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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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-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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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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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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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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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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