Ferdinand Barbedienne Furniture

A stunning and extremely high quality pair of French 19th century Louis XVI st. Belle Époque period Rouge Griotte marble and ormolu urns, signed Ferdinand Barbedienne. Each most impr...

Signed Désiré Attarge Fit and F. Barbedienne Paris Pair of silvered bronze cups, chased by Désiré Attarge after an antique model (Ist Century), known as the Coupe d’Alésia or Cantha...

Pair of antique gilt and patinated bronze jardinières by Barbedienne French, Late 19th Century Height 84cm, width 57cm, depth 51cm Crafted in France in the late 19th century out ...

Height without/with lampshade : 168/185 cm (66,1 / 72,8 in.) ; Base : 43 x 43 cm (16,9 x 16,9 in.) Beautiful pair of neo-Greek floor lamps in bronze with double patina, composed of cylindrical lamps, decorated on the body with a rotating frieze representing women dressed in the Antique style weaving and spinning, surmounted by lampshades with cut sides in red pleated silk with golden braid. They are placed on pedestals from which hang thin chains attached to the slender shaft decorated with stylized leaves and flowers, resting on a tripod base decorated 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. Related work : 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. (see photo attached) Photo showing a floor lamp similar to ours in Empress Eugénie’s bedroom in the Château de Compiègne (Oise), in Architecture intérieure et Décoration en France des...

This elegant vase is cast entirely in bronze and it is signed by its makers, the sculptor Ferdinand Levillain (French, 1837-1905) and the master bronzier Ferdinand Barbedienne (Frenc...

A handsome and high quality French 19th century Louis XVI st. Ormolu and black Belgian marble centerpiece, signed F. Barbedienne. This stunning centerpiece/tazza is raised on a circu...

The model of these Etruscan Amphoras has been exposed at the 1878 Paris Universal Exhibition. Each with a waisted neck raised with bearded satyr ma...

An exceptional French 19th century Egyptian Revival st. Belle Époque period patinated bronze and ormolu bust, signed by F. Barbedienne. The wonderful bust is raised by an elegant cir...

A fine pair of French Louis XV style Ormolu Mounted Rouge Griotte marble urns by Ferdinand Barbedienne (French, 1810-1892), now converted to low side tables with glass tops. The ovoi...

A Fantastic 19th century French Islamic/Orientalist Style Champleve Enamel Vase and Underplate, Signed F. Barbedienne. The wide-mouthed vase terminates down a narrowing body and is m...

A stunning and extremely high quality French 19th century Louis XV st. ormolu wall mounted clock and barometer signed by Barbedienne. Each is set in...

Unusual monumental clock set in Griotte marble signed Barbedienne and on the top of the clock you have a bronze made by one of the famous bronze m...

A most impressive and large scale pair of French 19th century Belle Epoque period Neo-Greek st. patinated Bronze, black Belgian marble, and Ormolu lamps, attr. to Ferdinand Barbedien...

We present you with this beautiful pair of large andirons with their gilded bronze bar. They exemplify the exuberant Napoleon III style and they originate from the late 19th century....

Antique patinated bronze and onyx mantel clock by Mercié and Barbedienne French, Late 19th Century Height 113cm, width 58cm, depth 40cm Two renowned French makers, Antonin Mercié (...

An exceptional French 19th century patinated bronze statue signed P. Dubois and F. Barbedienne. The statue entitled Le Courage Militaire, is raise...

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' , ...

Measures: Height : 47 cm (18,5 in.) ; Width : 70 up to 96 cm (27,5 – 37,8 in.) ; Depth : 6 cm (2,3 in.) A rare pair of square shaped andirons, made in gilded bronze and polychrome...

Large Louis XV style Rococo ormolu three-piece clock set by Barbedienne French, late 19th century Clock: height 58cm, width 51cm, depth 19cm Candelabra: height 75cm, width 35cm, d...

A fine pair of 19th-century Bronze and Gilt Classical Vases By Ferdinand Barbedienne 1810-1892. Each is unique with male nude figures in classical Greek poses playing music and ad...

Pair of 19th century/2nd Empire bronze decorative amphorae by Ferdinand Barbedienne By: Ferdinand Barbedienne Material: bronze, metal, copper Technique: forged, gilt, metalwork, mol...

After the model presented at the Universal Exposition in Paris in 1878 Important neo-Greek vase in the shape of an Amphora, made in two patina bronze. The body is decorated with a rich continuous frieze in bas-relief presenting a procession of characters carrying their offerings to the temple, underlined by a decoration of theatrical masks among olive trees. The 's'-scroll handles decorated with grape vines, resting only on the shoulder of the vase, are supported by a ram’s head. Numerous palmettes and friezes adorn the whole. Resting on a molded marble circular base. Height without marble base : 116,5 cm Biography Ferdinand Levillain (Paris, 1837-1905) studied under the sculptor Jouffroy (1806-1882), before making his debut in 1861 at the French Artists Salon where he continued to exhibit until 1903. At the 1867 Universal Exhibition in Paris, he was praised for a Neo-Greek style bronze cup he made for the firm Blot and Drouard. He was not to become really famous, however, until 1871 thanks to his association with the great bronze founder Ferdinand Barbedienne, who began to exhibit Neo-Greek style lamps...

A handsome and high-quality Italian 19th century patinated bronze statue of Apollo, signed F. Barbedienne, Fondeur. The statue is raised by a circular base with a finely detailed tre...

A 19th Century French Ormolu Elephant Handle Lamp, Signed Barbedienne, Most Probably Commissioned for a Maharajah. This Louis XVI style dore bronze lamp is the quintessential display of French empire decorative opulence. Its exaggerated urn shape is meticulously cast with ormolu detailing that covers the entire surface of the lamp. On either side of the vase are two decorative handles, made out to be fancifully embellished elephant’s heads. The inclusion of elephants—which were introduced to French culture...

French mantel clock by Ferdinand Barbedienne consisting of a terminal clock in the form of a fluted column in white marble and de...

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 remarkable pair of French 19th century Louis XVI st. Belle Époque period ormolu and Mahogany decorative wall plaques signed F. Barbedienne. Each plaque is set on an elegant Mahogany backplate with fine scalloped bases and tops. The central ormolu plaques...

A stunning and extremely high quality pair of French 19th century Louis XVI st. Belle Époque period patinated Bronze and Ormolu plaques, signed F. Barbedienne. Each most decorative w...

Manufactured in France by the renowned Ferdinand Barbedienne and designed by Henry Cahieux specifically for the iconic 1855 Paris Exposition Universelle. The stands with deep brown p...

Signed F. Levillain Fecit and F. Barbedienne Pair of Greek style vases made two patina bronze. Each, designed in the shape of an amphora with a flare...

This large patinated bronze antique sculpture depicts the Classical figure Penelope, the wife of Odysseus (Roman name Ulysses) who appears in ...

A Patinated Bronze Figural Group of ‘Gloria Victis’ (‘Glory to the Vanquished’), Cast by Ferdinand Barbedienne from the Model by Marius-Jean-Antonin Mercié (French, 1845-1916). ‘Gloria Victis’ (‘Glory to the Vanquished’). Bronze, gilt and dark brown patina. Signed 'A. Mercié', with foundry inscription 'F. BARBEDIENNE, Fondeur. Paris.' and A. Collas reduction cachet. The integral base titled 'GLORIA VICTIS'. This cast is part of a limited edition by the Barbedienne Foundry. France. Circa 1880. ‘Gloria Victis’ is one of the most recognisable and important works of sculpture of the nineteenth century and a definitive image of France’s historic national identity. The figure of glory, winged and wearing armour, carries a dying young warrior heavenwards towards fame and immortality. The compositional daring of the group must be admired for balancing two figures on the minimal support of one foot, wings spread in the moment before taking flight. Mercié was a student at the French Academy of Rome when the Prussians invaded France in 1870. Shortly after the war had begun, he executed a group depicting the figure of Fame supporting a victorious soldier. When news reached Mercié in Rome that the French had surrendered, he decided to alter his group, replacing the victorious soldier with a defeated casualty, thus transforming an allegory of ‘Glory to the Victors’ into one of ‘Glory to the Vanquished’. Completed in 1872, a year after the defeat of French soldiers against the Prussian army, the statue personifies a defeated but heroic France. The title is also a reversal of the famous formula, ‘Vae Victis’ (Death to the Vanquished), which the Gallic general Brennus exclaimed upon defeating the Romans in 390 BC. The figure of the fallen soldier was thought to represent Henri Regnault, a fellow sculptor of Mercié who was killed on the last day of fighting. Measuring 317 cm. high the original group of ‘Gloria Victis’ was unveiled in plaster at the Salon of 1872. It was bought by the City of Paris for the sum of twelve thousand francs and then cast in bronze by Victor Thiébaut for eight thousand five hundred francs. The bronze was exhibited at the Salon in 1875 and first placed in Montholon Square in the 8th arrondissement. In 1884 it was transferred to the courtyard of the Hôtel de Ville and in 1930, it entered the collection of the Musée du Petit Palais, where it can be seen to this day. The Thiébaut Frères foundry also cast Gloria Victis bronzes for the cities of Niort (requested 1881) Bordeaux (requested 1883), Châlons-sur-Marne (today, Châlons-en-Champagne; requested 1890), and Cholet (requested 1901). In 1905, the Danish brewer and art collector Carl Jacobsen was permitted to have an exact cast made of the original sculpture in Paris, on condition that the base was made 2 cm lower and bore the inscription “Original tilhører Paris By” (The original belongs to the City of Paris). It too was cast by the Thiébaut Frères foundry. Gloria Victis was one of Jacobsen’s most important and his last acquisition. Today it has been returned to its original position in the Winter Garden at Glyptoteket, Copenhagen, Denmark. The full-size plaster was shown again at the Paris Expositon universelle of 1878 alongside a bronze reduction by Barbedienne. By this time Antonin Mercié had entered into a commercial edition contract with the Ferdinand Babedienne foundry to produce bronze reductions of Gloria Victis, his most famous work. Gloria Victis is first recorded to have been produced in three sizes and by 1886 Barbedienne’s ‘Catalogue des Bronzes D’Art’ lists six sizes measuring 3/5, 9/20, 7/20, 3/10, 6/25 and 2/10, of the original. These reductions were produced by an invention of Barbedienne’s business partner Achille Collas. The Collas reducing machine was a type of complex mechanical pantograph lathe that enabled sculpture to be mathematically measured and transcribed to scale, in the round, thus making a reduced size plaster from which a bronze could be cast. Mercié's modern sculpture had become an instant classic, even receiving an entry in the Nouveau Larousse Illustré. The success of the group undoubtedly lay in the fact that it was admired not just on an aesthetic level, but also on a patriotic level, particularly in its commemoration of heroism in defeat. Immediately ‘Gloria Victis’ was recognised as a national artwork, capable of arousing patriotism and casts were ordered from Barbedienne as local memorials commemorating the war’s dead for cities across France. ‘Gloria Victis’ was considered so much a part of France’s national identity that for the 1900 Paris Exhibition, Ferdinand Barbedienne’s nephew Gustave Leblanc, loaned a bronze example to feature as part of l’Exposition centennale de l’art français. Literature: For an interesting account of the process of creating a reduction in bronze of the Gloria Victis by Barbedienne and illustrations of the casting and finishing of the bronze see: 'Ferdinand Barbedienne': Theodore Child; Harper's new monthly magazine, Volume 73, Issue 436, September 1886. ‘Contemporary French Sculptors’: The Century, Volume 33, Issue 3, Jan 1887. ‘Modern French Sculpture’: Harper's new monthly magazine, Volume 76, Issue 452, January 1888. S, Lami, ‘Dictionnaire des sculpteurs de l'Ecole française au dix-neuvième siècle’, Tome III. G.-M., Paris, 1914, p. 432. Peter Fusco and H.W. Janson, The Romantics to Rodin: French Nineteenth Century Sculpture from North...

Bronze vase of balustrades forms a relief of a musical and a shepherdess in an entourage of foliage and birds, resting on a pedestal area of a lezard and a surouris standing over red...

Gilt bronze and hardstone inlay Napoleon III period clock set by Barbedienne French, 19th century Measures: Clock: Height 50cm, width 23cm, depth 16c...

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...

An antique bronze sculpture depicting Hebe and Jupiter's eagle, after Laurent-Honore Marqueste. Dating to circa 1890, the statue depicts a female figure standing nude on a rocky out...

Set of four spelter plaques by Ferdinand Barbedienne French, late 19th century Measures: Height 45cm, width 12cm, depth 0.5 cm This set of four pla...

An exquisite and monumental true pair of French 19th century Napoleon III Period Renaissance st. Ormolu and patinated Bronze andirons, stamped by F. Barbedienne. Each andiron has an ...

Four antique bronze plaques depicting water-nymphs, by Ferdinand Barbedienne French, 19th century. Measures: Height 47cm, width 12cm, depth 2.5cm Finely cast in relief from patinated bronze with parcel gilt patina, these French 19th Century panels each depict a Classical female water-nymph. The relief structure and design is after four panels from the important marble fountain from the Renaissance period in Paris called the Fontaine des Innocents. This was created by the French sculptor Jean Goujon...

Pair of gilt bronze table candelabra by Ferdinand Barbedienne French, late 19th century Measures: Height 97cm, width 46cm, depth 35cm These large and finely cast candelabra were...

A lovely French 19th century Louis XVI st. ormolu and marble urn, signed 'F. Barbedienne'. The urn is raised by a circular Rouge Griotte marble base with a bottom ormolu fillet. At t...

This stunning clock expertly showcases the ingenuity of its maker, Ferdinand Barbedienne, and its smart styling in the opulent Napoleon III style will make it an excellent addition t...

An extremely high quality and palatially scaled pair of French 19th century Belle Epoque Period Louis XV st. Rouge Griotte marble and Ormolu candelabras, attributed to F. Barbedienne...

Beautiful antique crucifix cross in cloisonné arabesque and floral shaped enamel and gilt bronze by the Ferdinand Barbedienne foundry. Signed F. Barbedienne. France 19th century. Tr...

A bronze Statuette of Arlequin by Charles-René de Paul de Saint-Marceaux Cast by Barbedienne. The mischievous Harlequin, arms crossed in contemplation, wearing a grin and a mask, tr...

A superb quality and impressive large scale pair of French 19th century Renaissance st. Rouge Griotte and ormolu nine arm candelabras, signed F. Barbedienne. Each is raised by a square Rouge Griotte marble base with an ormolu ‘C’ scrolled support in a lion paw design amidst scrolled acanthus leaves. Above is an ormolu laurel band below the fluted marble pedestal...

A fine pair of late 19th century Napoleon III Rouge Griotte marble and patinated bronze four light candelabra Signed F. Levillian and F. Barbedienne Each surmounted by a stork,...

A superb quality pair of French Louis XV style ormolu and Rouge Griotte marble seven arm candelabras by Ferdinand Barbedienne. Each is raised by a square Rouge Griotte marble base ab...

A beautifully and high quality pair of French 19th century Louis XV st. Cloisonné and Ormolu candelabras, signed F. Barbedienne. Each six arm candelabra is raised by a square Ormolu ...

Finely executed bronze work depicting swallows flying above a natural environment on the bodies of the candelabras, each mounted with dore gilt. Six branched candle holders with styl...

A Neo-Grec gilt and patinated bronze Tazza, designed by Ferdinand Levillain and cast by Ferdinand Barbedienne. Marked 'F. Levillain' to the decoration and stamped 'F. Barbedienne' to the underside. This rare tazza is a fine example of the collaboration between the gifted designer Ferdinand Levillain and the highly acclaimed bronzier Ferdinand Barbedienne. It is decorated with a bas-relief in the 'Neo-Grec' or ‘Pompeian’ style with classical figures herding animals...

Comprising a central clock and a pair of flanking candelabra, the ormolu clock with circular dial and roman numbers signed 'F. Barbedienne', decorated with foliate scrolls and shells, surmounted by a putto, the pair of flanking three light candelabra similarly decorated on scrolling feet. The elegance of this beautiful antique ormolu clock...

A Large And Rare Pair of ‘Neo-Grec’ Style Multipatinated Bronze Amphora Vases by Ferdinand Levillain and Ferdinand Barbedienne. Signed to the cast ‘F. Levillain Fecit 1880’ and ‘F. Barbedienne’. This large pair of multipatinated vases are of amphora form modelled in the ‘Neo-Grec’ style with trumpet shaped necks and scrolling handles terminating in masks; the vases are raised on circular spreading bases put down on plinths. Each vase is finely ornamented with laurel leaves and garlands to the neck, the main body with a superb banded frieze cast in low relief depicting the Centauromachy. In the Centauromachy, the Lapiths battle with the Centaurs at the wedding feast of Pirithous. An enduring classical theme linked with the idea of culture versus nature, the Centauromachy was widely depicted in ancient Greece from the Southern Metopes of the Parthenon Freieze to the Temple of Apollo Epikourious at Bassai, it also appears as a subject on numerous Attic vases such as the Ilioupersis krater. A popular theme for artists from the Renaissance onwards it was depicted by amongst others, Michelangelo, Piero di Cosimo, Luca Signorelli, Sebastiano Ricci...

Ferdinand Barbedienne 1810-1892 A Neo-Grec gilt and patinated bronze six-light candelabra now fitted for electricity, France, last quarter of the...

A beautiful French 19th century Louis XVI st. patinated bronze and ormolu statue of the 'Allégorie de l'Histoire' by Georges Bareau and F. Barbedienne. This "Symbol of History" statu...

An impressive and extremely decorative true pair of French 19th century Renaissance st. patinated bronze and ormolu columns signed Barbedienne. Each column is raised by superb lion legs with handsome paw feet and exceptional ormolu palmette leaves. At the base is an elegant urn shaped support with fine foliate and reeded designs with impressive richly chased open winged maidens at each side. The circular lightly tapered central supports display exceptional and finely detailed wrap around ormolu plaques with superb bison skulls...

A Verona red marble remarkable inkwell, pure Empire style representing a gilded bronze of the bust of Antinous as Dioniso. Empire style, Generous size, excellent state of preservatio...

A Pair of Gilt-Bronze And Rouge Griotte Marble Vases and Covers. By Ferdinand Barbedienne, Paris. Designed in the Neo-Grec style these elegant vases stand atop Rouge Griotte marb...

Antique French Sculpture Patinated Bronze Two Fates Barbedienne LequesneFrench, Late 19th Century Sculpture: Height 81cm, width 143cm, depth 43cm Base: Height 60cm, width 163cm, dep...

Glorious and incredibly rare pair of 19th century gilt bronze low handled urns modelled after the original Borghese vase by Giovanni Zoffoli (c1785-1845) cast by Barbedienne in the ...