce itself. Slightly fluted volutes and clasps soften the ends, culminating in delicate blossoming flowers.

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Sculptor ( ?-1897)

“Triton and Mermaid” Sconces

France
Circa 1890

Signed G. de Kerveguen

Bronze

Height : 56 cm (22 in.) ; Width : 52 cm (20,4 in.) ; Depth : 33 cm (12,9 in.)

A rare pair of wall sconces in patinated, silvered and gilded bronze depicting a Triton and a Mermaid as a matching set, each sconce featuring three light arms.

The pair, remarkably rendered in the round, adopts the same dynamic and picturesque pose, blowing into a conch shell. The figures, rendered with vigorous modeling, seem to emerge from aquatic foliage, undulating stems, and plant scrolls that ingeniously form the light arms. The contrast between the warm, nuanced brown patina of the bodies and the brilliant gilding of the foliage enhances the sculptural richness of the ensemble.

Biography

Georges De Kerveguen (?–1897) was a sculptor and decorative bronze artist active in France during the second half of the 19th century. His work is part of the eclectic and historicist tradition that characterized the decorative arts during the Second Empire and the early years of the Third Republic. He is particularly appreciated for his ornamental compositions inspired by Greco-Roman mythology, maritime motifs, and classical allegories.

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Bronze-caster (1860-1905)
(attributed to)

Elegant Chandelier

France
Circa 1880

Gilded bronze, Marble

Height : 117 cm (46 in.) ; Diameter : 110 cm (43,3 in.)

Elegant twelve-light Louis XVI-inspired chandelier in marble and gilded bronze, composed of a hemispherical bowl ending in a gilt-bronze finial formed by a gadrooned rosette centered with a seed motif. It is circled by a wide ribbon-tied torus of laurel leaves from which spring the six double scrolling, foliate light-arms. The bowl is suspended by six elegant articulated chains composed of flat oval links alternating with openwork diamond shapes and rosettes, attached by seed motifs to a sphere. The whole is crowned by a large upper canopy adorned with an openwork gallery of volutes and scrolling foliage.

Biography

Henri Vian, a bronze-caster active in the second half of the 19th Century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers,… He produced articles of the highest quality. The business, located at 5 rue de Thorigny in Paris (the Salé Mansion, now the Picasso Museum), was continued by Madame Vian after her husband’s death in 1905.

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Bronze-casters (19th Century)
(attributed to)

« Acanthus » Chandelier

France
Circa 1870

Crystal, Patinated and gilded Bronze

Height : 130 cm (51,2 in.) ; Diameter : 100 cm (39,4 in.)

Exceptional Louis XVI-inspired twelve-light chandelier in “canon de fusil” patinated and gilded bronze, richly adorned with rosettes, garlands, pearls, prisms, and cut faceted crystal pendants. The central shaft, composed of a basin draped with engraved interlacing motifs and ending in a finial decorated with foliage and tassels, is surmounted by a fluted column crowned with an urn. It supports two tiers of six twisted light-arms with double scrolls, highlighted with acanthus leaves, featuring palm leaves with hanging seed motifs, and embellished with quivers and torches. The upper section of the chandelier is formed by finely chased lambrequins suspended between three architecturally designed supports lavishly decorated with cascading acanthus leaves and tassels. The top flares into a plume of swirling acanthus leaves.

biography

Lacarrière established a factory in 1825 at 3 bis, rue Sainte-Elisabeth. He specialized and excelled in the application of bronze in lighting fixtures. He received an honorable mention in 1834, a bronze medal in 1839, and a silver medal in 1844 for a large candelabra with a triangular base, prefiguring the one presented at the Universal Exhibition in London in 1862. He also participated in the design of the chandelier for the Queen’s Theatre in London. From 1851 to 1870, he changed his company name several times. Lacarrière, Delatour et Cie (active in 1870) cast and chiseled the majority of the lampposts, candelabras and chandeliers of the Paris Opera, including that of the hall, designed by Charles Garnier, the architect of the Opera, and modeled by Corboz. At the Universal Exhibition of 1878, the catalog wrote that “their exhibition demonstrates great skill and very pure taste in lighting bronzes intended for private homes.” In 1900, the company named Lacarrière et Cie supplied the fourteen monumental candelabras of the Pont Alexandre III, in Paris; a true tour de force at the time, since the largest of these pieces weighed 667 kg, for a height of 4.50 m and a diameter of 4.70 m.

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Art light Creator (since 1840)
(attributed to)

« Palmettes » Chandelier

France
Circa 1890

Gilded and patinated bronze

Height : 110 cm (43,3 in.) ; Diameter : 75 cm (29,5 in.)

Elegant eight-light Empire-style chandelier in patinated and gilded bronze, composed of a broad patinated bronze band bordered along the upper edge with an egg-and-dart frieze and along the lower edge with a torus molding. It is surmounted by braided wreaths intertwining flowers and laurel leaves, centered by a palmette motif and resting on crossed fasces. The surface of the band is animated by symmetrical scrolling foliage framing blooming rosettes, while pleated and rolled ribbons encircle lion heads surmounted by swans, which serve as the anchoring points for the light arms. The eight light-arms are shaped as trumpets adorned with acanthus leaves and terminate in circular drip pans with leaf friezes, above flared candle sockets finely chased with palmette motifs.
The chandelier is suspended by four rigid rods ornamented with oval medallions depicting the god Mercury, converging at a ceiling canopy decorated with flared palmettes. Suspended beneath the main band by four chains with geometric links, the lower finial takes the form of an antique vase surmounted by a basket of fruit and flowers, and culminates in a large foliate terminal ending in a stylized pine cone.

Biography

Art light creator, Baguès was founded around 1840 in Auvergne. Specialized in liturgical bronzes, the company grew at the end of the 19th century and started to make lighting bronzes, thanks to the generalization of electricity.

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Bronze-casters (XIXe – XXe s.) 

O. Lelièvre

Sculptor (1869-1947)

(attributed to)

Elegant Chandelier

France
Circa 1900

Gilded and patinated bronze, Alabaster

Height : 80 cm (31,5 in. ) ; Diameter : 63 cm (24,8 in.)

Rare Neo-Classical inspired chandelier in patinated bronze with gilt highlights and alabaster, featuring double lighting. It consists of a large veined orange-brown alabaster bowl with internal illumination, encircled by a crown decorated with an interlaced frieze punctuated by projecting triglyphs and drops, supporting six light arms with foliate bobeches and fluted candle sockets. The bowl is supported by six foliate bands converging into acanthus leaves extended by a seed motif. It is suspended from a baluster-shaped stem adorned with acanthus leaves, a ribboned torus, a pearl frieze, and rudented fluting with asparagus-tip motifs, ending in a foliate ceiling mount.

This chandelier reflects the codes of Neoclassicism developed in the late 18th and early 19th centuries, adopting a balanced composition and strict symmetry, with a structured and orderly decoration inspired by Greco-Roman Antiquity.

Biography

The world-renowned Susse Frères foundry began producing bronze works as early as the first half of the nineteenth century. Confirming their success during the celebrated Expositions des Produits de l’Industrie in Paris, the Susse brothers, Victor Susse and Amédée Susse, were listed from 1841 onward as manufacturers of “art bronzes for clocks, candelabra, vases, statuettes, etc. The greatest French sculptors entrusted them with their sculpted works to be cast in bronze, such as James Pradier, who signed in 1841 the earliest known publishing contract currently recorded. Following the deaths of the two brothers, Albert Susse succeeded them and directed the firm from 1880 to 1922. He brought renewed momentum to the company and greatly expanded the foundry’s activities. Albert Susse subsequently opened a luxurious showroom at 13 boulevard de la Madeleine in Paris.

Octave Georges Lelièvre (1869-1947) was a French sculptor and ornamentalist associated with the decorative arts of the Belle Époque and with a reinterpretation of the Louis XVI style. A student of the sculptor Théodore Eugène Victor Barrau, as well as of Auguste Dumont and Charles Gumery, his work is chiefly known through ornamental bronzes, clocks, candelabra, desk sets, and decorative objects produced by major artistic bronze foundries, notably Susse Frères. Active circa 1890–1930, he worked within the tradition of French decorative sculpture, combining neoclassical influences with the refinement of Art Nouveau and later Art Deco. His creations frequently employed gilt bronze, featuring decoration with acanthus leaves, garlands, mascarons, and motifs inspired by eighteenth-century French design.

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Founder (1813-1892)

Sconces « Hercules and Omphale »

Signed A. D

France
Circa 1880

Gilded bronze

Height : 83 cm (32,6 in.) ; Width : 46 cm (18,1 in.) ; Depth : 37 cm (14,6 in.)

Beautiful set of four six-light sconces in chased and gilt bronze, forming two pairs. Each sconce is composed of a terminal figure in the form of a herm, ending in a rich cascade of acanthus leaves, from which emerges a delicate stem adorned with foliage and terminating in a seed motif.
The male sconces depict a bearded man with vigorous musculature, his head turned upward in a dynamic attitude. Draped across his torso like a sash is an animal skin. This iconography (strength, beard, and animal hide recalling the leonté or skin of the Nemean lion) strongly suggests the mythological figure of Hercules.
Its counterpart presents a female figure with a classical profile, her hair gathered into an elaborate antique-style chignon. She likewise wears an animal skin draped across her chest. This figure most likely represents Omphale, Queen of Lydia, with whom Hercules exchanged attributes. These figures are placed beneath an arch ornamented with vine leaves and clusters of grapes, and support scrolling uprights from which spring three light-bearing arms highlighted with acanthus decoration, terminating in candleholders adorned with water-leaf motifs.

biography

A bronze factory existed in the 18th century, directed by Jean-Baptiste Maximilien Delafontaine, master foundryman born in 1750. His son Pierre Maximilien (1774-1860) succeeded him. The factory was first domiciled at 13 rue d’Orléans then, from 1824, at 10 rue Neuve-de-l’Abbaye. In the 1840s, it was Auguste Maximilien Delafontaine who was at its head at 46, rue Bonaparte, then 10, rue de l’Université in 1870. The most fruitful period of the firm corresponded to his direction. Publisher, he entrusted the execution of the bronzes to the Molz foundry, rue de Rennes. Taking up the contracts signed by Duret with the founder Quesnel, he published around 1855, among others, Le Danseur napolitain, Le Vendangeur improvisant, Jeune Pêcheur dansant la tarantella, La Tragédie, La Comédie. Its catalog of “art and furnishing bronzes” offers works by other artists including Pradier, reproductions of antique statues and various art and furnishing objects. During the sale after Barye’s death in 1876, he purchased a certain number of models, notably dogs, of which he made a few editions. The activity was continued by his own son Henri-Maximilien (?-1932) from 1884, until the closure of the company in 1905.

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Bronze-casters (XIXe – XXe s.) 

O. Lelièvre

Sculptor (1869-1947)

Chandelier with Vine tendrils

Signed Susse Frères Edts Paris and O. Lelièvre Sclp

France – Circa 1900

Height : 110 cm (43,3 in.) ; Diameter : 75 cm (29,5 in.)

Elegant six-light chandelier in patinated and gilt bronze, composed of a veined alabaster bowl with internal illumination, supported by arcades and surmounted by a frieze of rectangular white alabaster plaques alternating with scrolling light arms accented with acanthus leaves. The whole is suspended by double chains in the lower section and adorned in the upper section with vine tendrils and laurel wreaths, all attached to a crown decorated with fleurons and embellished with cut and faceted crystal prisms and mirzas.

This chandelier is the result of the fruitful collaboration between the sculptor Olivier Lelièvre and the prestigious Parisian art foundry Susse Frères, for which he designed and modeled high-quality pieces that were subsequently cast in bronze.

Biography

The world-renowned Susse Frères foundry began producing bronze works as early as the first half of the nineteenth century. Confirming their success during the celebrated Expositions des Produits de l’Industrie in Paris, the Susse brothers, Victor Susse and Amédée Susse, were listed from 1841 onward as manufacturers of “art bronzes for clocks, candelabra, vases, statuettes, etc. The greatest French sculptors entrusted them with their sculpted works to be cast in bronze, such as James Pradier, who signed in 1841 the earliest known publishing contract currently recorded. Following the deaths of the two brothers, Albert Susse succeeded them and directed the firm from 1880 to 1922. He brought renewed momentum to the company and greatly expanded the foundry’s activities. Albert Susse subsequently opened a luxurious showroom at 13 boulevard de la Madeleine in Paris.

Octave Georges Lelièvre (1869-1947) was a French sculptor and ornamentalist associated with the decorative arts of the Belle Époque and with a reinterpretation of the Louis XVI style. A student of the sculptor Théodore Eugène Victor Barrau, as well as of Auguste Dumont and Charles Gumery, his work is chiefly known through ornamental bronzes, clocks, candelabra, desk sets, and decorative objects produced by major artistic bronze foundries, notably Susse Frères. Active circa 1890–1930, he worked within the tradition of French decorative sculpture, combining neoclassical influences with the refinement of Art Nouveau and later Art Deco. His creations frequently employed gilt bronze, featuring decoration with acanthus leaves, garlands, mascarons, and motifs inspired by eighteenth-century French design.

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Bronze-caster (1788-1846)
(attributed to)

Large Chandelier

France
Circa 1830

Gilded bronze

Height : 120 cm (47,2 in.) ; Diameter : 92 cm (36,2 in.)

Large chandelier in chased and gilded bronze with sixteen lights, fully embodying the refined aesthetic of the Restoration period (1814–1830), marked by a return to a certain classical sobriety tempered with ornamental elegance.
The central shaft, adorned with stylized acanthus leaves and finely chased friezes, is composed of a sphere decorated with rosettes and foliage motifs, ending in a pinecone (an ancient symbol of eternity), and supports two rows of eight fluted arms of light with double scrolls. A gadrooned basin in the antique taste, a detail frequently seen during the Restoration, crowns the whole. It is suspended by eight rods with symmetrical openwork links, decorated with rosettes and scrolls inspired by the ornamental vocabulary inherited from the Empire style, and attached by scroll motifs to a leafy corona surmounted by a flared-rim bowl with gadrooned decoration.

This chandelier perfectly illustrates the stylistic transition characteristic of the Restoration period: a balance between the classical rigor inherited from the Empire style and a renewed taste for lightness, grace, and a certain decorative refinement. It is a work that is both functional and sculptural, designed to enhance a prestigious interior while demonstrating the exceptional craftsmanship of Parisian bronzeworkers of the early 19th century.

Chandeliers with widely projecting arms, imposing pinecone finials, and the use of rigid chains with decorative links are recurring hallmarks of G.-J. Galle’s production, who was awarded a medal at the 1819 Exhibition of the Products of Industry.

biography

Son of the great Empire-era bronzemaker Claude Galle (1759–1815), Gérard-Jean (1788–1846) took over his father’s workshop in 1815, inheriting its molds, designs, and prestigious clientele, and brought it to its peak. While he continued producing bronzes in the Empire style, he gradually introduced greater lightness, richer decoration, and forms that heralded the Charles X style. Under the July Monarchy, his style became more eclectic.

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

Chandelier with Terms

France
Circa 1880

Gilded and patinated bronze

Height : 80 cm (ref. 31,5 in.) ; Diameter : 45 cm (17,7 in.)

Charming chandelier in chased, gilded, and patinated bronze with seven lights. The central shaft features a blued bronze bowl adorned on its body with friezes and foliate scrolls in gilded bronze, surmounted by a twisted fluted column with asparagus-tip motifs, ending in a flame finial and a seed-shaped element. Three female figures terminating in acanthus leaves each support two twisted, foliate scrolling light arms. The whole is suspended by three chains designed to imitate tasseled rope.

related work

Our chandelier is inspired by the chandelier in gilded and blued bronze, attributed to François Rémond (1747-1812), End of the 18th Century. Given in 1808 by Napoléon to Cambacérès for his Parisian house, the actual hôtel de Roquelaure. Exposed in the Musée Nissim de Camondo, Paris (Inv. CAM 146)

biography

In 1875, In 1875, Alfred-Emmanuel Beurdeley (1847-1919) was at first assistant to and later succeeded his father Louis-Auguste Beurdeley, one of the main cabinet-makers of the Second Empire, specializing in 18th century furniture. Louis-Auguste was the star whenever he exhibited and was “most favored by the royal and imperial families”. Although he produced the same kind of works of art as his father, Alfred Beurdeley was also a very well-known art collector and a skilled bronze sculptor. With Dasson, Grohé, Sauvresy and Fourdinois, the most famous artists of the period, he took part in the 1878 Universal Exhibition and won the gold medal. Crowned with 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 Legion d’Honneur, France’s highest official mark of recognition. He thus won the respect of both the government and contemporary art critics. His last presentation was during the 1889 Universal and International Exhibition, when the director of the Exhibition wrote in his report: “The talent of Mr Beurdeley is self evident when one inspects his furniture.”

François Rémond (1747-1812) began his apprenticeship in 1763. In 1774, he became maître in the guild of bronze guilders. He worked for the mercant-mercer Daguerre et created worked in the Turkish style then in vogue or Louis XVI and his family. He collaborated with the chaser Pierre Gouthière on some of his greatest masterpieces before 1783, and designed bronze ornaments for the cabinet-maker Jean-Henri Riesener. In August 1774, he met the cabinet-maker David Roentgen and began a collaboration with him : most of Roentgen pieces were decorated with bronzes made in Paris by Rémond with sometimes sculptures by artists such as Louis-Simon Boizot.

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Bronze-caster (1860-1905)

« Bacchic » Chandelier

Signed HV for Henri Vian

France
Circa 1870

Crystal, Gilded and patinated bronze 

Height : 105 cm (41,3 in.) ; Diameter : 80 cm (31,5 in.)

A fine twelve-light chandelier in chased and gilded bronze, richly adorned with scrolls, garlands, beading, prisms, and faceted cut-crystal drops. The central shaft is formed as a fluted, bluish-patinated baluster-shaped vase containing flowers and fruit, decorated alternately with heads of satyrs and bacchantes, from which issue the twisted light arms with scrolling foliage centered with vine leaves. The whole is surmounted by a flattened sphere decorated with ram’s heads, extending into a spiral topped with a bouquet of acanthus leaves forming the ceiling mount. At the lower part, the finial is composed of acanthus leaves ending in a pinecone.

This chandelier develops an imagery directly inspired by Bacchus’s procession, where festivity and nature intertwine. The presence of heads of bacchantes, satyrs, and rams situates the piece firmly within a Dionysian universe. The vine leaves and tendrils, omnipresent in the scrolling light-arms, reinforce this reference to wine and fertility. They structure the decoration while lending it an organic and luxuriant character, like vegetation in full growth.

biography

Henri Vian, a bronze-caster active in the second half of the 19th century, produced numerous interior ornaments: fireplaces, vases with bronze mounts, chandeliers, balustrades… all of the highest quality. His signature is usually written in cursive letters, with the initial of his first name followed by his surname. On later works, only the two initials H.V. appear. The company, located at 5 rue de Thorigny in Paris (the Hôtel Salé, now the Musée Picasso), continued under the direction of Madame Vian after her husband’s death in 1905.

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Bronze-caster (1860-1905)
(attributed to)

« Quiver » Chandelier

France
Circa 1880

Gilded and patinated bronze

Height : 95 cm (37,4 in.) ; Diameter : 49 cm (19,3 in.)

Beautiful Louis XVI–inspired chandelier in finely chased and gilt bronze with blue patinated accents, featuring four lights. The central shaft, shaped like a quiver and associated with the iconography of Apollo or Cupid, is adorned with four female heads alternating with fluted light arms decorated with scrolling acanthus leaves and vine tendrils, surmounted by goat heads. The lower terminal, ornamented with acanthus leaves, ends in a pinecone finial. The chandelier is suspended by four linked chains gathered at the top by a bouquet of stylized acanthus leaves forming a flared corolla.

The attribution to Henri Vian is based on stylistic analogies with pieces from his workshop, particularly in the quality of the chasing, the vigor of the animal figures, and the richness of the ornamentation. Vian, an appointed supplier to an aristocratic and international clientele, distinguished himself in the production of art bronzes that combined references to the eighteenth century with free interpretations of the classical repertoire.

This quiver-form chandelier thus belongs to the Neo–Louis XVI current as reinterpreted by the eclecticism of the end of the century. It combines formal erudition, technical virtuosity, and decorative power, reflecting the ambition of Parisian bronze-casters to rival the masterpieces of earlier centuries while responding to the expectations of an international market seeking prestige and historicist exoticism

biography

Henri Vian, a bronze-caster active in the second half of the 19th Century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers,… He produced articles of the highest quality. The business, located at 5 rue de Thorigny in Paris (the Salé Mansion, now the Picasso Museum), was continued by Madame Vian after her husband’s death in 1905.

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Bronze-caster (19th Century)

Set of Four Wall-Lights

Signed A. GRANDPIERRE PARIS

France
Circa 1890

Gilded bronze

Height : 98 cm (38,6 in.) ; Width : 60 cm (23,6 in.) ; Depth : 30 cm (11,8 in.)

Provenance : Castle in Puisaye, France

Spectacular set of four Regence-inspired large wall sconces in finely chased and gilded bronze with five lights. Each is composed at the top of a radiating shell surrounded by laurel and acanthus leaves, set above a ground decorated with beaded trellis motifs centered with rosettes. Beneath the scrolling arms appears a female mascaron modeled in relief, and the composition terminates in a lambrequin motif ending in a cascading foliate drop. The light-arms, highlighted with scrolling foliage, are arranged symmetrically: two lateral arms in double volute form, two intermediate arms set slightly back, and a higher central arm. The bobèches and binets are decorated with gadroons and foliage motifs.

These wall-lights, remarkable for the quality of their chasing, have preserved their original gilding despite the passage of time, thus demonstrating the mastery and craftsmanship of its maker.
The combination of these elements reflects a synthetic aesthetic characteristic of the second half of the 19th century, a period during which Parisian bronze makers excelled in the scholarly reinterpretation of earlier styles.

Biography

Born into a dynasty of 19th-century Parisian bronze makers—including marble clock case makers operating under the names “Grandpierre et fils” and later “Grandpierre fils,” as well as metal founders—the maker of these sconces, A. Grandpierre, was a bronze manufacturer established at 1, rue Saint-Claude between 1889 and 1894.

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Ceramic Manufacture (1845-1895)

A. de Caranza

Designer (1843-1914)
(attributed to)

Pair of Lamps

Mark of J.Vieillard & Cie à Bordeaux

France
Circa 1880

Earthenware, Gilded bronze

Height with globe : 80 cm (31,5 in.) ; Width : 25 cm (9,8 in.) ; Depth : 18 cm (7 in.)

Beautiful pair of baluster-shaped faience lamps, originally oil-fired, featuring a central decoration of arabesques and stylized scrollwork in iron-red on a manganese-brown background, framed by turquoise and cobalt-blue cartouches with palmettes and symmetrical fleurons. The whole is encircled at the upper and lower sections by a frieze of red flowers on a blue background. The applied side handles take the form of stylized bamboo branches, their leaves unfolding across the body. The whole is set within a finely chased and gilt bronze mount composed of a friezes and ribbon-tied torus laurel moldings, and rests on a base ending in four scrolled feet surmounted by small floral-cast blocks.

This pair of lamps belongs to the Neo-Orientalist and Historicist production of the second half of the 19th century. The polychromy, dominated by intense blues, deep brown, and red highlights, reflects the European rediscovery of Iznik and Safavid Persian ceramics, which were highly fashionable following the Universal Exhibitions (notably those held in Paris in 1855 and 1867). The Vieillard manufactory distinguished itself by its ability to reinterpret these Oriental models into a decorative vocabulary suited to French taste.

Biography

Bordeaux knew at the beginning of the 19^th century a great development of fine earthenware due to the establishment of a manufacture by Boudon de Saint-Amans. That factory was however quickly sold to David Johnston, whom opened a factory in Bacalan that counted then up to 700 workers. The production became industrial, with printed patterns of varied colors. Jules Vieillard took after in 1845 David Johnston’s company. His work was crucial to the industrial success of the Bacalan manufacture and also to the artistic quality, which was unanimously celebrated during the famous Universal Exhibitions. His earthenware even earned the generic name of « Vieillard ceramics ». In his last period, Jules Vieillard developed an exceptional Orientalism through his creations. In 1865, his sons Charles and Albert, took after the factory under the company name of « Manufacture Jules Vieillard et C^ie », and produced a lot of various designed pieces, particularly decorated with birds and flowers. However, their printed decors were of quite poor quality. To solve that problem, they decided to renew the forms of the pieces, evolving towards fashionable decorative pieces, such as lamps, jardinieres and vases. As for the oldfashioned decoration, the artistic department worked hard under the direction of Amédée de Caranza newly arrived around 1875. This ceramist from Longwy, launched there in 1872 the famous eponymous enamels « Emaux de Longwy », renewing the ornemental vocabulary with his technique of partitioned enamel. His decorations mainly evoked the brilliance of Persian and Japanese objects. But, as Caranza left Longwy to Bordeaux, Longwy couldn’t keep  any longer its exclusivity. Caranza became then the manager of the Vieillard factory workshop in 1882, which knew thus a new momentum, until his departure a few years later, probably in 1885. The Vieillard factory closed down in 1895.

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France
Circa 1870

Rhodonite, Gilded bronze

Height : 14,5 cm (5,7 in.) ; Base : 8 x 8 cm (3,1 x 3,1 in.)

This pair of candlesticks is composed of a cylindrical shaft in polished rhodonite, set within an elaborate mount of finely chased and gilded bronze. Each candlestick rests on a tripartite base that emphasizes the overall stability and balance of the composition.
The upper section is formed by a circular gilded bronze bobèche with a molded profile, adorned with an engraved frieze of stylized geometric motifs. The shaft is encircled by vertical bronze struts, finely chased, extending into curved feet decorated with leaves and stylized hoof motifs.
The ornamentation is distinguished by the presence of ram’s heads sculpted in the round, applied to the upper part of the shaft. From these mascarons spring garlands of fruit and foliage, lending the ensemble an iconography inspired by Antiquity and associated with themes of abundance and strength. The animal heads, with their spiraled horns and naturalistic modeling, testify to a high level of technical mastery.

The combination of gilt bronze and rhodonite, a decorative material rare in European decorative arts, places these candlesticks within the tradition of early nineteenth-century luxury, in the Neoclassical taste. The quality of the gilding, still well preserved, together with the precision of the stone carving, suggests a commission intended for an aristocratic or grand ceremonial interior. The whole displays remarkable stylistic and material coherence, illustrating the alliance between lapidary arts and gilt-bronze furnishings in European decorative arts.

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Sculptor (1822-1912)

Val d’Osne

Bronze-caster

Pair of “Nubians” torcheres

France
Early 20^th century

Patinated and gilded bronze

Total height : 234 cm (92,1 in.) ; Base height : 29 cm (11,4 in.) ; width : 38 cm (15 in.) ; Depth : 45 cm (17,7 in.)

Exceptional pair of patinated bronze Nubian figures with golden highlights. Each woman, draped in antique-style garments, stands gracefully with gilt anklets and her arms raised elegantly above her head to support a lighted torch. Their serene faces, marked by great softness, feature lowered eyelids and hair held in place by a gilt ribbon. The drapery, gathered with a gilt belt, emphasizes the subtle contrapposto of their stance.

Each figure stands on a circular base.

An edition number is visible on one of the bases (6471), consistent with the practices of the Val d’Osne foundry; a circular workshop stamp is also present.

Model of candelabra by Mathurin Moreau, illustrated in the catalogue of the Société anonyme des hauts-fourneaux et fonderies du Val d’Osne.

Biography

Mathurin Moreau was a major 19th-century French sculptor, celebrated for his academic and naturalistic style. Trained at the École des Beaux-Arts and winner of the Prix de Rome, he exhibited regularly at the Salons from 1848 onward. His works often depict allegorical or feminine figures. He collaborated with many leading art foundries, including Barbedienne and the Val d’Osne, and received several distinctions, notably a medal of honor at the 1878 Exposition Universelle. His sculptures adorn numerous monuments and gardens in France and abroad.

The Val d’Osne Foundry, established in 1836 by Jean-Pierre-Victor André, became one of the most renowned French art foundries of the 19th century. Specializing in ornamental cast iron and bronze, it produced an extensive catalogue of statues, fountains, candelabra, and architectural elements. Known for the high quality of its castings and for collaborations with leading sculptors (including Mathurin Moreau, Carrier-Belleuse, and Pradier), the foundry exported worldwide and earned numerous awards at the Expositions Universelles. It remains a reference in the history of architectural ornamentation and urban decoration of the Second Empire and the Belle Époque. 

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Bronze-caster (1810-1892)
(attributed to)

Orientalist Chandelier

France
Circa 1880

Gilded bronze, Enamel

Height : 68 cm (26,8 in.) ; Diameter : 19 cm (7,5 in.)

Elegant gilded bronze and polychrome cloisonné enamels chandelier with a single central light, connected to an enameled star-shaped ceiling canopy by chains that support an openwork enameled crown set with ruby-red cabochons. The whole is finished with a frosted bowl engraved with stars.

The red cabochons recall the precious stones of Byzantine icons or Gothic reliquaries, suggesting a liturgical chandelier; or, if not, it faithfully reflects the “modernized” Byzantine liturgical style that was highly fashionable in France at the end of the 19th century. The cloisonné enamels also add an Orientalist touch, commonly found in the productions of Parisian workshops of this period, such as the Barbedienne workshops.

Biography

Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Paris one of the major artistic founderies of his time. Barbedienne specialised in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and also bronzes for furniture. Apart from his own production, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honoured by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honour. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories : Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes.

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Bronze-caster (1810-1892)
(attributed to)

Neo-Byzantine Chandelier

France
Circa 1880

Gilded bronze, Enamel

Height : 61 cm (24 in.) ; Diameter : 25 cm (9,8 in.)

Elegant neo-Byzantine chandelier of geometric form with three light arms, in gilded bronze and polychrome cloisonné enamels. The enameled frieze decoration recalls Byzantine enamels, a well-known source of inspiration for F. Barbedienne workshops. The shaft, ending with a point, is adorned in its upper section with small chains and gilt spheres, and supports the light arms decorated with crosses and scrolling foliage. The cloisonné enamels, inspired by Byzantine screens, add an orientalist touch characteristic of the productions of Parisian workshops in the late 19th century.

Biography

Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Paris one of the major artistic founderies of his time. Barbedienne specialised in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and also bronzes for furniture. Apart from his own production, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honoured by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honour. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories : Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. 

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Bronze-caster (19th Century)

“Cupids” Chandelier

France
Circa 1880

Gilded and patinated bronze, Cristal

Height : 100 cm (39,4 in.) ; Diameter : 70 cm (27,6 in.)

Charming gilded and patinated bronze chandelier composed of nine branches ending with illuminating roses. The central lattice basket of pearls and crystal rosettes supports three seated cherubs carrying luminous torches. The whole is suspended by ribboned uprights ending in a ceiling light with openwork foliage decoration.

 
A “B M” mark with a workshop number (019) indicates a stamp from the Boin-Masson firm, a Parisian bronze worker active in the late 19th century and precursor of the Boin-Taburet house.

Commentary

The Boin-Masson firm emerged in Paris during the Second Empire, at a time when major artistic bronze workshops were flourishing (Barbedienne, Beurdeley, Christofle, etc.). Boin-Masson was founded through the partnership of Alexandre Boin and Étienne Masson, both master ornamentalists working with gilded bronze, crystal mounts, and decorative chiselling inspired by the 18th century. The firm established itself in the bronziers’ district of Paris, first on rue Amelot and later on rue Chapon. Their pieces are signed or marked “B M” followed by a workshop number. Toward the end of the 19th century (circa 1880–1900), the firm passed into the hands of Georges Boin and Émile Taburet, becoming the Boin-Taburet company.

Sconces, chandeliers, candlesticks and other candelabra, which illuminate the rooms, grow considerably during the seventeenth century. Although already existing in the 17th century, the word “chandelier” was only used late because until the 18th century in the old inventories, the chandelier is designated by the word “candlestick”. Their refinement attests to the social status of their owner. At the end of the 19th century, major firms such as Barbedienne, Beurdeley, Christofle, and Boin-Masson / Boin-Taburet specialized in mounts inspired by the 18th century, but reinterpreted in accordance with the Second Empire taste.

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Designer and Art object Editor
(attributed to)

Pair of “Floral” Wall-Lights

France
Circa 1890

Porcelain, Gilded bronze, Painted sheet metal

Height : 50 cm (19,7 in.) ; Width : 31 cm (12,2 in.) ; Depth : 14 cm (5,5 in.)

Pair of wall-lights with two light-arms in sheet metal, gilded bronze and painted porcelain with gold highlights. Each composed of a half-cup with floral decoration in cartouches on a pink pastille background, surmounted by a bouquet formed of polychrome porcelain flowers and painted sheet metal leaves. They rest on a small gilded bronze console with leaf and flower motifs.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition. Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.“L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb, gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

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Bronze-caster (1860-1905)
(attributed to)

Chandelier « with Butterflies »

France
Circa 1890

Gilded bronze, Cristal 

Height : 120 cm (47,2 in.) ; Diameter : 77 cm (30,3 in.)

Chandelier with eighteen light-arms in gilded bronze, richly decorated with scrolls, pearls and cut crystal pendants. The whole is decorated on the shaft with three female figures forming caryatids and gilded bronze butterflies on the branches. In the lower part, a faceted ball adorns the whole.

biography

Henri Vian, a bronze-caster active in the second half of the 19th Century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers. He produced articles of the highest quality. The business, located at 5 rue de Thorigny in Paris (the Salé Mansion, now the Picasso Museum), was continued by Madame Vian after her husband’s death in 1905.

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Crystal Manufacture
(attributed to)

Crystal Chandelier

France
Circa 1825

Crystal, Gilded bronze

Heigth : 77 cm (30,3 in.) ; Diameter : 48 cm (18,9 in.)

Elegant cut and faceted crystal chandelier with six lights. Composed of a cup decorated with palmets on a grid background surrounded by a gilded bronze crown with alternating decoration of flowers and faun’s heads on a leafy background. The set is suspended by three articulated chains threaded with crystals, attached to a crown-shaped gilded bronze ceiling light. The chandelier is adorned with numerous crystal pendants.

Between 1764 and 1860, with rare exceptions, the crystal Manufacture of Baccarat doesn’t sign its works. The first paper labels appear in 1860 and represent inside a circle, a carafe surrounded by a goblet and a cup above which is marked BACCARAT.  From 1875, the brand BACCARAT in stick letters and in relief is present on some blown models and on the bronze parts of the mounts. It’s from 1936 that the carafe, surrounded by a goblet and a cup with BACCARAT marked above, appears systematically on the production.

Biography

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867. Reports of the Universal Exhibition, from 1855 to 1867, talk about the “perfection of the material and of its cut”, considered superior of those from Bohemia or England.

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Clock-makers & Bronze-casters (Founded in 1813)
(attributed to)                           

« The Geisha » Wall-light

France
Circa 1860

Patinated, gilded and silvered bronze

Height : 84 cm (33 in.) ; Width : 60 cm (23,6 in.) ; Depth : 42 cm (16,5 in.)

Large Japonisme six-light wall-light in patinated bronze with gold and silver highlights, representing an elegant young woman in traditional Geisha Japanese outfit, seated on a branch of a Japanese rosebush whose flowers are formed of luminous corollas, and holding out a rose from her left hand.

Biography

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

“Japonisme”

From 1853, and the opening of Japan following the intrusion of the US navy, and more precisely from the 1860’s, the enthusiasm of everything coming from Japan or imitating its style conquers numerous occidental countries from France and Britain. This movement, called “Japonism”, will last until the early 20^th century. The previous centuries and decades had already had a certain interest for the exoticism such as chinoiseries ou turqueries in the 18^th century or the Orientalism of the 19^th century. The Japonism movement has been developed by artists looking for new means of expressions. Size, mediums, colors, drawing and perspectives are reinvented. Decorative Arts, as in painting, draw on those new sources of inspiration patterns to renew their repertoire.  

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Bronze-caster
(attributed to)

Pair of Chandeliers

France
Circa 1900

Bronze, Glass

Height : 120 cm (47,2 in.) ; Diameter : 177 cm (69,6 in.)

Provenance : Former Bank place de l’Opéra, Paris

Exceptional pair of large patinated bronze chandeliers with gilded highlights with 16 external lights and 8 internal lights. They are composed of a fluted crown receiving golden flames, punctuated by 8 leafy light-arms ending in gadrooned binets and beaded bobeches, enclosing an opaque glass dome centered with an engraved star ending in a pine cone. It is topped with medallions decorated with rosettes alternating with 8 engraved photophores from which emerge 8 double-uprights in patinated bronze decorated with acanthus leaves, joining to form a canopy topped with acanthus and highlighted with scalloped drapery.

biography

Lacarrière established a factory in 1825 at 3 bis, rue Sainte-Elisabeth. He specialized and excelled in the application of bronze in lighting fixtures. He received an honorable mention in 1834, a bronze medal in 1839, and a silver medal in 1844 for a large candelabra with a triangular base, prefiguring the one presented at the Universal Exhibition in London in 1862. He also participated in the design of the chandelier for the Queen’s Theatre in London. From 1851 to 1870, he changed his company name several times.
Lacarrière, Delatour et Cie (active in 1870) cast and chiseled the majority of the lampposts, candelabras and chandeliers of the Paris Opera, including that of the hall, designed by Charles Garnier, the architect of the Opera, and modeled by Corboz. At the Universal Exhibition of 1878, the catalog wrote that “their exhibition demonstrates great skill and very pure taste in lighting bronzes intended for private homes.” In 1900, the company named Lacarrière et Cie supplied the fourteen monumental candelabras of the Pont Alexandre III, in Paris; a true tour de force at the time, since the largest of these pieces weighed 667 kg, for a height of 4.50 m and a diameter of 4.70 m.

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France
Circa 1870

Silvered bronze, Crystal 

Height : 140 cm (55,1 in.) ; Diameter : 75 cm (29,5 in.)

Beautiful Louis XVI-inspired baluster-shaped chandelier, in crystal and silvered bronze mount. The central shaft, made of threads, is lit by 12 indirect lights and 12 light-arms ending in bobeches resting on leafy basins. A central crown, supporting elegant heart-shaped daggers, is suspended by garlands of round and oval faceted crystal beads from the light-arms and the top of the chandelier. Numerous pendants, prisms, flowers, daggers and drops, some of which are amber, adorn the whole, which ends with a faceted sphere.

related work

The model of these chandeliers is named “Marie-Antoinette” in homage to Queen Marie-Antoinette (1755-1793) who redesigned the Petit Trianon when she moved in, in 1777.

Similar chandelier located in the Grande Salle à manger of the Petit Trianon

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France
Circa 1840

Gilded and patinated bronze

Height : 88 cm (34,6 in.) ; Diameter : 60 cm (23,6 in.)

Beautiful Louis-Philippe period (1830-1848) patinated and gilded chiseled bronze chandelier. Twelve light arms with scrolls of acanthus leaves, alternating with stylized palmettes, illuminate the central part, surmounted by a crown. It is decorated in the lower part with acanthus leaves and ends with a seed. The whole is suspended by six double rods attached by hooks to a leafy ceiling light.

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Lighting manufacturer (1855-1937)
(attributed to)

Cupids Chandelier

France
Circa 1890

Gilded bronze, Alabaster

Height : 50 cm (19,7 in.) ; Diameter : 46 cm (18,1 in.)

Charming Louis XVI style chandelier composed of a gadrooned basin sculpted in alabaster surrounded by a frieze in chiseled and gilded bronze on which lie three small winged Cupids looking downwards.
The whole is suspended from an elegant ceiling light, decorated with acanthus leaves and ending in a seed, by three chains connected to the basin by leafy scrolls.

Biography

Henri-Antoine Beau (1855-1937), polytechnician, joined the Corps of Telegraphs Engineers and then as a partner from 1879 to 1880 in the firm Lecoq et Beau, specialized in gas lighting. From 1881 to 1898, the firm took the name Beau et Bertrand Taillet, then became Henri Beau et Cie from 1898 to 1911. Under his leadership, the firm innovated in the field of electric lighting, and successfully participated (“la maison Beau qui, en 1877, s’occupa de rendre pratique l’éclairage électrique” Rapport du jury international,  Classe 97 – Bronzes, Fonte et Ferronnerie d’art, Zinc d’art , Métaux repoussés  – Rapport de M. H. Vian, p. 39) in the successive Universal Exhibitions from 1878 to 1900, while contributing to the construction of the telegraph and telephone networks in Paris.

Bibliography

Le Bronzeland parisien, Un monde disparu, Sabine Lubliner-Mattatia, Les Indes savantes, 2022

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France
Circa 1860

Giltwood

Height : 183 cm (72 in.) ; Base : 66 x 66 cm (25,9 x 25,9 in.)

Provenance : Île-de-France Castle

Exceptional pair of Regence style carved and giltwood torcheres holders. The console shaft around which a dolphin is wrapped is richly decorated with leafy scrolls, shells, floral falls and a woman mask. It supports a circular top with palmette and acanthus, surrounded by a frieze of eggs.
The whole rests on a tripod base decorated with friezes of eggs and foliage, decorated with three dolphins leaning against a lambrequin and ending with six leafy feet.

According to the definition of the Dictionary of the Academy, in 1696, the torchère is a “kind of small pedestal table with a high shaft on which one places a torch, a candelabra, candles”.
In the last years of the 17th and 18th centuries, this piece of furniture was particularly appreciated for supporting candelabras and girandoles made of glass or rock crystal intended to illuminate interiors as well as sumptuous galleries such as the Galerie des Glaces at Versailles for which two models of twelve copies each were delivered in 1769, in anticipation of the marriage of the Dauphin: one with figures of children sculpted by François Toussaint Foliot ; the other with a figure of a woman sculpted by Pierre-Edmé Babel after the drawings of Jacques Gonduin, architect of the Garde-Meuble de la Couronne.

Galerie des Glaces – Palace of Versailles

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Crystal Manufacture

Pair of Crystal Candelabras

France
Circa 1870

Height : 115 cm (45,3 in.) ; Diameter : 53 cm (20,8 in.)

Beautiful pair of Baccarat cut crystal candelabras with ten lights. The central baluster-shaped shaft illuminates with two superimposed rows of six and three light arms with twisted branches, and is topped with a corolla. The whole is decorated with numerous octagons and crystal dart prisms.

Biography

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867.  In all reports one can read about the « perfection of the material and of its cut ».

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France
Circa 1870

Patinated and gilded bronze

Height : 78 cm (30,7 in.) ; Base : 14,5 x 14,5 cm (5,7 in. x 5,7 in.)

Beautiful pair of Louis XVI style amphora-shaped vases in gilded bronze and canon de fusil patinated bronze. The neck, decorated with twisted fluting, is topped with a bouquet composed of three light-arms decorated with acanthus leaves and branches of flowering poppies. The belly is flanked by two scrolled handles on which sit two triton children holding a garland of flowers in their hands.

They rest on a pedestal decorated with acanthus leaves surrounded by a pearl frieze, ending with a molded square base decorated with foliate gadroons.

related work

This pair of candelabras is inspired by a model of vase-candelabras attributed to the famous bronze-caster Pierre Gouthière (1732-1813), in the collections of the Louvre Museum in Paris.

Pair of candelabra vases attributed to Pierre Gouthière (Bronzier, 1732-1813) dated around 1770 and kept at the Louvre Museum, OA 5169 1 and 2. A similar pair is kept at the Getty Museum in Los Angeles (inv. 72.DF.43)

Biography

Pierre Gouthière (1732-1813) married the widow of François Ceriset and took over Ceriset’s workshop in 1758. Protected by the duc d’Aumont, who commissioned several works from him, he started for the prestigious Menus-Plaisirs du roi. The artistic and technical qualities of his works (he invented the dorure au mat, which provided bronze with the appearance of gold) notably led him to work for Queen Marie-Antoinette, Madame Du Barry and the Comte d’Artois. He was the master of Pierre-Philippe Thomire, another great bronze-caster from the period. Even though he was greatly renowned, he died destitute. Very few of his works are still in existence. They can be found in the greatest museum collections: the Louvre, the Wallace Collection, the Philadelphia Museum of Art, or the Frick Collection. 

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France
Circa 1880

Porcelain, Gilded bronze

Height : 67 cm (26,4 in.) ; Diameter base : 13,5 cm (5,3 in.)

Beautiful pair of gourd-shaped vases mounted as lamps, in powder blue porcelain and Louis XVI-inspired mounts in chiseled and gilded bronze. The neck is decorated with acanthus leaves highlighted by a frieze of pearls, and two leafy handles blossom on the belly. They rest on a gilded bronze base decorated with foliage and rosettes.

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France
Circa 1870

Bronze 

Height : 116 cm (45,7 in.) ; Diameter : 66 cm (25,9 in.)

Beautiful neo-gothic chandelier with six lights, in patinated bronze with gilded highlights. The hexagonal architectural shaft is pierced with quadrilobed crosspieces, inspired by the decorative repertoire of Gothic art, and ends with foliage scrolls.
The six light-arms are attached to the leafy crown. The whole is suspended from the ceiling light by three openwork chains.

The very architectural and precise design of this chandelier 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.

The Gothic style was brought back into fashion by the architect Jacques Hittorf (1792-1867) with the decorations made for the coronation of Charles X in 1824. It had a great success among the public with the success of literary works such as “Notre-Dame de Paris” by Victor Hugo in 1831 or the play by Alexandre Dumas, « La Tour de Nesle » in 1832. The furniture also followed the trend, as the neo-gothic salon of the princesse Marie d’Orléans in the Tuileries castle, or the neo-Gothic cabinet of the Count and Countess of Osmond in their Parisian hotel.

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Crystal Manufacture
(attributed to)                                       

V. Paillard

Bronze-caster (1805-1886)

Pair of Wall-lights

Signed V^OR PAILLARD A PARIS

France
Circa 1870

Height : 77 cm (30,3 in.) ; Width : 41 cm (16,1 in.) ; Depth : 46 cm (18,1 in.)

Beautiful pair of Second Empire period wall-lights with eight lights in chiseled and gilded bronze decorated with acanthus and rosettes, topped with a musician Cupid playing the flute and ending in the lower part with a mask. The eight twisted and foliated light-arms, ending in binets with gadroons and pearl friezes, are organized around a central shaft decorated with a profile portrait of a woman in a beaded medallion and topped with a crystal dagger. The whole is decorated with numerous rosettes, prisms and crystal pendants.

Biography

Victor Paillard (1805-1886) was one of the most distinguished bronze casters in Paris during the second half of the 19^th Century. He was taught chasing by Jean-François Denière (1774-1866), then opened in the 1830’s his own workshop making “Art bronzes and Furnishing bronzes”, settled n°105, boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone ; John Burney Waring ilustrates a gilt-bronze mirror by him in his “Masterpieces of Industrial Art and Sculpture, 1862 (Plate 92)”, which is a comprehensive record of the finest pieces on show in the London Exhibition. At that time, he was awarded a prize medal and the exceptional quality of his work was commented in all jury reports. Appointed a Chevalier of the Légion d’honneur by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundred models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his “Cherub” figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the “happy and innocent moods of childhood”.

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867.  In all reports one can read about the « perfection of the material and of its cut ».

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Sculptors and Bronze-chasers
(attributed to)

Pair of Orientalist Candlesticks

France
Circa 1890

Enamel, Gilded bronze, Onyx

Height : 17,5 cm (6,9 in.) ; Base : 7,5 x 7,5 cm (2,9 x 2,9 in.)

Charming pair of orientalist candlesticks in Algerian ribboned onyx and gilded bronze, with a barrel in the shape of a molded column. The binet, the central ring and the square base are decorated with cloisonné enamels with floral motifs. The whole rests on four beaded toupie feet.

Biography

Paul Louchet (1854-1936), a French artist, worked at the beginning at chiselling bronze pieces, before becoming President of the Bronze Manufacturers Society, located in Paris. Sculptor and painter, as well, he collaborated with his brother, Charles, and together participated to the Chicago Universal Exhibition in 1893, with a great success : « Il n’y a pas de plus belle ou plus magnifique exposition à Chicago qui attire l’attention universelle que celle dans la section des fabricants de Paris. Il s’agit du stand des frères Louchet de Paris, fabricants de porcelaines, de bronzes et d’objets d’art émaillés. Les produits de cette entreprise représentent sans aucun doute dans la conception, la fabrication et la finition le plus haut niveau dans l’art décoratif. » Then, turning to Art Nouveau style, they collaborate with Louis Majorelle, René Lalique and the Daum brothers.

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Sculptor
(1824-1887)

E. Colin

Bronze-caster
(2nd half of 19^th century)

Pair of torcheres “Night” and “Day”

Signed A. Carrier and Anc. M^on Colin éditeur – fondeur Paris

France
Late 19^th century

Bronze, Marble

Total height : 257 cm (101,2 in.) ; Base height : 52 cm (20,5 in.) ; Base width : 48×48 cm (18,9×18,9 in.)

Exceptional pair of female torcheres, made in dark patinated bronze with gilded highlights. Each dressed with antique style drapes, and holding up a seven light-arms gilded bronze candelabra. Day, bareheaded and with braided hair ; Night, the head covered by her coat and holding poppy flowers and fruits symbolizing sleep. Resting on an octagonal pedestal in molded marble and decorated with friezes of eggs, and adorned with figures of winged Victories holding a patinated bronze amphora.

These female torchere-holders repeat a common theme created by Carrier-Belleuse, what model for one of the two shapes was presented for the first time at the Paris Universal Exhibition of 1867. It was then used on a big clock made in collaboration with G. Viot company. The bronze figure holds a large pendulum instead of a candelabrum (reproduced and commented in 1851-1900 Le arti decorative alle grandi Esposizioni Universalli, D. Alcouffe, Idea Libri, p° 78, n° 256.)

Biography

Albert-Ernest Carrier-Belleuse (1824-1887), nick-named the « Clodion of the 19^th century » ; was a very prolific sculptor, treating his decorative objects and his portraits with equal naturalistic rigor, full of charm and life. He entered the Paris Fine-Arts school in 1840, where he studied sculpture under David d’Angers. From the early 1860’s, he won success with his sculptures presented at the French Artists Salon and particularly during the 1867 Salon, where he was awarded a « médaille d’honneur » and the « Légion d’honneur » for his Messiah.
The « new » Paris redesigned by the Baron Haussmann during Napoleon III^rd’s reign, commissioned many of Carriere-Belleuse’s masterpieces : at the Louvre palace with the high-relief « L’Abondance » on the Flore Pavilion (1865), or the sumptuous decoration made for the most famous Parisian palace on the Champs-Elysées Avenue, owned by the Marchioness of Païva. But it is especially with the torcheres-statues of the large staircase of the Paris Opera house (1873), recently built by Charles Garnier, that Carrier-Belleuse meets a huge success with the Parisian public. In the catalogue of the 1878 Universal Exhibition an art critic praised Carrier-Belleuse and added: « Even the English come from London to ask him to work for them ». His busts, nudes, group compositions as well as his candelabras, vases and clocks, all chased remarkably, had a considerable success during the Second Empire.

Emile Colin, a renowned founder installed since 1843, No. 29 Sévigné Street in Paris, cast as soon as 1855 for the most wellknow masters of France sculpture, such A.E. Carrier-Belleuse (Le Zouave), J. Pradier (Les Trois Grâces, Vénus consolant l’Amour) or J.B. Carpeaux since 1875 (L’Enfant au cor),  as well as the famous Parisian silversmith Christofle. Colin used to stamp his bronzes of the mention « Emile Colin & C^ie » from 1882 until 1898.  That mark became later « M. Colin & C^ie » from 1898 until 1906, then « Ancienne Maison Colin, Jollet & C^ie » 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 a large bronze clock. 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. With the death of Emile Colin in 1900, his own models were sold to the Company Doistal, set up in Paris, Avenue Daumesnil. This firm doesn’t exist anymore. The Colin Company was once again honoured at the 1900 Paris Universal Exhibition with lights of various styles designed and modelled by Léon Méssagé.

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Art light Creator (since1840)
(attributed to)

“ Dolphin” Chandelier

France
Circa 1900

Crystal, Gilded bronze

Height : 78 cm (30,7 in.) ; Diameter : 40 cm (15,7 in.)

Rare Louis XVI-inspired chandelier in crystal and chiseled and gilded bronze with six lights. It is composed of a lit covered basin in gadrooned cut crystal, covered on its base with large leaves ending in a seed. It is surrounded by a frieze of pearls on which rest six dolphins spitting water serving as supports for the light-arms. Six beaded chains adorned with crystals connect the light-arms to the wrapped torus crowning the upper thread.

Biography

Art light creator, Baguès was founded around 1840 in Auvergne. Specialized in liturgical bronzes, the company grew at the end of the 19th century and started to make lighting bronzes, thanks to the generalization of electricity.

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Bronze-Caster & Lighting Manufacturer (19^th Century)
(attributed to)

Chandelier with Medallions

France
Circa 1890

Porcelain, Glass, Gilded bronze

Height : 68 cm (26,7 in.) ; Diameter : 52 cm (20,4 in.)

Charming Louis XVI-inspired gilded bronze chandelier with six lights. It is made of six oval medallions surrounded by a ribboned torus and topped with garlands of flowers, alternating between a frosted glass plate centered with an engraved star and a Wedgwood-type porcelain fruit picking scene. It is lit by six light-arms with bobeches supported by female faces, attached by six beaded chains to a knot forming the ceiling light. The base is adorned with a frieze of eggs ending with a pine cone.

Biography

Gagneau, a famous lighting manufacture, was established in Paris since 1800, and became reknowned because of its improvement to the Carcel oil lamp. The innovation was shown for the first time at the National Industry Products Exhibition in Paris in 1819, and was patented the same year. In the 19th century, the firm moved from the 25, rue d’Enghien to the 115, rue Lafayette and specialized in all lighting material: lamps, chandeliers, wall-lights…, whose quality was famous : Gagneau received Premier Medals at the Crystal Palace Exhibition in London in 1851, and at the Paris Universal Exhibition in 1855. Celebrated bronzer and lighting manufacturer, Gagneau was member of the jury for the Artistic Bronzes Class at the Paris Universal Exhibition in 1889. The firm provided all lighting for the new French Embassy in Vienna in 1908.

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Designer (1825-1854)                                                  

A. Delafontaine     

Founder (1813-1892)

Neo-Greek « Cupid » Chandelier

France
Circa 1850

Bronze

Signed AD on the mount

Height : 88 cm (34,6 in.) ; Diameter : 65 cm (25,6 in.)

Beautiful neo-Greek chandelier in patinated bronze with golden highlights with sixteen lights. The central shaft, composed of a basin decorated with palmettes on a fluted pedestal ending with a seed, is surmounted by a Cupid shooting an arrow. The sixteen light-arms with foliage scrolls are connected to the basin by golden chains. The whole is attached to the ceiling light, decorated with ivy leaves, by three articulated rods in imitation of bamboo.

Biography

Henry Cahieux (1825-1854), head decorator for the artistic bronze founder Ferdinand Barbedienne, he appears as co-director, with Pierre Maximilien Delafontaine (1774-1860), of workshop number seven, in charge of the restoration of the southern facade of the old Louvre. He was destined for a brilliant career, as testified by the works of art he sent to the Salons of 1850 and 1853. Most of these pieces were in the Grecian style, which was very fashionable at the time. Victor Champier’s article “Industrial Artists”, which appeared in the Decorative Arts Review (December 1888) echoed the genius of the artist : « Barbedienne had just lost (in 1854), taken by cholera in the prime of life, this young man with such a promising future, whose works, infused with graceful taste, showed him to be a master ». At the 1855 Universal Exhibition in Paris, his lamps which figured as the last testimony of Henry Cahieux, won a medal of honour for Barbedienne’s stand. His succession in the firm was assured by Louis-Constant Sevin (1821-1888) with great success.

A bronze factory existed in the 18th century, directed by Jean-Baptiste Maximilien Delafontaine, master foundryman born in 1750. His son Pierre Maximilien (1774-1860) succeeded him. The factory was first domiciled at 13 rue d’Orléans then, from 1824, at 10 rue Neuve-de-l’Abbaye. In the 1840s, it was Auguste Maximilien Delafontaine who was at its head at 46, rue Bonaparte, then 10, rue de l’Université in 1870. The most fruitful period of the firm corresponded to his direction. Publisher, he entrusted the execution of the bronzes to the Molz foundry, rue de Rennes. Taking up the contracts signed by Duret with the founder Quesnel, he published around 1855, among others, Le Danseur napolitain, Le Vendangeur improvisant, Jeune Pêcheur dansant la tarantella, La Tragédie, La Comédie. Its catalog of “art and furnishing bronzes” offers works by other artists including Pradier, reproductions of antique statues and various art and furnishing objects. During the sale after Barye’s death in 1876, he purchased a certain number of models, notably dogs, of which he made a few editions. The activity was continued by his own son Henri-Maximilien (?-1932) from 1884, until the closure of the company in 1905.

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Bronze-caster (1853-1929)

Pair of « Japonisme » Chandeliers

France
Circa 1900

Signed SOLEAU and E. SOLEAU PARIS

Patinated, gilded and silvered bronze

Height : 64 cm (25,2 in.) ; Diameter : 46 cm (18,1 in.)

Beautiful pair of Japanese chandeliers in patinated bronze, gilded and silvered with five lights.
They are composed of three stylized fans, lined with red, pink and orange tinted glass, centered respectively by a seahorse in algae, a spider placed on a web and a dragonfly on leaves, alternating with three arms of light ending in corollas. Branches of flowering cherry trees are scattered throughout. Everything is suspended by three chains connected to a foliage ceiling light ending with a flower.

biography

Eugène François Alexandre Soleau, born October 3, 1853 in Buenos Aires, Argentina and died July 8, 1929 in Paris, is a French industrialist and inventor. Promoter of the protection of intellectual property, he is the father of the Soleau Envelope, a non-binding and inexpensive French instrument used to prove the anteriority of an intellectual creation. Bronze manufacturer, secretary (1885-1889), then vice-president (from 1895 to 1899) and finally president (from 1900) of the Bronze Manufacturers’ Union, he was involved, on a French and international scale, in the protection of intellectual property. Vice-president of the International Association for the Protection of Industrial Property, he participates as a delegate of the Bronze, Jewelry, Jewelry, Goldsmithing, Ceramics, Glassmaking, and of all the plastic arts unions, at the international congresses of industrial property in Vienna (1897), London (1898) and Zurich (1899).

“Japonisme”

From 1853, and the opening of Japan following the intrusion of the US navy, and more precisely from the 1860’s, the enthusiasm of everything coming from Japan or imitating its style conquers numerous occidental countries from France and Britain. This movement, called “Japonism”, will last until the early 20^th century. The previous centuries and decades had already had a certain interest for the exoticism such as chinoiseries ou turqueries in the 18^th century or the Orientalism of the 19^th century. The Japonism movement has been developed by artists looking for new means of expressions. Size, mediums, colours, drawing and perspectives are reinvented. Decorative Arts, as in painting, draw on those new sources of inspiration patterns to renew their repertoire.  

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Chandelier with Flowers

France
Circa 1890

Porcelain

Height : 72 cm (28,3 in.) ; Diameter : 30 cm (11,8 in.)

Charming painted porcelain chandelier with a blue background, in the shape of a basin with a flared and openwork border decorated with foliage on a platinum background alternating with golden rosettes. The body is decorated with a rotating decoration of flowering branches and butterflies, framing three medallions with the letter M decorated with daisies, and ends with a seed extended with golden leaves. It is suspended by six gilded bronze chains connected to a ceiling light ending in a pine cone.

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 the 18th and 19th century, numerous pieces did bear no making mark. It was then almost impossible to attribute them to any particular Parisian factory, hence the expression “Paris porcelain” or “Vieux Paris” including all those various productions.

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France
Circa 1860

Bronze 

Height : 103 cm (40,5 in.) ; Diameter : 68 cm (26,7 in.)

Rare neo-gothic six-lights chandelier in patinated bronze with golden highlights. The hexagonal architectural shaft, like gothic arches, is centered by a red tinted crowned verrine, and has 6 light-arms decorated with red cups with cut sides, and topped with pinnacles. The whole is attached to the crown forming the ceiling light by three openwork chains.

The very architectural and precise design of this chandelier 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.

The Gothic style was brought back into fashion by the architect Jacques Hittorf (1792-1867) with the decorations made for the coronation of Charles X in 1824. It had a great success among the public with the success of literary works such as “Notre-Dame de Paris” by Victor Hugo in 1831 or the play by Alexandre Dumas, « La Tour de Nesle » in 1832. The furniture also followed the trend, as the neo-gothic salon of the princesse Marie d’Orléans in the Tuileries castle, or the neo-Gothic cabinet of the Count and Countess of Osmond in their Parisian hotel.

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Bronze-caster (1860-1905)
(attributed to)

Chandelier with Eagle heads

France
Circa 1890

Height : 112 cm (44 in.) ; Diam. : 78 cm (30,7 in.)

Important Louis XVI-inspired chandelier in gilded bronze with 18 lights. The baluster-shaped central shaft in blue enameled bronze is surmounted by a fluted rod in gilded bronze surrounded by intertwined laurel branches, topped with a leafy crown. It is lit by two rows of six and twelve sconces surmounted by eagle heads and adorned with foliage scrolls, attached by six chains to the crown. The base ends with acanthus leaves ending with a pine cone.

This chandelier is inspired by the creations of the engraver-gilder Pierre Gouthière (1732-1813), one of the greatest French bronze-casters recognized for his excellence which earned him to count among his customers Queen Marie-Antoinette, Madame Du Barry and even the Count of Artois.

Biography

Henri Vian, a bronze-caster active in the second half of the 19th Century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers,… He produced articles of the highest quality. The business, located at 5 rue de Thorigny in Paris (the Salé Mansion, now the Picasso Museum), was continued by Madame Vian after her husband’s death in 1905.

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Goldsmith and Bronze-caster (1824-1889)
(attributed to)

Pair of « Holy Family » Candle Holders

France
Circa 1880

Cold-painted enamel, Gilded and silvered bronze

Height : 65 cm (25,6 in.) ; Width : 24,5 cm (9,7 in.) ; Depth : 24,5 cm (9,7 in.)

Rare pair of gilded and silvered bronze candle holders with engraved shafts decorated with rings embellished with colored cabochons in imitation of semi-precious stones. The religious character of these candles is recalled by the presence of angels in medallions in the center of the shaft, and by the presence of members of the Holy Family in a mandorla on each side of the tripod foot.
A rich bestiary of fantastic animals inspired by the Middle Ages adorns the whole.

The abundance of details transforms these candle holders from simple utilitarian objects during a religious celebration into a decorative artwork.

Biography

Placide Poussielgue-Rusand (1824-1889) is a Parisian goldsmith and bronze maker known above all for his liturgical objects (chalices, ciboriums, patens, monstrances, etc.) and church bronzes (altar candlesticks, candelabra, chandeliers, lamps, altar cross and processional cross, altar…). In 1849 he took over the Maison Choiselat-Gallien. His sense of commerce allowed him to organize his production of modular objects, sold in catalogs, in an industrial manner. In 1862, his company employed 250 workers.
Recognized by his peers, officer of the Legion of Honor and bearing the title of Goldsmith of NSP the Pope, he won prizes at the universal exhibitions from 1851 to 1878. He chaired the goldsmith’s jury in 1889. On the death of Placide Poussielgue-Rusand in 1889, the company took the name of Maison Poussielgue-Rusand Fils, managed by his son, Maurice Poussielgue-Rusand (1861-1933), then his grandson, Jean-Marie Poussielgue -Rusand (1895-1967) who ended the company’s activity in 1963.

The post P. Poussielgue-Rusand <br/> Pair of “Holy Family” Candle Holders appeared first on Tobogan Antiques.

Morocco
Circa 1900

Patinated and gilded Iron, Glass

Height : 130 cm (51,2 in.) ; Diameter : 76 cm (29,9 in.)

Rare Moroccan chandelier in patinated and gilded openwork iron with eighteen lights, composed of a baluster shaft ending in a hexagonal crown surrounded by a gallery and decorated with 12 alternating amber and red illuminating glasses and a large central opaque verrine enhanced with gold surrounded by 6 illuminating verrines arranged in a star pattern around.
The whole is attached to the canopy by three chains decorated with stars and starry crescent moons.

The post Oriental Chandelier appeared first on Tobogan Antiques.

France
Circa 1860

Opaline, Bronze 

Height : 100 cm (39,4 in.) ; Diameter : 46 cm (18,1 in.)

Beautiful neo-gothic chandelier in patinated bronze with gold highlights and water green opaline. The central shaft, decorated with cartridges in imitation of coats of arms, is decorated with gargoyle heads from which two branches of foliage interlacing emerge, with two erect lions leaning on them. A circular opaline lampshade, surrounded by a frieze of openwork flowers and topped with a leafy crown, covers the whole.

The very architectural and precise design of this lantern 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.

The Gothic style was brought back into fashion by the architect Jacques Hittorf (1792-1867) with the decorations made for the coronation of Charles X in 1824. It had a great success among the public with the success of literary works such as “Notre-Dame de Paris” by Victor Hugo in 1831 or the play by Alexandre Dumas, « La Tour de Nesle » in 1832. The furniture also followed the trend, as the neo-gothic salon of the princesse Marie d’Orléans in the Tuileries castle, or the neo-Gothic cabinet of the Count and Countess of Osmond in their Parisian hotel.

Neo-gothic salon of the princess Marie d’Orléans, oil on canvas by Prosper Lafaye, around 1838, Château de Versailles (Inv. MV 6120)

Pair of chairs by the cabinet-maker Jacob-Desmalter, around 1817-1820, exposed in the Petit Palais, Paris (PP03509 et PP03510).

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Bronze-Caster
(Active from 1853 to 1918)
(attributed to)

Elegant Lantern 

France
Circa 1880

Crystal, Bronze 

Height: 110 cm (43,3 in.); Diameter:  30 cm (11,8 in.)

Beautiful lantern in double patina bronze and crystal. The central shaft is engraved with a Greek frieze centered on a star. The whole is suspended from an openwork crown decorated with stylized leaves, from which three uprights end in a ceiling light.

Biography

The firm of Théodore Millet was founded in 1853. A very talented specialist in 18th Century reproductions, Millet produced furniture and artistic bronzes of the highest quality. He was one of the few cabinet-makers to obtain authorisation from the Château de Versailles to make in 1902 a replica of Queen Marie-Antoinette’s great jewel cabinet. As an artist of great merit and Specialising in « meubles et bronzes d’art, genre ancien et moderne », Millet obtained the highest rewards such as the Gold medal at the Paris Universal Exhibition in 1889 for his first participation, and the Grand Prize at the Universal Exhibition of 1900. The photographic archives show, among the workshops views and the parisian shop, Millet’s stand at the Universal Exhibition in Saint-Louis (US) in 1904. The firm’s influence internationnally is then through its antenna in New-York « Duryea and Potter », 469 fifth avenue, New-Yok. The firm lasted until 1918.

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Crystal Manufacture

Exceptional Chandelier and its ten Wall-lights

France
Circa 1860

Chandelier- Height : 255 cm (100,4 in.) ; Diam. : 170 cm (66,9 in.)
Wall-lights –  Height : 102 cm (40,1 in.) ; Width : 58 cm (22,8 in.) ; Depth : 64 cm (25,1 in.) 

Provenance : Private Palace, Italy

Exceptional chandelier with 90 lights accompanied with ten sconces. The central shaft is formed by a succession of balusters, cups and spheres in cut and faceted crystal from which emerge two rows of ten and twenty sconces formed by bouquets of two and three lights surmounted by a dagger, and fourteen egrets ending in bells.

Below, fifty-four beveled-sided knives form a star, from which descends a faceted sphere. The chandelier is richly adorned with pendants, drops, octagons and bells.

It comes with ten matching wall-lights with nine lights each, with a baluster-shaped central shaft, embellished with a crown from which emerge two rows of lights and a cup with six egrets ending in bells, surmounted by a faceted sphere and a dagger. The whole is adorned with numerous pendants, drops and octagons.

Dessin préparatoire pour un lustre à 140 verrines, 1858. Baccarat, archives of the manufacture, reproduced page 25 of the exhibition catalogue « Baccarat, la légende du cristal » exposed at the Petit Palais from October 15th 2014 to January 4th 2015.

This preparatory drawing probably served as a model for the chandelier presented here. Indeed, Baccarat offered several variants of the same model to its customers who could thus adapt their order by choosing the number of lights, the height of the chandelier or the shape of the shaft according to their taste and their interiors.

Between 1764 and 1860, with rare exceptions, the Cristallerie de Baccarat never signed his work. The first paper labels appear in 1860 and represent inside a circle a carafe surrounded by a stemmed glass and a goblet above which is marked Baccarat.

From 1875, the Mark « Baccarat » in stick letters and in relief is present on certain blown models and on the bronze parts of the frames.

It is from 1936 that the carafe surrounded by a stemmed glass and a goblet, with « Baccarat » marked above, systematically appeared on the entire production.

Since 1990, a laser signature complete the engraved mark.

Biography

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

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Sculptor-Ornemanist
(1827-1875)

G. Viot et Cie

Compagnie des Marbres Onyx d’Algérie
(active from the 2^nde part of the 19^th Century)

(attributed to)

Orientalist Chandelier

France
Circa 1870

Enamel, Gilded bronze, Algerian onyx

Height : 125 cm (49,2 in.) ; Diameter : 110 cm (43,3 in.)

Rare orientalist chandelier with 24 lights, in Algerian onyx, chiseled and gilded bronze and cloisonné enamel. It consists of a shaft formed by a baluster-shaped vase in onyx decorated with a rotating frieze in polychrome cloisonné enamel decorated with vegetal foliage topped with gilded bronze acanthus leaves, enameled cabochons, all topped with an onyx sphere. It is lit by four winding branches ending in an enameled cabochon distributing four bouquets of four lights surmounted by a flame, alternating with four two-light branches. The whole is richly adorned with many Baccarat cut crystal pendants, garlands and stars. It ends with a flattened sphere in onyx ending in a gilded bronze.

View of the stand of the Société des Marbres et Onyx d’Algérie, Paris Universal Exhibition, 1878
(reproduced in Les Merveilles de l’Exposition de 1878, p. 561)

Biography

The sculptor Eugène Cornu (1827-1899), installed in Paris at N.29 rue Popincourt, after having worked as a designer and then director for the renowned company Tahan (1813-1892), worked closely from 1858 with the « Compagnie des Marbres Onyx d’Algérie », led by Gustave Viot (1828 – 1897) and created by Alphonse Pallu (1808-1880) on June 14th 1858. This company refers to the exploitation of onyx, known since antiquity but rediscovered in 1849 in Oran Province, Algeria, by Del Monte, a marble worker. It opened in 1863 a shop on Boulevard des Italiens N.24, in Paris. In the mid 1860’s, the name of the company changed to “G. Viot & Cie” and produced, after models created by the most well-known sculptors, such as Eugène Cornu, Albert Carrier-Belleuse (1824-1887) (Victoria & Albert Museum, Inv. 9070-1863), Charles Cordier (1827-1905) (Orsay, Inv. RF 2996) ou Louis-Ernest Barrias (1841-1905) (Orsay, Inv. RF 1409), luxurious furniture and art objects, incorporating onyx marble and bronze, with sometimes enamel, a combination then considered as a novelty and become quickly highly prized among wealthy collectors. They showed together on their booth at the 1867 Universal Exhibition held in Paris a fine pair of onyx, bronze and enamel vases and their stands with elephants figures (signed « G. Viot et Cie, Exposition de 1867, Eugène Cornu Inventeur » ; Catalogue Officiel de l’Exposition, groupe III, classe XIV, « meubles de luxe », n°65) for which they won the Gold Medal (Rapports du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, groupe III, classe XV, chapitre II, § 2, p°45 & 46). Around 1873, Eugène Cornu became director of the Company and replaced G. Viot, which took then the name of « Société des Onyx d’Algérie E. Cornu et Cie ». Around 1878, the company was then headed to H. Journet from which it took his name. That firm remained opened until the beginning of the 20th century.

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Founder

(attributed to)

Pair of Neo-Greek Floor Lamps

France
Circa 1860

Total Height (without globe) : 188,5 cm (74,2 in.) ; Base : 45 x 45 cm (17,7 x 17,7 in.)
Pedestal height : 136 cm (53,5 in.)
Lamp height : 52 cm (20,4 in.)

Beautiful pair of neo-Greek floor lamps in bronze with double patina, composed of lamps in the shape of an antique vase, decorated on the body with a rotating frieze representing a circle of dancing nymphs. They rest on pedestals with a circular top in Griotte marble enhanced with palmettes, from which hang thin chains attached to the slender shaft decorated with stylized leaves and resting on a tripod base decorated with the heads of Bacchus alternating with large palmettes and ending in lion’s paws.

The stylistic repertoire used here, composed in particular of palmettes, masks, and nymphs, evokes Greek Antiquity, as does the reuse of forms of furniture and objects such as tripods and antique vases.
The rediscovery in the 18th century of the archaeological remains of Pompeii and Herculaneum allowed artists of all disciplines to draw inspiration from Antiquity while reinterpreting it.
This trend did not fade and, in the 19th century, many personalities fitted out their interiors with neo-Greek furniture, as was the case for the Maison Pompéienne built in 1856 by the architect Alfred Normand (1822-1909) for Prince Napoleon, or Empress Eugénie who bought from the Maison Barbedienne pedestals inspired by antique tripods.

Pedestal model presented by Maison Barbedienne at the Universal Exhibition in Paris in 1855. On this occasion, Empress Eugénie bought it for her bathroom in the Château de Saint-Cloud. This model pleased the Empress so much that she ordered two other pairs in 1858 for her boudoir in the palaces of Compiègne and Fontainebleau.

Watercolour showing the Empress’ toilet at Saint-Cloud Castle, by Fortuné de Fournier, 1860, Compiègne Palace

Biography

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

The post A. Lacarrière, Delatour et Cie <br/> Pair of Neo-Greek Floor Lamps appeared first on Tobogan Antiques.

China

Circa 1890
Gilded and patinated bronze

Height with lampshade : 73 cm (28,7 in.) ; Diameter lampshade : 44,5 cm (17,5 in.) ; 

Diameter base : 22 cm (8,6 in.)

Beautiful pair of patinated and gilded bronze vases mounted as lamps, decorated with flowers and foliage in cartouches. Covered with a bronze pleated silk lampshade edged with a double gold and brown braids.  First equipped with a French “Odin Merveilleux” oil lamp mechanism, they are now electrified.

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Bronze-caster (1860-1905)
(attributed to)

Chandelier  « aux Têtes de Bélier »

France
Circa 1890

Crystal, Gilded bronze

Height : 80 cm (315 in.) ; Diameter : 55 cm (21,6 in.)

Charming Louis XVI style chandelier in gilded bronze, clear and amber cut crystal with six lights.

The central shaft, formed by a succession of balusters in cut and faceted crystal, is connected to the light-arms by garlands of pearls. The beaded basins are adorned with a ram’s head, and the whole is decorated with cut crystal drops, diamonds and prisms.

Biography

Henri Vian, a bronze-caster active in the second half of the 19th Century, made a lot of interior decorations with chimney mantelpieces, ormolu and patinated-mounted vases, chandeliers… He produced articles of the highest quality. The signature can be either in script, usually with a lower case first letter for his Christian name as on these vases, or more commonly with initials h.V. in later pieces. The business, located at 5 rue de Thorigny in Paris (Salé Mansion, now Picasso Museum), was continued by Madame Vian after her husband’s death in 1905.

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Art light creator (since 1840)
(attributed to)

 « Cage » Chandelier

France
Circa 1880

Crystal, Gilded bronze

Height : 80 cm (31,5 in.) ; Diameter : 48 cm (18,9 in.)

Charming Louis XV style « cage » shaped chandelier in gilded bronze and cut crystal, with four lights. Many cut crystal pendants, daggers, prisms and flowers adorned the whole, connected with garlands of pearls. An indirect lighting system reveals all the brilliance of the crystal.

Biography

Art light creator, Baguès was founded around 1840 in Auvergne. Specialized in liturgical bronzes, the company grew at the end of the 19th century and started to make lighting bronzes, thanks to the generalization of electricity.

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Designer and Art objects Editor
(attributed to)

Charming Night Lamp

France
Circa 1880

Porcelain, Crystal, Gilded bronze

Height : 15 cm (5,9 in.) ; Diam. : 15 cm (5,9 in.) ; Base width : 12 cm (4,7 in.)

Charming hexagonal night light in painted porcelain decorated with flowers, surmounted by an openwork gallery in gilded bronze containing a cut crystal corolla. Bordered by three Greek-shaped handles ending in hooves, it rests on an openwork tripartite base ending in rosebuds.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition.
Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York. The Maison “L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

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Ceramist
(1855-1948)

(Attributed to)

Oriental style chandelier

France
Circa 1890

Ceramic, Bronze, Brass

Height : 70 cm (27,5 in.) ; Diameter : 30 cm (11,8 in.)

Enameled ceramic chandelier with flared border underlined by a frieze of stylized foliage, decorated on the body with Arabic characters on a light blue background, alternating with tracery cartouches on a dark blue background, and white and blue interlacing on the underside which ends in a point. Illuminating with one light, it is suspended by three chains with diamond-shaped links in patinated bronze ending in brass-plated spheres.

Biography

Edmond Lachenal (1855–1948) was a French potter. He was trained in Theodore Deck’s studio, starting when he was 15. At the 1873 World’s Fair in Vienna, Lachenal’s work as a decorator for Deck received an Honorable Mention. Following this award, he became director of Deck’s decoration atelier. In 1889, he received his first gold medal at the World’s Fair in Paris for his work with faience wares in the style of Theodore Deck. These works used bright, polychrome glazes, a feature of his work that would remain constant throughout his career. By 1894, Lachenal begun casting sculptors’ work in stoneware with mat glazes. The best known of his collaborations was with the Swedish-born sculptor Agnès de Frumerie (1869–1937). She produced Symbolist figurative sculptures and decorations for the vases. Their collaboration continued until at least 1907. Lachenal also produced faience editions of vases by Hector Guimard in the same organic style as the Paris Metro entrances in 1902.

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Designer
(1828-1886)

 (Attributed to)

Japanese style Lamp

Japan – France
Circa 1880

Enamel porcelain, Gilded bronze

Height with lampshade : 133 cm (52,3 in.) / without lampshade : 125 cm (49,2 in.) ;
Diameter : 86 cm (33,8 in.)

Important Japanese style gourd-shaped lamp, made with a polychrome Kutani porcelain vase decorated with lake scene and flowers in cartouches, in the middle of flying waders on a red background. It is covered with a beige pleated silk lampshade, embroided with flowers and waders. It rests on an « old gold » patinated bronze base with stylized openwork decoration, topped with a Fô dog on each foot. 

Related work

Japanese enamel porcelain vase in a Japanese style mount by Edouard Lièvre, circa 1875.

Reproduced in Connaissance des arts Edouard Lièvre, H.S. n°228, p.8.

Biography

Edouard Lièvre (1829-1886) studied under the painter Thomas Couture (1815-1879), one of the more conspicuous artists in the circle of the Empress Eugenie. E. Lièvre soon devoted himself, however, to the art of furniture design. A talented ornamentalist, marked by the eclecticism typical of the Second Empire, Lièvre knew how to avail himself of skillful collaborators in order to create pieces in various styles: Renaissance, Louis 16^th or Oriental, which last were part of the great artistic movement in fashion since the 1860’s: the Japanese style named also Aesthetic Movement. they recreated an imaginary Far East adapted to decorate Western reception rooms. As an Interior decorator Lièvre also matched his luxurious and refined furniture with bronzes, ceramics and even fabrics. This Oriental exoticism, which only the richest could afford, appealed to bankers, judges, artists and famous courtesans as well as the Royal and Princely families. After the death of Edouard Lièvre, the greater part of his models, sketches and cabinet designs were bought by art publishers such as « l’Escalier de Cristal » or by Ferdinand Barbedienne, thus giving them the right to reproduce Lièvre’s furniture with their own stamp (see « Ventes de la succession Lièvre »,  Hotel Drouot, 27 fevrier 1890).

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Signed on the base Prof. G. Ca…?

Italian School
Circa 1900

Alabaster, Marble

Height : 30 cm (11,8 in.) ; Width : 25 cm (9,8 in.) ; Depth : 17 cm (6,7 in.)

Charming illuminating alabaster sculpture representing a young naked woman leaning on rocks, and seated at the edge of a source concealing a light, collecting the water with a shell. She rests on a rectangular base of concave shape in brown marble.

The post “The Source” appeared first on Tobogan Antiques.

Bronze-caster (1811-1885)
(attributed to)

Exceptional chandelier

Provenance : Casino – Campione d’Italia

France
Circa 1860

Gilded bronze, Crystal 

Height  : 210 cm (82,6 in.) ; Diameter : 195 cm (76,7 in.) 

This very important 96-lights chandelier made entirely in chiseled and gilded bronze in the Renaissance style, is composed at the lower part of six large sets of ten light-arms, adorned with Bacchus masks, scalloped acanthuses, pearls and “cuir découpé” motifs (“cut leather”), and at the upper part of six sets of six light-arms.
The light-arms set is designed around an architectured central shaft, made of foliate balusters, surrounded by three female tritons, each bearing a basket of exotic fruits. The whole finishing at the top with scrolls alternating with garlands of fruits. The whole is richly adorned with numerous cut and faceted crystal pendants.

related work

Two identical chandeliers have been made by Louis-Auguste Marquis for the Galerie de la Paix du 37 quai d’Orsay, Hôtel du Ministre des Affaires Étrangères.

(Reproduced in Le Quai d’Orsay, Ministère des Affaires Étrangères, Jean-Michel Leniaud, Jean Fouace et Gilles Stassart, Éditions internationales du Patrimoine, 2014, P. 198-201)

biography

Louis-Auguste Marquis (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.

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France
Circa 1900

Crystal, Gilded bronze

Height : 90 cm (35,4 in.) ; Diameter : 60 cm (23,6 in.)

Elegant Oriental style chandelier in pink tinted crystal and gilded bronze with six light arms, composed of an illuminating shaft formed by two superimposed cylinders, all decorated with geometric and leafy golden threads. The light-arms, following the base of the shaft, are adorned with crystal mirzas. Suspended by a small crown of leaves adorned with crystals, it ends with a crystal pendant with interlacing decoration.

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Manufacture de Cristal
(attributed to)

Neo-Greek Chandelier

France
Circa 1860

Height : 97 cm (38,2 in.) ; Diameter : 70 cm (27,6 in.)

Charming six-light chandelier, in clear and opaque cut crystal decorated with Greek friezes in orange tones. The central shaft, formed of inverted cones and cups, ends with a light concealed by a sphere with two crystal sides. It illuminates with five light-arms with twisted branches ending with engraved crystal cups decorated with palm leaves. The whole is adorned with numerous pendants and bells.

Biography

The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867. Reports of the Universal Exhibition, from 1855 to 1867, talk about the “perfection of the material and of its cut”, considered superior of those from Bohemia or England.

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France
Circa 1880

Gilded bronze

Height : 80 cm (31,5 in.) ; Diameter : 82 cm (32,2 in.)

Beautiful chiseled and gilded bronze chandelier with six square section light-arms, connected to the shaft by female heads, adorned with acanthus leaves and ending with delicately crafted binet and bobeches. The central shaft is composed of a gadroon vase adorned with four handles  crowned with antique-styled female heads, resting on a base decorated with acanthus leaves, a wrapped torus and four ram’s heads, and ending with a seed.

Sconces, chandeliers, candlesticks and other candelabra, which illuminate the rooms, grow considerably during the 17th century. Although already existing in the 17th century, the word “chandelier” was only used late because until the 18th century in the old inventories, the chandelier is designated by the word “candlestick”. Their refinement attests to the social status of their owner. Their sophisticated decor marked by great rigor and classical solemnity are inspired by decorative drawings made by Jean Bérain, Daniel Marot, Le Pautre or André-Charles Boulle and widely adopted by other artisans through all Europe. At the end of the 17th century and during the early 18th century, interior designers introduced for their models used in decorative arts a new vibrancy, freed from Le Brun’s Classicism, and paving the way to the Regency style, then more intimate.

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France
Circa 1880

Gilded and patinated bronze, Griotte marble

Height : 51 cm (20 in.) ; Base : 16 x 16 cm (6,3 x 6,3 in.)

Pair of candelabras after a model by Clodion, representing a young Faun and a young Bacchus in patinated bronze, each holding three light-arms in chiseled and gilded bronze with vine decoration. They rest on a square base with curved edges in Griotte marble, topped by a truncated and fluted column in gilded bronze, surrounded by a torus.

related work

Candelabra child Satyr (in pair with a little girl), model by Clodion
Circa 1775, Gilded and patinated bronze
Provenance : Palais de Compiègne in the 19th century
Kept in the Louvre museum (OA 5207)

The authorship of the model is established by the sales catalogue of the Cabinet of Mr. Aubert, on March 2^nd, 1786 :

biography

Claude Michel, known as Clodion, is a French sculptor born in 1738, from the Adam dynasty. He joins in 1755 the workshop of his uncle Lambert Sigisbert Adam then becomes the student of Jean-Baptiste Pigalle. He wins in 1759 the sculpture grand prize and leaves to Rome in 1762 until 1771. In 1773, he is accepted by the Academy and receives his first order from the King in 1779 for a statue of Montesquieu. He is known for his mythological groups of dancers, nymphs or bathers in terracotta, and many of his artworks are exposed in museums such as the Louvre, the National Gallery of Art de Washington, or the museum of Fine Arts of Nancy.

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France
Circa 1880

Porcelain, Gilded bronze, Crystal

Height : 120 cm (47,2 in.) ; Diameter : 58 cm (22, 8 in.)

Large pair of baluster-shaped candelabra vases with seven lights, in gros bleu porcelain and chiselled and gilded bronze. The sconces, adorned with foliage and vine branches, are joined by elegant garlands of crystals cut in prisms and mirzas. Two openwork handles decorated with foliage and a garland frame the belly.

They rest on a base adorned with interlacing friezes ending by four leafy feet.

This pair of candelabra vases is close to the production of the Sèvres factory.

Biography

The Sèvres factory of soft-paste porcelain was created, about 1738 at Vincennes by bankers and financiers with the aim of making true or “hard-paste” porcelain, like Meissen did. In 1753 Louis XV, became a major shareholder and the manufactory was transferred to Sèvres, closer to Versailles and the château de Bellevue, acquired by the Marquise de Pompadour. The Marquise took a personal interest in Sèvres activities, and encouraged production. In 1759, Louis XV bought out the other shareholders and Sèvres became the exclusive property of the France Crown. From then, the manufactory mark was a crossed Ls (the royal monogram) together with a letter indicating the year. The period from 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 painter Boucher or the sculptor Falconet, worked for Sèvres, creating models. Experimentation in order to discover the hard-paste porcelain technic continued, and was discovered after 1769. The factory produced with success both soft-paste and hard-paste porcelain, in developing at the same time new colors: dark blue (bleu lapis) about 1752, turquoise blue (bleu céleste) in 1753, apple green in 1756, rose in 1757, and king’s blue in 1763. These remarkable pieces were usually painted with scenes form engraving by famous painters (François Boucher) or sculptors, with garlands, baskets of flowers and trophies. The Manufacture continued its production in the 19th century, asking the artists for new models, or taking inspiration from 18th century pieces.

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Bronze-caster
(active since 1831)
(attributed to)

Large pair of rock crystal girandoles

France
Circa 1860

Height : 105 cm (41,3 in.) ; Diameter : 60 cm (23,6 in.)
Height columns : 115 cm (45,3 in.)

Rock crystal, Gilded bronze

Large pair of Louis XIV style girandoles with twelve light-arms, adorned with five rows of finely cut and faceted rock crystal pendants, topped by a dagger. The whole is supported by a beautiful garniture of gilded and chiseled bronze organized around a baluster shaft, resting on a circular base decorated with godrons and lambrequins.
An indirect lighting system reveals all the brilliance of rock crystal.

They rest on two truncated walnut columns.

biography

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

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France
Circa 1910

Patinated and gilded bronze, Tinted glass

Height : 135 cm (51,1 in.) ; Diameter : 100 cm (39,4 in.)

Important pair of oriental style chandeliers in gilded and patinated bronze suspended by six articulated chains reunited by an elegant roof light. Circular in shape, they have a serie of twelve light-arms around the crown and twelve red verrines diffusing a subdued light.
They are composed of cupolas covered with partly openwork domes decorated with stylized croissants. The whole is richly decorated with a geometrical decoration of Ottoman inspiration, evoking the ornamental and architectural repertoire of the objects and furniture decorating the mosques.
Although of French production, the style and decorative motifs of these chandeliers suggest that they were destined for the oriental market.

The word « Orientalism » appears around 1830, while the 17th and 18th centuries already developed with a large fantasy the “Turquerie” theme. This trend imbued with exoticism and picturesque can be found in the decoration of Marie-Antoinette and Comte d’Artois’ private apartments at the end of the 1780’s. It is in the 19th century, with the Bonaparte-led Egypt expedition of 1798 that the craze for Orient, its mysteries, beauty, eroticism and light fascinates.  However, the overtaking of Alger by the French in 1830 remains the real starting point of this artistic movement and of the apparition of the term Orientalism.

With the development of steam maritime liaisons and railways, painters, sculptors, cabinet-makers and ceramists join militaries and salesmen in discovering yet unknown countries.

Riding camels and wearing turbans, French artists, visit Persian and Arabic countries, such as Eugene Delacroix (1798-1863) who drew hundreds of watercolours and sketches from his travels to Alger and Oran in 1832. It will remain a source of inspiration for years to come. Other artists such as Decamps, Fromentin or Gerome, Lamartine, Nerval or Gautier, all fed by the desire to uncover new civilisations or even to adopt the local lifestyle, also went towards those sunny and arid lands. In the meantime, English are focused towards Egypt and Palestine. In Austria, Switzerland, Germany, Italy, other European artists undertook travels of their own.

From those travels, fine Arts in Europe burst in new themes: the despotism of the tyrant, the sensuality and opulence of harems, the picturesque of coloured street scenes, the richness of men and landscapes.
In France, Orientalists became famous during the Second Empire.

Emperor Napoleon III, aristocrats as much as the bourgeoisie searching for exoticism filled up order books of renowned artists.  It is not primarily the academic style of the Orientalists that matter, but mostly the exoticism of their pieces that fascinate the public; such as the sculptor Charles Cordier (1827-1905) who innovates with the polychrome marbles and onyx from Algeria, or Emile Guillemin (1841-1907) whose works are edited by Ferdinand Barbedienne (1810-1892). Those artists joined scientific expeditions in Orient, in order to report cultures of a multi-ethnic civilisation. This documentary and naturalist approach shows a political and cultural desire to preserve anthropological and geographic testimonies.

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Bronze-caster
(1810-1892)
(attributed to)

An oriental style chandelier

France
Circa 1870

Enamel, Gilded bronze

Height. : 75cm (29,5 in.) ; Diam. : 45cm (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 enameled stylized foliate. The whole is in the oriental style and hung with chains finishing in enameled medallions and corolla.

This work in enameled 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 19^th century.

Biography

Ferdinand Barbedienne (1810-1892) created and headed at n°30 boulevard Poissonnière in Paris one of the most famous 19th century artistic bronze casting companies. He owed his reputation to his bronze casting of Ancient and modern sculptures, which subjects came from the greatest European museums, but also to his original bronze works designed in his workshop and reserved for furniture and decoration. In addition to his own production, Barbedienne worked for renowned sculptors such as Barrias, Bosio, Clésinger or Carrier-Belleuse. Awarded with two Council Medals at the 1851 London Universal Exhibition, the Barbedienne Company won at the 1855 Paris Universal Exhibition a medal of honour and eleven cooperator’s medals for the work of his co-workers, designers and chasers. At the 1867 Universal Exhibition in his capacity as member of and speaker for the Jury, he was non-contestant, but exhibited nevertheless with great success cloisonné and champlevé enamelled pieces. Barbedienne was made an Officer of the Legion of Honour in 1867 and Commander in 1878 when he was compared with “a prince of industry and the king of bronze casting”.

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France
Circa 1880

Porcelain, Gilded bronze

Height : 43 cm (16,9 in.) ; Diam. : 20 cm (7,9 in.)

A very fine Louis XVI style turquoise porcelain vases with a polychrome decoration. Each side is adorned with a female portrait with a dog or a sheep and on the other side with a landscape on porcelain. The whole is enriched with a relief pearls decoration. Each vase is surmounted by a four lights candelabrum in gilt and chiseled bronze adorned with foliate patterns.

This pair of candelabra vases is close to the production of the Sèvres Factory.

Commentary

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

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San Ildefonso, Spain
(attributed to)

Outstanding crystal chandelier

Spain
Circa 1900

Crystal

Height : 120 cm (47,2 in.) ; Diam : 125 cm (49,2 in.)

A magnificent cut crystal three-stage chandelier underlined by crown of prisms, pearls and mirza. The lower part holds ten light arms finishing by green crystal cups with gold foliate patterns. The chandelier is supported by a central baluster in cut crystal enriched with large green crystal cups highlighted by intern lights.

A similar chandelier is exhibited at the Liria Palace in Madrid, the Duke of Alba’s residence.

Commentary

La Real Fábrica de Cristales de La Granja was established in 1727 in San Ildefonso under order of the Bourbon king Felipe V of Spain, in order to furbish the royal palace of the Granja in glaces and mirrors. 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 Granja royal manufacture of crystal took part in the diffusion of Spanish decorative arts in Europe during 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 center was founded in 1982. 

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Silversmith
(Late 19th century)

Pair of Jardinières-Candélabras

Signed Boin-Taburet à Paris and numbered 34369 and 34370

France
Circa 1880

Silvered bronze

Height : 25 cm (9 ^3/4 in.) ; Diameter : 34 cm (13 ^1/3 in.)

Lovely pair of Louis XVI style planters with three light arms. Each jardiniere, with their liners  in form of a basket based on a three leafy feet and a lobed base. The inner liners are removable.

biography

The two French goldsmiths George Boin and his son-in-law Emile Taburet created around 1875 in Paris the company Boin-Taburet. They made many silver pieces inspired by the beautiful services of the eighteenth century. At the Paris Universal Exhibition of 1878, Georges Boin presented a “service de toilette” inspired by the work of François-Thomas Germain (1726-1791), and then at the Universal Exhibition of 1889, several epergnes, including one of them executed after drawings by the famous artist Juste-Aurèle Meissonier (1695-1750), as well as tea sets of Louis XIV, Louis XV and Louis XVI styles. Boin-Taburet firm also exhibited a tureen and platter after Pierre Germain’s one (1645-1684) for the Jockey Club, located then on Scribe street in Paris in 1863. Through its lavish events to various international shows, Boin-Taburet company contributed to the revival styles of the eighteenth century.

bibliography

A. Dunan, The Paris Salons 1895-1914, Objets d’Art et Metalware, vol. V

J. Puiforcat, L’orfèvrerie française et étrangère, Paris, 1981, p. 112.

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Crystal Manufacture

An Exceptional Crystal Chandelier

France
Circa 1870

Height : 140 cm (55,11 in.) ; Diameter : 105 cm (41 1/3 in.)

A very important thirty-five lights Baccarat cut-crystal and gilded bronze chandelier. The centered stem is made up of baluster-and-bowl-shaped cut-crystal pieces, all of very high-standard quality. Adorned with an elegant gilt bronze mount forming the light-arms, alternating bouquets of six and one, all decorated with climbing ivy. Below, thirty-eight beveled-sided knives form a star, from which descends a bell. Richly adorned with finely cut crystal pendants, prisms, myrzas and diamonds.

Biography

The crystal manufacture of Baccarat, that dates back to the 18^th century, was awarded its first medal at the 1823 « Exposition des Produits de l’Industrie » for the « brilliance and the sharpness of its crystal » and became then the most renowned French « cristallerie ». Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions. In all reports one can read about the « perfection of the material and of its cut ».

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

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Crystal manufacture
(attributed to)

« The Nave»

France
Circa 1870

Crystal and gilt bronze

Height : 80 cm (31,5 in.); Diam.: 40 cm (15,7 in.)

Magnificent vessel shaped chandelier in gilded bronze and engraved crystal, suspended by four articulated chains. A ceiling pendant decorated with prisms and a central chiseled crystal bell tops up the chandelier.

Between 1764 and 1860, with rare exceptions, the crystal Manufacture of Baccarat doesn’t sign its works. The first paper labels appear in 1860 and represent inside a circle, a carafe surrounded by a goblet and a cup above which is marked BACCARAT.  From 1875, the brand BACCARAT in stick letters and in relief is present on  some blown models and on the bronze parts of the mounts. It’s from 1936 that the carafe, surrounded by a goblet and a cup with BACCARAT marked above, appears systematically on the production.

Biography

The famous crystal manufacture of Baccarat, established in 18th Century, was awarded its first medal in 1823, during the « Exposition des Produits de l’Industrie » for the « brilliance and the sharpness of its crystal ». It became then the most renowned French crystal manufacture. Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, especially between 1855 and 1867. In all reports one can read about the « perfection of the material and of its cut ».

Bibliography

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

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France
Circa 1870

Bronze, polychrome enamel

Height : 110 cm (43,3 in.) ; Diam.: 60 cm (23,6 in.)

Oriental style twelve arms chandelier with very fine geometric motifs of polychrome cold enamel on bronze. Suspended by three chains, it is centered by an ornamentation of tracery and stylized diamond-shapes. Twelve sconces and their assorted basins light the set, ending with a richly decorated enameled sphere.

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France
18th century

Silvered bronze

Height. : 26,5 cm (10,4 in.) ; Diam. : 14 cm (5,5 in.)

Ravishing pair of baluster-shaped candlesticks in silvered bronze. The stems are sculpted with deep fluting which supports the fluted socket and removable nozzle. Each candlestick rests on a large circular base with undulating edges.

Commentary

Wall sconces, chandeliers, candlesticks and candelabras considerably develop during the 17th century. Their refinement reflects the social situation of their owner. At the beginning of 18^th century, ornemanistes bring a new life to decorative arts, liberating these from the Le Brun classicism and opening the way to Regence style, lighter and more intimate.

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Numbered on its backside 359/576

France
Circa 1880

Terracotta

Height : 115 cm (45,3 in.) ; Width of the base : 37 x 30 cm (14,5 x 11,8 in.)

Large sculpture made in patinated terracotta, with a servant girl filling her jug at the fountain, which is decorated in the lower part of a lion’s head (from which flows water), topped with a grooved and truncated column, on which is wound a five light-flowers plant.

The terracotta pieces almost always bear a model number, and occasionally the edition number or how many pieces were edited, indicating then the importance of production, in this case made in a limited edition.
Originally, the signature of the sculptor never appeared in editions of terracotta. This claim of artists to see their name beside the publisher’s one didn’t appear until the late nineteenth century.

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Bronze-caster
(1805-1886)
(attributed to)

Pair of “Putti” torcheres

France
Circa 1870

Gilded and patinated bronze

Total Height : 262 cm (103 in.)
Torcheres – Height : 180 cm (70,8 in.) ; Width : 75 cm (29,5 in.)
Base – Height : 82 cm (32,3 in.) ; Diameter : 52 cm (20,5 in.)

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

Torcheres inspired by an 18th century model made by Jean-Louis Prieur (born around 1725), now part of the Wallace collection (inventory numbers F138 and F139).
Reproduced and commented in H. Ottomeyer, Vergoldete Bronzen, T. I, Klinkhardt & Biermann, Munich, 1986, p. 95.

Another comparable group of cherubs holding a foliate torchere made in about 1870 by Victor Paillard.

Biography

Victor Paillard (1805-1886) was one of the most distinguished bronze casters in Paris during the second half of the 19^th Century. He was taught chasing by Jean-François Denière (1774-1866), then opened in the 1830’s his own workshop making “Art bronzes and Furnishing bronzes”, settled n°105, boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone ; John Burney Waring ilustrates a gilt-bronze mirror by him in his “Masterpieces of Industrial Art and Sculpture, 1862 (Plate 92)”, which is a comprehensive record of the finest pieces on show in the London Exhibition. At that time, he was awarded a prize medal and the exceptional quality of his work was commented in all jury reports. Appointed a Chevalier of the Légion d’honneur by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundreds models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his “Cherub” figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the “happy and innocent moods of childhood”.

Museology

Many of Paillard’s bronze pieces are now displayed in private collections as well as in renowned fine arts museums, such in the Dahesh Museum of Art in New York, exhibiting Sappho (1851). In Paris, the “Quai d’Orsay” (French Foreign Office) still presents since the 1855’s some great pieces by Paillard (clocks, candelabra and torcheres) in the Main Hall, the Congress Hall and the Salon of the Ambassadors. As for its Clock Room, Paillard made the clock which gave its name to the Room.

Bibliography

Les bronzes du XIXe siècle, P. Kjellberg, Les Ed. de l’amateur, 1989, p° 662.

Masterpieces of Industrial Art and Sculpture, John Burney Waring, 1862, Plate 92.

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

Pair of neo-Greek floor lamps

France
Circa 1870

Patinated bronze

Height : 183 cm (72 in.) ; 213 cm (83,8 in.) with glass shades ; Diameter : 43 cm (16,9 in.)

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

Biography

Georges Emile Henri Servant (1828-c.1890), who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167). He was even awarded in 1874 the « Ordre national de la Légion d’Honneur », France’s hightest official mark of recognition. Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and small bronze pieces of furniture, but was also a member of the jury for the class of bronze pieces of art. He finally retired shortly before the 1889 Paris Universal Exhibition.

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France
Circa 1880

Porcelain, Gilded bronze

Height : 70 cm (27,5 in.) ; Diameter : 20 cm (7,8 in.)

Pair of Pompeian style gilded bronze mounted black porcelain lamps. Necks and bodies finely decorated with antique figures and allegories painted in light blue « grisaille » and gilded antique style motifs, such as braseros, pedestals and vases. Reposing on gilded bronze bases adorned with palmets and leaves. Topped with enlightening etched glass globes.

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France
Circa 1880

Silvered bronze

Height. : 57 cm (22,4 in.) ; Diam. : 37 cm (14,5 in.)

Pair of Louis XIV style five lights candelabras. Chiseled and silvered bronze. Ornamented with palmettes, medallions and feminine masks. Central stem with guilloche motifs, resting on an octagonal base.

To be linked : a silver candlestick made around 1720 by the French silversmith Jacques Besnier, after a model designed by Jean Bérain (1640-1711). Now preserved at the Metropolitan Museum of Art, New York (Reproduced and commented in « L’art du luminaire », J.Bourne, V.Brett, Flammarion, 1992, p°50).

Wall sconces, chandeliers, candlesticks and candelabras considerably develop during the 17th century. Their refinement reflects the social situation of their owner. The sophisticated ornamentation, solemn and rigorous, is generally inspired by the designs of Jean Bérain, Daniel Marot, C. de Moelder or Le Pautre, whose books of studies circulate throughout Europe, inspiring other craftsmen. At the end of 17th century and at the beginning of 18th century, ornemanistes bring a new life to decorative arts, liberating these from the Le Brun classicism and opening the way to Regence style, lighter and more intimate.

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

Pair of neo-Greek candelabras

France
Circa 1870

Gilded and patinated bronze

Height : 93 cm (36,6 in.) ; Width : 43 cm (17 in.)

Rare pair of Greek style candelabras made in patinated bronze and gilded bronze. Each with ten light arms topped by a heron shaped extinguisher. Decorated with various Greek style motifs such palmets, pine cones ans water leaves. Standing on a small triangular architecture presenting a theater mask and reposing on a tripod base formed with lion paw feet.

Bibliography

Georges Emile Henri Servant (1828-c.1890), who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167). He was even awarded in 1874 the « Ordre national de la Légion d’Honneur », France’s hightest official mark of recognition. Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and small bronze pieces of furniture, but was also a member of the jury for the class of bronze pieces of art. He finally retired shortly before the 1889 Paris Universal Exhibition.

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France
Circa 1880

Height : 53 cm (20,8 in.) ; Width : 34 cm (13,3 in.) ; Depth : 24 cm (9,4 in.)

Chased and gilt bronze sconces, each comprising a central shaft surmounted by an « antique brasero ». Issuing three up-turned grooved candle branches joined by a foliate garland and terminating in candle rings decorated with acanthus leaves.

Related work

Made after a gilded bronze wall light designed around 1775 by Jean-Charles Delafosse (1734-1789).
(Commented and reproduced in H. Ottomeyer, and alii, Vergoldete Bronzen, T. I, Klinkhardt & Biermann, Munich, 1986, p° 187)

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Designer
(1829-1886)
(attributed to)

Aesthetic Movement wall light

France
Circa 1875

Height : 100 cm (39,3 in.) ; Width : 70 cm (27,6 in.) ; Depth : 45 cm (17,7 in.)

Important Japanese style gilded bronze wall-light, consisting of a dragon holding in its mouth a Japanese flowering cherry-tree branche, ending in five large bloom flowers hosting the five lights.

Biography

Edouard Lièvre (1829-1886) studied under the painter Thomas Couture (1815-1879), one of the more conspicuous artists in the circle of the Empress Eugenie. E. Lièvre soon devoted himself, however, to the art of furniture design. A talented ornamentalist, marked by the eclecticism typical of the Second Empire, Lièvre knew how to avail himself of skillful collaborators in order to create pieces in various styles: Renaissance, Louis 16th or Oriental, which last were part of the great artistic movement in fashion since the 1860’s: the Japanese style named also Aesthetic Movement. they recreated an imaginary Far East adapted to decorate Western reception rooms. As an Interior decorator Lièvre also matched his luxurious and refined furniture with bronzes, ceramics and even fabrics. This Oriental exoticism, which only the richest could afford, appealed to bankers, judges, artists and famous courtesans as well as the Royal and Princely families. After the death of Edouard Lièvre, the greater part of his models, sketches and cabinet designs were bought by art publishers such as « l’Escalier de Cristal » or by Ferdinand Barbedienne, thus giving them the right to reproduce Lièvre’s furniture with their own stamp (see « Ventes de la succession Lièvre », Hotel Drouot, 27 fevrier 1890).

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