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Pair of Neo-Greek Pedestals. C.G. Diehl & J.Brandely, France, circa 1867

About the Item

Exceptional pair of neo-Greek style pedestals, made in blackened pearwood, gilded galvanic bronze and glazed earthenware. The sheath-shaped shaft is decorated with rectangular plates in glazed earthenware with floral decoration and palmettes framed by four female busts ending in a detached sheath. It is surmounted by motifs of palmettes, fans and feline heads in bronze supporting a square entablature framed by a frieze. The pedestals rest on a circular base decorated with a bronze frieze of palmettes, supported by four feet resting on a molded base adorned at the corners with friezes of oves. Related works : These ornaments are emblematic of the collaboration between the ornemanist J. Brandely and cabinet-maker C.-G. Diehl, and as found on a « table genre grec », a « bahut style grec » or even a « bijoutier de style grec », presented at the Universal Exhibition of 1867 in Paris, where they were commented by the art critic Jules Mesnard in his book : Les Merveilles de l’Exposition Universelle de 1867 : in particular concerning « les anneaux de l’entablement sont ciselés avec amour et l’on remarquera le dessin des pitons qui les portent ; il en est de même du rayonnement en éventail qui meuble la petite console de côté,… la tête d’un beau type grec, et d’une animation sereine, est coiffée d’une rangée de frisons sur le front. Le diadème est d’une finesse d’ornementation qui, si l’on pouvait le détacher, en ferait un véritable bijou » (tome II, p°133 & 149). (see photos attached) Biography 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 ornementation » (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 with marquetry and silver plated bronzes (Orsay Museum, Paris, Inv. O.A. 10440). Diehl was again rewarded with a medal of honour at the Union Central Exhibition of 1869 and a progress medal at the Universal Exhibition in Vienna in 1873 (Sideboard in blackened pear wood and lemon wood with galvanic bronzes, designed by J. Brandely with a low relief by E. Guillemin, Orsay Museum, Paris, Inv. O.A.O. 336). Showered with praise by the critics, Diehl is considered as one of the most innovating artists of the 19th Century. His final appearance was at the 1878 Universal Exhibition in Paris where he presented outside the competition, his most recent creations, including a work table in marquetry which with its naturalistic grasshopper motif anticipated « Art Nouveau » (Musée de l’Ecole de Nancy, Nancy). In order to compete with the English production, the Creil (Oise) and Montereau (Seine-et-Marne) manufactures began producing « English style » white paste earthenware as soon as the eighteenth century. At Montereau, English potters refugees in France shared their skills with Louis Leboeuf (1792-1854). Under the Second Empire, technical innovations, added to the enthusiasm of the middle classes in the decorative arts, provided a production of fine standard, more accomplished and more diverse. The white clay was then relayed by the opaque porcelain, then whiter, harder and tougher. With the merger of Manufactures of Montereau and Creil in 1840, Lebeuf went into partnership with Milliet (marks « Lebeuf Milliet and Co. » from 1840 to 1874, followed by « Lebeuf and Co. » from 1875 to 1876). Both partners were constantly seeking to discover new and various techniques and patterns of decoration. This golden age lasted until the early twentieth century as the economic crisis appeared. A restructuring process was started and Montereau was preferred to Creil. The takeover by the Choisy Manufacture in 1920 continued the mass production until 1955, when Montereau definitely closed down its workshops.

Creator:
Lebeuf Milliet & Cie Creil Montereau (Manufacturer),Charles-Guillaume Diehl (Cabinetmaker)
Attributed to:
Jean Brandely (Designer)
Dimensions:
Height: 55.52 in (141 cm)Width: 19.3 in (49 cm)Depth: 19.3 in (49 cm)
Sold As:
Set of 2
Style:
Greek Revival (In the Style Of)
Materials and Techniques:
Bronze,Earthenware,Wood
Place of Origin:
France
Period:
1860-1869
Date of Manufacture:
circa 1867
Condition:
Wear consistent with age and use.
Seller Location:
PARIS, FR
Reference Number:
Seller: 617/16 & 459/21stDibs: LU3860334929552

Shop All Charles-Guillaume Diehl

Charles-Guillaume Diehl

Charles-Guillaume Diehl 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. It was his luxury boxes, however, (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown. 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”. 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” and a jewelry case where “The head in fine Grecian style makes up the essential part of the fine gilt bronze ornamentation”. 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 and Emmanuel Frémiet (1824–1910), who executed the low relief for a cedar medal cabinet with marquetry and silver-plated bronzes. Diehl was again rewarded with a medal of honor at the Union Central Exhibition of 1869 and a progress medal at the Universal Exhibition in Vienna in 1873. Showered with praise by the critics, Diehl is considered one of the most innovative artists of the 19th century. His final appearance was at the 1878 Universal Exhibition in Paris, where he presented outside the competition, his most recent creations, including a work table in marquetry, which with its naturalistic grasshopper motif anticipated Art Nouveau.

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Neo-Greek Cigar Cellarette, C.G. Diehl, E. Frémiet & J. Brandely, Circa 1867

By Emmanuel Fremiet, Jean Brandely, Charles-Guillaume Diehl

Located in PARIS, FR

Rare cigar humidor made in wood, with a front flap, discovering five sliding cane trays. Beautiful bronze and silver electroplated brass ornaments, such as the central niche decorated with a winged creature, surmounted on top of the cabinet with a feline. Resting on four tall legs joined by a stretcher decorated with a silvered pierced bronze incense burner. The central relief of that cellarette for cigars, with that fantasy creature, is directly inspired from the one designed by J. Brandely for the front door of the Merovingian Cabinet made by Diehl in 1867, and now preserved 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 between 1867 and 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 ornementation » (p. 149). For this Universal Exhibition of 1867, 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...

Category

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This contemporary pedestal reflects a blend of ancient and modern influences. Crafted from white plaster in the Greek Revival style, it features clean architectural lines and a subtle nod to classical design. The piece is distinguished by four circular patterns decorating half the top and the top edge of the pedestal, evoking the fluid, surreal forms of Salvador Dalí’s melting clocks...

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