Ferdinand Barbedienne Furniture

This is a Ferdinand Barbedienne set of gilt bronze-mounted champleve onyx garniture. It consist of two urns and one large oval vase/jardiniere. The vase...

A pair of gilt bronze and champlevé enamel vases Constructed from solid fire-gilded bronze, the miniature decorative vases supported on square plinths rising from paw feet, the co...

A wonderful pair of Tiffany Studios Poppy flower bud centers candelabrum, in the Art Nouveau Design finished in doré bronze gold finish Stamped: Ti...

Antique Islamic metal copper hookah bottle base of spherical form and decorated with a recessed repeated floral, geometric motif with a deer figure. 19th century Bronze tinned copper...

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. 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...

Ferdinand Barbedienne, A French Ormolu and Champleve Enamel Jardiniere, C. 1870, The Design Attributed to Louis Constant Sevin. An exceptional qualit...

The leading bronze manufactory of the French Belle Époque, Barbedienne, is responsible for the design of these exquisite candelabra. The Barbedienne foundry was established in 1838 b...

Japanese Champleve Vase with dragon head handles, late 19th century. Provenance: From 300 Central Park West estate. Dealer: S138XX

Ferdinand Barbedienne, A French Ormolu and Champleve Enamel Jardiniere, C. 1870, The Design Attributed to Louis Constant Sevin. An exceptional qualit...

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. 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 Par-is one of the major artistic foundries of his time. Barbedienne specialized 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 bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored 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 honor. 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. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

A Champlevé Enamel and Gilt-Bronze Mounted Jardinière by Ferdinand Barbedienne, the design attributed to Louis-Constant Sévin. This fine jardinière is decorated all over with foliate...

A wonderful pair of doré bronze two-arm winged putti cherub neoclassical candelabras Measures: 18" H x 6.5" W x 4" D.