Gilt and Patinated Bronze Ewer on Stand, Attributed to Barbedienne

This ormolu clock is an exemplary work by the famous French 19th century metalworker and foundry-owner, Ferdiand Barbedienne. Working with a design made by the acclaimed onamentalist, Louis-Constant...

Antique Patinated Bronze Sculpture of Diana by Ferdinand Barbedienne French, late 19th Century Dimensions: Height 60cm, width 22cm, depth 22cm This...

Neoclassical style porcelain and gilt bronze clock set by Barbedienne French, late 19th Century Clock: Height 53cm, width 27cm, depth 24cm Candelabra: Height 56cm, width 19cm, dep...

Large French patinated bronze sculpture of David by Mercié and Barbedienne French, circa 1878 Measures: Height 77cm, width 36cm, depth 27cm...

Émile Coriolan Hippolyte Guillemin, the famous French sculptor, designed these exquisite bronze figural torchères in circa 1880. Guillemin was an accomplished artist, who regularly exhibited at the Salon in Paris from the 1870s-1890s. Indeed, Guillemin showcased the original models for these candelabra at the Salon of 1872 to great acclaim. Guillemin’s designs were realised in bronze by the famous metalworker and foundry owner, Ferdinand Barbedienne. The Barbedienne factory was of the leading producers of artistic bronzes in the 19th century. The firm enjoyed great success, winning multiple awards at the major International Exhibitions of the period. The torchères are signed, ‘Ele Guillemin’ and stamped, ‘F. Barbedienne. Fondeur’, with an ‘A. Collas’ reduction stamp. Described in Barbedienne’s catalogue of 1886 as ‘Deux Femmes, Indienne et Persane’, these torchères take the form of an Indian and Persian woman. Each figure holds a five-light candelabrum above her head, composed of scrolled branches, wide gadrooned drip-pans, and foliate urn-shaped capitals. The Persian woman wears loose trousers, with a small top and short jacket. The Indian woman is dressed in a knotted skirt...

Marble, gilt, and patinated bronze three-piece clock set by Barbedienne French, late 19th century Measures: Clock: Height 93cm, width 60cm, depth 28cm Candelabra: Height 97cm, width 46cm, depth 33cm This monumental marble, gilt, and patinated bronze three-piece set is a stunning example of Barbedienne's craftsmanship during the Parisian Belle Époque. Paul Dubois' 'Le Courage Militaire...

This finely detailed gilt bronze compote features a border of vintage motif including grapes and grape leaves. The compote is mounted on a verde antique marble base.

Fine pair of parcel-gilt and patinated bronze neo-grec bronze vases and rouge griotte marble. Designed by Ferdinand Levillain, cast by Ferdinand Barbedienne. Signed 'F. LEVILLAIN' , ...

A very ornate French antique ewer urn with a gleaming, red ceramic jug body and gilt bronze foot and trimmings, dating from the beginning of the 20th century ...

Signed F. Barbedienne & Cie Height : 31,5 cm (12,4 in.) ; Width : 12 cm (4,7 in.) ; Depth : 10,5 cm (4,1 in.) Charming baluster-shaped ewer in gilded bronze decorated with red and blue polychrome cloisonné enamel. Two beaded handles connect the body to the slender neck, ending in a flared pouring spout, and it rests on a circular piedouche. The whole is decorated with abundant engraved decoration of foliage interlacing. Barbedienne and the Cloisonné enamel : Ferdinand Barbedienne continuously innovated and he revived the use of enamel on art works during the second half of the 19th century. The Sèvres Manufacture enamel workshop had ever tried it in 1854-1855, but Barbedienne was the one who succeeded to join enamel to an industrial decorative objects production. From 1858 “At Mr Barbedienne’s, enamels in copper ornaments have got their former prestige back” (Les bronzes de la Maison Barbedienne, C. Simon, in L’Art du XIXe siècle, 1858, n°21, p. 252). The Barbedienne Company had now an enamel workshop where objects ornamented with oriental style or medieval style enamels were made. Four years after, Barbedienne’s cloisonné...

A French silvered-bronze athénienne by Ferdinand Barbedienne, Paris, last quarter 19th century with a revolving liner, the frieze applied with bucrania suspending ribbon-tied berried laurel swags above a border of bellflowers on a stippled ground above three seated female sphinxes issuing stylised foliage and scrolls on lion monopodia cast with the mask of Hercules, scrolling foliage and anthemions joined by stretchers, raised on a concave-sided triform marble base on a further thin silvered-bronze base, inscribed to the tripod base 'F. BARBEDIENNE' Measures: 103.3cm. high, 41.5cm. diameter; 3ft. 4 3/8 in, 1ft. 4 1/4. This impressive athénienne is a key reminder of the longevity of a particular model and design’s success from Antiquity through to the 19th century and up until this day. Typically known as the ‘Trépied du Temple d’Isis’, this athénienne is designed after the Roman antique originally found at Pompeii and now at the Museo Archeologico Nazionale, Naples (fig.1). From being for example an inspiration for the baptismal font of Napoléon’s son in 1811, this model was the inspiration to many highly skilled makers throughout the 19thcentury such as the Manfredini brothers from Milan and of course the Parisian well-established bronze founder Ferdinand Barbedienne who executed the present example. The Temple of Isis was a Roman temple dedicated to the Egyptian goddess Isis and was among one of the first discoveries during the excavation of Pompeii in 1764. Certainly considered as one of the most elegant examples of antique tripods, the existence of this model was then popularized to the rest of Europe via prints, one of the first being by Giovanni Battista Piranesi in 1779. This type of tripod was also popularised by an engraving in C. Percier and P. Fontaine’s, Receuil de Décorations Intérieures of 1801. Interestingly, there is also a watercolour now in the Musée Carnavalet, Paris, showing this type of tripod displayed at the 1801 Exposition des Produits de L’Industrie in the Louvre. The passion for Greek and Roman Art in the 19th century. The discovery of Pompeii and Herculaneum around the middle of the 18th century gave rise to a new passion for Antiquity and the excavated masterpieces renewed the repertoire of fine and decorative arts and served as models for Neoclassicism. Members of the aristocracy as well as connoisseurs, particularly in England, completed their education by undertaking a ‘Grand Tour’ of Italy and often fell victim to the recently unearthed Greek and Roman artefacts...

In the neoclassical taste, the open reeded spouts above ovoid bodies with leaf-clasped socles on square bases, the handles terminating in a female mask. This pair of ewers...