Japanese Style Tray Attributed to L.-C. Sevin & F. Barbedienne, France, c. 1860

Gueridon made in silvered and gilded bronze, composed of four claw feet decorated with lion’s head held together by crossed bars in gilded bronze. It is surmounted by a large onyx to...

A similar model was exposed at the 1889 Paris Universal Exhibition ( see picture attached) Patinated and gilded bronze gueridon with four paw feet joined by X-shaped stems, attributed to Sévin and Barbedienne. Round green marble top mounted with a bronze rim adorned with oves and pearls motif. Born in 1821 and dead in Paris in 1888, Louis-Constant Sévin was apprenticed to the parisian sculptor Marneuf. In 1839, he joined the sculptor-modelors Phénix and Joyau, as designer, and designed silver-smith’s objects for famous firms like Denière, Froment-Meurice, Morel and Duponchel. During the Revolution in 1848, C. Sévin joined Morel in London, as workshop manager and designed pieces that Morel exhibited in 1851. Back in France in 1851, C. Sévin went to Limoges and designed models for the porcelain factories of Jouhanneaud and Dubois of which many pieces were exhibited at the Universal Exhibition in 1855. From this date on, he worked for Ferdinand Barbedienne as sculptor-ornemanist until the end of his life. Sévin’s works are considerable, he designed furniture bronzes for the « hôtel de La Païva ». At the London Exhibition in 1862, he was awarded a medal « pour l’excellence artistique des meubles qu’il a dessinés et qui sont exposés par Barbedienne » : for the artistic excellence of the furniture he designed and which is exhibited by F. Barbedienne. He won a second class medal at the Union centrale des Arts décoratifs Exhibition in 1863 and was awarded a gold medal as « cooperator ». F. Barbedienne said that posterity would remember Sévin’s compositions. The most extraordinary object designed by C. Sévin for F. Barbedienne, was a Renaissance style gilded bronze monumental clock...

Display sideboard : height : 285 cm (112 in.) ; width : 215 cm (84,6 in) ; depth : 70 cm (27,5 in.) Table (without extension) : height : 76 cm (29,9 in.) ; width : 170 cm (66,9 in.) ; depth : 120 cm (47,2 in.) / Extensions (x 2) : width : 45 cm (17,7 in.) ; depth : 120 cm (47,2 in.) Dresser : height : 180 cm (70,8 in.) ; width : 215 cm (84,6 in.) ; Depth : 65 cm (25,6 in.) Chairs : height : 114 cm (44,8 in.) ; width : 48 cm (18,9 in.) ; depth : 45 cm (17,7 in.) Woodwork attributed to Maison Meynard (1808-1889), Meynard Fils; ormolu mounting by Ferdinand Barbedienne (1810-1892) from drawing by Louis-Constant Sévin...

Signed F. Barbedienne A pair of charming trumpet-shaped vases in gilt bronze with a polychrome cloisonné enamel decoration, one blue and the other green and red. They feature two annular handles and stand on four feet surmounted by a stylized palm. The vases are ornated with a Byzantine decoration. The high quality of the enamel is typical of Barbedienne’s production. It enhances this pair of vases especially with the wide range of colours used to create the decoration. The enamel is smooth and shiny and shows many shades to form the Byzantine decoration. The partitioned cloisonné is finely engraved and contributes to the decoration by adopting vegetal and foliage shapes. The Model These two vases can be linked to a vase presented by Ferdinand Barbedienne at the 1862 London Universal Exhibition and purchased at this time by the South Kensington Museum (now the Victoria and Albert Museum, London, Inv. 8026-1862). This vase has on its belly a polychrome cloisonné enamel decoration standing out against a turquoise background as show these vases. This decoration, called Byzantine, covers all the vase with coloured arabesques and scrolls. It rests on four claw feet with lion heads from a design near of our vases. Barbedienne and the Cloisonné Enamel Ferdinand Barbedienne continously 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 Marvelous and Quite Unusual French Japanism Orientalist Mixed-Metal Peacock-Form Centerpiece/Tray, by EUGENE CORNU. Made by Parisian sculptor Eugene Cornu. The bashful peacock bo...

Large Decorative Tray attributed to Sylvia Stave for CG Hallberg circa 1930. The tray has no markings. Made of nickel silver with a beautiful ribbed pattern around the edge of the tr...

A Pair of extremely unique Antique Ferdinand Barbedienne Figural ormolu bronze and champleve enamel neoclassical jardiniers /centerpieces of exquisite craftsmanship signed by Ferdin...

A large square lacquer presentation tray (likely for kimono) predated 1950 of the Showa period. Elaborately decorated with Maki-e that depicts the prunus blossom, bamboo and needle p...