Emmanuel Fremiet Furniture

Lovely Seated Bronze Cat Statue by Emmanuel Frémiet as French Sculptor French, born in 1824. Highlighted by a brown patina the sculpture is char...

A Charming Bronze Groupe Statue of a Mother Cat with her two kittens. Resting on the carpet the Cat is seen nursing her two kittens in an attitude very familiar to cat owners! The two kittens are huddled against one another and sweetly nursing. Stretched out the mother appears very proud and very content! Signed by Emmanuel Frémiet on the Terrace, this little bronze is very sweet. Frémiet was born in Paris, he was the nephew and pupil of Sophie Frémiet, and later he became a pupil of her husband François Rude. He is more known for his 1874 Statue if Joan Of Arc in Paris, of which two copies are found in Philadelphia and in Portland, but was very prolific in the animal sculpture genre. He exhibited for the first time at the Salon in 1843 at the very young age of 19 with a Gazelle statue...

Signed E. Frémiet and F. Barbedienne, Fondeur. This two patina bronze is listed as the Porte-falot (Torch-holder) model No. 1. It is two thirds lower cast of the equestrian group ordered in 1882 by the Prefecture of the Seine to serve as a lamppost at the foot of the main staircase of the City Hall of Paris, then newly reconstructed following its fire during the “Commune” in 1871. The plaster model was exhibited at the Paris Salon in 1883 (Listed as No. 3652 in the Catalogue du Salon des Artistes vivants, 1883), and the bronze cast was made after 1910, the date of the acquisition of Frémiet’s masterpieces models by the Leblanc-Barbedienne company. November 19, 1880, the French State ordered Emmanuel Frémiet a lamppost with mythological motifs of mermaids or dolphins. The sculptor first refused theme imposed on it, and on August 22, 1882 the order was changed. Frémiet was then responsible for sculpting "an equestrian statue of a herald in place of the previous subject. " Emmanuel Frémiet therefore chose to represent a lantern holder, and gave it a medieval name to highlight the history of the city of Paris. The falot (lantern) is in fact a term that derives from the Old French and Latin Pharus designated here as a light or a torch, and this creates vertical dynamics often absent from traditional equestrian statues. The plaster was exhibited at the Salon of 1883, and then at the National Exhibition of Fine Arts in 1883. At the Salon, George Lafenestre described as the Fremiet’s equestrian Porte-falot (fifteenth century) : "The rider, a young man with long...

Fine 19th century French gilded bronze model of a dog. The bronze beautifully cast by renowned French sculptor Emmanuel Frémiet. Cast as a recumberant Samoyed on an elongasted oval b...

A brilliantly textured group of Chiens Bassets, this sand-cast model features an overall nuanced medium-brown surface patina rubbed away in the texture to reveal the coppery underton...

A good lifetime casting by Charles More numbered 215, it captures the entirely relaxed spirit of the recumbant husky dog with its bushy tail bouncing and eye...

A most rare model of Fremiet's St. Celicia, it features a vibrant gilded patina over a heavily textured and worked bronze. Unlike the carefully finished and often silky surfaces of Fremiet's serialized casts, the present model exhibits more like a maquette with loose working of the details and fresh tooling of the model captured brilliantly in the bronze medium. It feels very immediate, like the surface is still in transition, the scraping and cross-hatching of garments left raw and in a state of progression. The model is beautifully developed over the wax example held in the permanent collection of the Musée d'Orsay, which presents in slightly smaller dimensions and without the harp. The mold underlying the present example was incised FREMIET and ScA CELICIA, which transferred over to the bronze model without later cold-tooling. The catalogue text from Shepherd Galleries where this model was exhibited and subsequently acquired from in 2014 offers some excellent overview of the model: "Beginning around 1883, Frémiet created eight statuettes, including the present St. Cecilia. It is an homage to his son-in-law, the composer Gabriel Fauré (1845-1924). The banderole, swirling around the saint, is incised with the name G. Fauré, and with musical notations in a histori- cally correct manner: they are notations of a Gregorian chant, written on four lines with rectan- gular or square notes. Frémiet knew what he was doing there, either from research or from his father-in-law. It was - historically- the closest Frémiet could get to the Roman martyr, the patroness of musicians. Fauré married Marie Frémiet, the artist’s sister, in 1883, the possible date of the present sculpture. The young musician...

Signed Diehl à Paris. Wood and silvered copper inkwell. Central drawer ornamented with an escutcheon and flanked by two small lateral drawers forming two containers, surmounted by a lid representing a nestling. Central niche ornamented with a winged creature. Inkwell flanked by two felines. Toped by a penholder representing a Moorish head resting on an eagle claw. This exceptional piece was realized thanks to the collaboration of ornemanist J. Brandely, sculptor E. Frémiet and cabinet-maker C.-G. Diehl. The motif of the fantasy creature dear to Diehl, is to be seen on the famous cabinet made by him in 1867 and now exhibited at the Metropolitan Museum of Art in New York (Inv. 1989.197). Arriving in Paris in about 1840 Charles-Guillaume Diehl (1811-1885) founded his cabinet making and decoration firm at 19 rue Michel-le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments (see “Les ébénistes du XIXème siècle”, D. Ledoux-Lebard, Ed. de l’amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown (see “l’Art en France sous le Second Empire”, Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861. In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book “Les Merveilles de l’Exposition Universal de 1867” (vol. II, pp. 133 & 149). He writes of a table of which “the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love” (p. 133) and a jewelry case where “The head in fine Grecian style makes up the essential part of the fine gilt bronze ornamentation” (p. 149). For this Universal Exhibition Diehl also formed a partnership with two famous sculptors: Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet...