Bonhams presents the Allure of Antiquity: The Bikoff Collection

Mots-clefs

18th-19th Century, Bikoff Collection, Blue John and marble, column, early 19th century, French Neoclassical style, gilt and patinated bronze, Italian Neoclassical style, Louis Philippe, Marcus Aurelius, Medici vase, mid 19th century, patinated bronze sculpture, repousse metal, Siena marble, Vendôme column

A pair of Italian Neoclassical patinated bronze lions on Siena and black marble bases, late 18th/early 19th century, height 8 1/4in (21cm); length 11in (28cm); width 5 1/2in (14cm). Estimate US$ 4,000 – 7,000. Photo Bonhams.

NEW YORK, NY.– “The Allure of Antiquity: The Bikoff Collection” is a curated section of souvenirs from the Grand Tour that will highlight the Fine Furniture, Silver, Decorative Arts & Clocks auction at Bonhams New York on March 4.

The Grand Tour was an essential part of the young Englishman’s education, typically taking place between the end of his formal education and the beginning of his adult life. It was also considered a rite of passage for artists. The tour generally lasted between two and three years with long stays in Paris, Rome, Naples and Venice. From their travels they brought with them a repository of knowledge of history and culture, as well as a fantastic collection of souvenirs.

Dating from the 18th and 19th centuries, the approximately 100 lot-section presents items from the esteemed collection of Kathleen and David Bikoff that ranges from marble columns, to bronze sculptures, to botanical and zoological watercolors. Highlights from this section include:

An important French Neoclassical style repousse metal reduction of the Vendôme column, mid-19th century. The metallic structure stands tall at 5 feet and 2 inches and is expected to fetch between $15,000 and $20,000. Photo Bonhams.

Similar columns have been in the collections of Carlos de Besteigui and Bill Blass.

An 18th-19th century Italian Neoclassical style patinated bronze sculpture of Marcus Aurelius on a white marble base that is estimated to fetch between $8,000 and $12,000. Photo Bonhams.

The original statue of Marcus Aurelius was erected circa 175 AD/CE, and is the only complete bronze statue of a pre-Christian Roman emperor to have survived. Such statues were usually melted down for their bronze or destroyed by early Christians; this one was not because it was erroneously believed to depict Constantine, the first Christian emperor. The base was designed by Michelangelo when it was relocated to the Capitoline Hill in 1538.

Casts of this model have been recorded by the Roman bronze foundry of Giacomo and Giovanni Zoffoli (1738-1795) and (1745-1805), as well as that of Francesco Righetti (1738-1819).

A pair of Blue John and marble columns, early 19th century ($5,000 – 8,000). Photo Bonhams.

What makes these columns particularly significant is the presence of Blue John stone that is very rare, found only in Derbyshire, England, and which has historically been extremely sought after.

A pair of Louis-Philippe gilt and patinated bronze Medici vases on tall Siena marble bases, created circa mid-19th century (est. $5,000 – 8,000). Photo Bonhams.

The vases are of substantial height, standing at a little over 15 inches.

Karl Green, Director of Furniture & Decorative Arts at Bonhams says, “What makes this collection exceptional is the attention the Bikoffs paid to the aesthetic value of the types of marble selected, some of them quite rare, as well as the number of Grand Tour items of such fine quality. They traveled the world in search of these objects and enjoyed them for decades, refusing all offers of purchase. It is only now that they have somewhat reluctantly decided to let these precious items go.”

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Royal and aristocratic heirlooms from the four corners of the world to be auctioned at Sotheby’s London

Mots-clefs

20th century, Alexis De Caix, Amélie of Leuchtenberg, antique marble inlaid table top, Archduke Franz Ferdinand, Berlin, Bridge & Rundell, brown aventurine quartz, cheval mirror, circa 1805, circa 1855-1871, circa 1865, circa 1890, circa 1903, Emperor Maximilian of Mexico, Empress of Brazil, Florence, Guangxu period, hunting sword, Louis-François Tronquoy, M. Fadderjahn, Marquess of Ormonde, Napoleon III, Opificio delle Pietre Dure, Paris, Pierre Barthélemy Dejante, presentation dagger, presentation snuff box, Prince Heinrich of Prussia, Qing dynasty, Renaissance Style, ruyi scepter, Saudi Royal family, Silver Model of The Warship Kaiser Friedrich III, snuff box, Stanislaus Striberny, surtout de table, Vienna

LONDON.- Following the great success of last year’s “Of Royal and Noble Descent” sale, Sotheby’s London will present a further selection of 250 exceptional royal and aristocratic heirlooms on Tuesday, 24 February 2015. Covering centuries of history and originating from the four corners of the world, including China, Latin America, Saudi Arabia and Europe, this sensational group of furniture, paintings and precious objects not only boasts royal and noble provenance, but also exemplifies the creativity and craftsmanship of their era.

Discussing the forthcoming sale, João Magalhães, Sotheby’s Specialist in Continental Furniture, said: “Having survived through inheritance, many of the lots in the sale have fascinating stories to tell and will appear on the market for the first time. This is an exciting auction covering a wide range of categories, including paintings, furniture, silver, Decorative Arts and Jewellery and we look forward to welcoming collectors to our public exhibition in a couple of weeks.”

Highlights in the sale include:

A rare set of 24 portraits of Roman emperors and their consorts, in classical poses, dressed in armour and draped clothing, together with the personification of Rome. After Tiziano Vecellio, called Titian, first half of 18th century Est. £80,000-120,000 (€102,000-153,000). Photo Sotheby’s.

This series of panels painted on grey marble derive from a set of 24 prints by the Flemish 16th century engraver Aegidius Sadeler II, of which the 12 portraits of the emperors were done after paintings by Titian. Portrait series showing Roman emperors and empresses were in high demand from the late 17th century onwards, mainly due to the increasing popularity of the ‘Grand Tour’ and these are particularly rare for being painted on marble.

Prince Heinrich of Prussia’s Silver Model of The Warship Kaiser Friedrich III. M. Fadderjahn (Silberwarenfabrik), Berlin, circa 1903. Est. £60,000-100,000 (€76,500-128,000). Photo Sotheby’s.

Made by the Berlin maker M. Fadderjahn circa 1903, this impressive model was presented to Prince Heinrich of Prussia (1862-1929), Inspector-General of the Navy and younger brother of German Emperor William II. It is a model of the warship SMS KAISER FRIEDRICH III which was launched in 1896 by the Emperor in person, in the name of his father, and was a lead ship of the Imperial fleet. Elaborate silver ship models like the present one were very popular as prestigious gifts for the German Empire’s high nobility and the high military command. However, only a few pieces have survived to this day.

A wood ruyi scepter, Qing Dynasty, Guangxu Period. Est. £30,000-50,000 (€38,300-64,000). Photo Sotheby’s.

This hardstone, coral and ivory-inlaid wood ruyi sceptre is accompanied by a shaped textile support bearing an inscription meaning “Presented by Gang Yi (1837-1900), who was the Governor of Guangdong during Guangxu period”. According to family tradition, this exquisite piece was acquired by a member of the Brockholst Livingston family (relative of the famous American Revolutionary War officer Henry Brockholst Livingston) during a visit to China in 1863 and thence by descent to the present owner, a German Count.

A Renaissance style antique marble inlaid table top 2007-2012, executed by the Opificio delle Pietre Dure, Florence with antique stones and marble. Est. £20,000-30,000 (€25,500-38,300).

This exquisite table top was produced over the course of five years by the Opificio delle Pietre Dure, heir to a workshop established by Grand Duke Ferdinando I de Medici in Florence in 1588 and renowned for its works of art made of semiprecious stones and marbles. Inspired by Antiquity and often using Imperial Roman marbles, the workshop’s extraordinary production of table tops, cabinets and decorative panels were highly sought after by European royalty and aristocracy in the 16th-18th centuries.

The present table top was inspired by a late 16th century top, known as the “Medici Treasury”, today in the Museo degli Argenti, Florence. Exclusively made using traditional tools and technique, it features stones from the actual Medicean collection of antique marble and stones, which the Florentine patrons brought over from Rome in large quantities as prize possessions.

The Archduke Franz Ferdinand hunting sword by Stanislaus Striberny, circa 1890, Vienna. Est. £8,000-12,000 (€10,200-15,300). Photo Sotheby’s.

In 1892, Archudke Franz Ferdinand of Austria-Este, heir to the AustroHungarian Empire, embarked on an around the world journey. Testament to his travel to Nepal and his great passion for hunting is a sword he gave in 1893 to Prem Shamsher Rana, nephew of the Maharaja of Lambjang and Kaski, Prime Minister of Nepal. Made in Vienna by Stanislaus Striberny, circa 1890, this sword is mentioned in the Archduke’s detailed travel diaries. A photograph of Prem Shamsher Rana proudly holding the received gift still exists in the collections of the Weltmuseum in Vienna.

AN IMPORTANT COLLECTION OF ROYAL AND IMPERIAL PRESENTATION BOXES

The sale also comprises a group of ten royal and imperial presentation boxes, led by jewelled pieces featuring the cyphers of Napoleon III and Mexican Emperor Maximilian.

A  presentation snuff box with the cypher of Napoleon III. Made by Louis-François Tronquoy, Paris, circa 1855-1871. Est. £15,000-20,000 (€19,200-25,500). Photo Sotheby’s.

This jewelled, gold and enamel imperial box was made by LouisFrançois Tronquoy, a prolific snuff box maker and the chief supplier of presentation boxes to Napoleon III. Featuring the cypher of the Emperor of the French, it is further applied with rose-diamond bees. Symbol of immortality and resurrection, the bee was chosen by Napoleon I to link the new dynasty to the very origins of France and was subsequently adopted by Napoleon III.

A snuff-box with the cypher of Emperor Maximilian of Mexico’s, circa 1865. Est. £5,000-7,000 (€6,400-9,000). Photo Sotheby’s.

The brown aventurine quartz lid of the box is applied with the emerald and diamond-set enamelled crowned cypher of Emperor Maximilian and his consort Carlota.

Archduke Maximilian (1832-1867) was the younger brother of the Austrian emperor Franz Joseph I. In 1861 Maximilian entered into a scheme with Napoleon III to rule Mexico after France captured Mexico City. He declared himself Emperor of Mexico on 10 April 1864 but was captured and executed by the Mexican Republican forces in 1867.

A presentation dagger commissioned by the Saudi Royal family, 20th century. Est. £8,000-12,000 (€7,700-11,200). Photo Sotheby’s.

From the same collection as the previous two pieces is a jewelled gold, silver and silvergilt dagger, the blade of which is engraved with the emblem of the Kingdom of Saudi Arabia.

The surtout de table of Marquesses of Ormonde, circa 1805. Attributed to Rundell, Bridge & Rundell, possibly supplied by Alexis De Caix. Est. £8,000-12,000 (€10,200-15,300). Photo Sotheby’s.

This gilt-bronze surtout de table was most probably made for Kilkenny Castle, Ireland, the seat of Walter Butler, 1st Marquess of Ormonde, 18th Earl of Ormonde and his wife Anna Maria Catherine Clarke. Attributed to Rundell, Bridge & Rundell, foremost Royal goldsmith known to have produced outstanding pieces in bronze, this magnificent piece was designed in the French Empire taste in vogue among the fashionable Regency circles.

The Empress of Brazil’s mirror, circa 1840. Attributed to Pierre Barthélemy Dejante. Est. £2,000-3,000 (€2,550-3,850). Photo Sotheby’s.

Carrying a label with the Brazilian Imperial crown, this Portuguese kingwood gilt bronze mounted cheval mirror in the Empire style is thought to have been supplied to Amélie of Leuchtenberg, Duchess of Braganza, Empress of Brazil (1812-1873) when she was living in Palácio Alvor in Lisbon, as the widow of Dom Pedro, Emperor of Brazil. This exquisite piece is attributed to Pierre Bartholomé Dejante, a Parisian trained cabinetmaker who settled in Lisbon in 1821 and quickly gained a firm reputation in the city. His work was appreciated by the Royal Family who kept commissioning him furnishings for the Palácio de Belém, Palácio da Pena and Palácio das Necessidades, several of which still remain in these palaces.

Amélie of Leuchtenberg was Duchess of Leuchtenberg and Empress of Brazil as the wife of Dom Pedro I of Brazil, IV of Portugal. Granddaughter of Josephine de Beauharnais, Empress of the French, she was the daughter of Eugène de Beauharnais and Augusta Amélia, daughter of Maximilian I, King of Bavaria.

A Chinoiserie black, gilt and polychrome leather four-fold screen, late 19th century

Mots-clefs

black gilt and polychrome leather, Chinoiserie, Collection of Principessa Ismene Chigi Della Rovere, four-fold screen, late 19th century

Collection of Principessa Ismene Chigi Della Rovere. A Chinoiserie black, gilt and polychrome leather four-fold screen, late 19th century. Estimate £,000 – £1,500 ($1,508 – $2,262). Photo Christie’s Image Ltd 2015

Each panel depicting figures in a pavilion setting and foliate motifs, the reverse covered in scaled pink paper;55 ½ in. (141 cm.) high; 72 in. (183 cm.) wide

Christie’s. THE COLLECTIONS OF PRINCIPESSA ISMENE CHIGI DELLA ROVERE AND A NOBLE GENOESE FAMILY, 4 February 2015, London, South Kensington

H. Blairman & Sons Ltd at TEFAF 2015 Antiques (13-22 March 2015)

Mots-clefs

1870s, Brass, circa 1870, E.W. Godwin, Eagle Chair, England, H. Blairman & Sons Ltd, Hart, Lectern, Oak, Peard & Co, Son, TEFAF 2015 Antiques, William Watt

E.W. Godwin (1833-1886), Eagle Chair. Oak, original leather upholstery, 90.5 x 70.6 x 60.8 cm. England, probably William Watt (manufacturer) (1857-1887), 1870s. H. Blairman & Sons Ltd (stand 183). TEFAF 2015 Antiques (13-22 March 2015)

The present example follows precisely the design published in William Watt’s catalogue Art Furniture Designed by Edward William Godwin, 1877, pl. 11

Provenance: Godwin conceived this model for Dromore Castle in about 1869; the original design is in the collection of the Royal Institute of British Architects (RIBA Ran 7/BI [51])

Literature: Susan Weber Soros, The Secular Furniture of E.W. Godwin, New Haven and London, 1999, pp. 94-95, no. 114

Hart, Son, Peard & Co., Lectern. Brass, mounted with onyx, embellished with encaustic enamel. Width of book rest 166 x 72 cm, England, Hart, Son, Peard & Co. (1842-1913), circa 1870. H. Blairman & Sons Ltd (stand 183). TEFAF 2015 Antiques (13-22 March 2015)

Provenance: Probably supplied to George H.R.C.W. Vane-Tempest, 5th Marquess of Londonderry (1821-84), for the chapel at Wynyard Park, County Durham; Thence by descent

H. Blairman & Sons Ltd. Director: Martin Levy

H. Blairman & Sons Ltd, established in 1884, is now directed by Martin and Patricia Levy, representing the fourth generation of this family-run business.
Building on its established reputation as a dealer in eighteenth- and early nineteenth-century English and French furniture and works of art, Blairman’s has developed, over the past four decades, a strong interest in furniture and works of art designed and manufactured by architect/designers during the later nineteenth century and first decades of the twentieth century.

The rediscovered Arnina by Lorenzo Bartolini on show at the Galleria dell’Accademia

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Florence, Galleria dell'Accademia, Lorenzo Bartolini, Nymph Arnina

Lorenzo Bartolini, (Savignano di Prato, 1777 – Florence, 1850), Nymph Arnina, 1825, marble. Great Britain, private collection.

Lorenzo Bartolini (Savignano di Prato, 1777 – Florence, 1850), Nymph Arnina, post 1825, plaster cast. Florence, Accademia Gallery.

Florence – 18th November marks the opening of the exhibition, “The Arnina by Lorenzo Bartolini. The rediscovered statue for Giovanni degli Alessandri”. The show will run until 8 February 2015, and is hosted in the Gallery of Plaster Casts of the Galleria dell’Accademia of Florence.

The small, yet precious exhibition curated by Lia Brunori, assistant director of the Galleria dell’Accademia, represents the opportunity to share with the public the latest studies on the work of the neoclassical sculptor from Prato, Lorenzo Bartolini, which the Galleria has been promoting for years.

The exhibition’s protagonist par excellence is the Nymph Arnina, the marble statue of exquisite workmanship, which though mentioned in documents and sources had been lost until scholar John Kenworthy-Browne traced it to a private English collection.

The recently discovered work will thus be exhibited to the public for the first time, alongside its beautiful plaster cast, property of the Galleria dell’Accademia.  Following decades in the Museo Civico of Prato, the plaster cast with its dedication to Giovanni degli Alessandri, a leading figure in the culture of early nineteenth-century Florence, is exhibited with several documents in the intent to evoke the complex story of Bartolini’s opus.  In the words of Galleria dell’Accademia Director, Angelo Tartuferi, the exhibition catalogue published by Sillabe «confirms the special interest of the Galleria in the work of Lorenzo Bartolini and inaugurates the new series of the‘Quaderni di studio’, which will constitute an agile and precious tool in expanding on themes inherent to the Museum’s collections».

The merit for the statue’s fortunate discovery goes to renowned English scholar John Kenworthy-Browne who presented his finding at the conference on Lorenzo Bartolini promoted by the Galleria dell’Accademia in 2013, following the success of the pivotal exhibition dedicated to the sculptor in 2011.

It was only through the contacts that former Galleria dell’Accademia director, Franca Falletti developed that it has been possible to locate the sculpture and ensure its presentation in this venue.

As testified by the dedicatory letter on show in the exhibition, the rediscovered marble statue and the plaster cast both bear Lorenzo Bartolini’s dedication to Giovanni degli Alessandri, president of the Accademia di Belle Arti, whom the sculptor turned to in 1825 in hopes of obtaining the Chair in Sculpture that was at that time vacant.

Bartolini, however, was deeply at odds with the Florentine academic world and scarcely tolerated the rigid teaching approach.  And so it was that despite being considered one of the most important sculptors of the time, Bartolini did not succeed in obtaining the post, which instead went to Stefano Ricci, a neoclassical sculptor of notably lesser fame but well integrated in the academic world.

It was only in 1839 that Bartolini finally obtained the coveted academic post of professor of Sculpture.  His friend Vittorio Fossombroni, illustrious scientist and minister of the Grand Duchy of Tuscany, dedicated a sonnet to him.  Bartolini replied to his friend in rhyme and with a portrait, tokens of which are presented in the exhibition.

A French ‘Japonisme’ carved walnut vitrine, attributed to Gabriel Viardot, Paris, last quarter 19th century

Mots-clefs

attributed to Gabriel Viardot, carved walnut vitrine, French 'Japonisme', last quarter 19th century

A French ‘Japonisme’ carved walnut vitrine, attributed to Gabriel Viardot, Paris, last quarter 19th century. Estimate $6,000 – $8,000. Photo Christie’s Image Ltd 2014

Surmounted by a crescent-shaped cabinet supported by a crouching dragon, with a frieze drawer above a beveled glass door enclosing three shelves, above a further drawer on a pierced base; 74 in. (188 cm.) high, 19 ¾ in. (50 cm.) wide, 13 in. (33 cm.) deep

Private American Collection

CHRISTIE’S. THE OPULENT EYE: 19TH CENTURY FURNITURE, SCULPTURE, WORKS OF ART, CERAMICS, GLASS AND CARPETS, 18 November 2014, New York, Rockefeller Plaza.

A French ‘Japonisme’ carved hardwood mirror, in the manner of Gabriel Viardot, last quarter 19th century

Mots-clefs

carved hardwood mirror, French 'Japonisme', in the manner of Gabriel Viardot, last quarter 19th century

A French ‘Japonisme’ carved hardwood mirror, in the manner of Gabriel Viardot, last quarter 19th century. Estimate $6,000 – $8,000. Photo Christie’s Image Ltd 2014

Modeled with two snarling dragons grasping a shaped beveled mirror plate; 58 in. (147 cm.) high, 37 in. (94 cm.) wide

Private American Collection

CHRISTIE’S. THE OPULENT EYE: 19TH CENTURY FURNITURE, SCULPTURE, WORKS OF ART, CERAMICS, GLASS AND CARPETS, 18 November 2014, New York, Rockefeller Plaza.

A large and important French ‘Japonisme’ ormolu-mounted ebonized étagere-vitrine, by Edouard Lièvre, Paris, circa 1880

Mots-clefs

circa 1880, Edouard Lièvre, French 'Japonisme', ormolu-mounted ebonized étagere-vitrine

A large and important French ‘Japonisme’ ormolu-mounted ebonized étagere-vitrine, by Edouard Lièvre, Paris, circa 1880. Estimate $250,000 – $350,000. Photo Christie’s Image Ltd 2014

With pierced gallery above the arched beveled glass cabinet door enclosing two glass shelves flanked by stepped shelves, the angles with climbing dragons, above a rectangular substructure with two drawers, on a scrolled plinth, the reverse of the bronze mounts variously incised with an interlaced ‘EL’, the reverse of the case with French shipping label inscribed Comoglio – 112 in. (285 cm.) high, 95 in. (241 cm.) wide, 28 in. (71 cm.) deep

Provenance: With Maison Comoglio, 22 Rue Jacob, Paris, circa 1979.
Private American Collection, 2000.

Notes: Édouard Lièvre (d. 1886) was one of the most talented and prolific industrial designers of the second half of the 19th century, with a broad repertoire that included ‘sinojaponais’ and neo-Renaissance style furniture and ceramics. Trained initially as an illustrator under Thomas Couture, from 1870 Lièvre was fully immersed in decorative art providing designs for manufacturers and marchand-éditeurs; an early important work was a vase persan, designed for Christofle in 1874 and exhibited at the Paris Exposition Universelle in 1878, 1889 and 1900. Lièvre also had a number of private clients for whom he supplied luxurious furniture including the actress Sarah Bernhardt (a monumental cheval mirror), the courtisane, Louise-Emilie Valtesse de la Bigne, (an impressive bed, now in the Musée des Arts Décoratifs, DO 1981-19), Albert Vieillard, director of Bordeaux’s ceramics factory (a cabinet now in the Musée d’Orsay, OAO555), and Édouard Detaille, the famous military artist for whom Lièvre supplied an étagère-vitrine and console d’apparat.

In the 1870s, Edouard Lièvre designed a small group of furniture in ‘le style japonais et chinois’ for important private clients and for editors of luxurious furniture and objects. His designs were made by the silversmith Christofle and bronzier Barbedienne, and by the ébéniste Paul Sormani. However, Lièvre is most often associated with the marchand-éditeur and retailer of haut luxe furnishings L’Escalier de Cristal, which was established in 1802 by Madame Désarnaud, supplying clocks, lamps and other objets d’art to important European families. Acquired in 1839 by M. Lahoche, the firm passed to his son-in-law, Emile Pannier circa 1864-66. In 1885, Georges and Henry Pannier succeeded their father and, much in the tradition of the 18th century marchands-merciers, often commissioned Lievre, Gabriel Viardot and their contemporaries to create ‘sinojaponais’ decorations incorporating enamel, Baccarat glass and other exotic materials.

Lièvre’s sketches and their reproduction rights were sold in 1890 and a large number of the designs were purchased by George and Henry Pannier. Lièvre’s eclectic designs, coupled with the superiority of the craftsmanship, explain the high prices that his pieces commanded in their elegant showrooms. According to Henry Pannier, prices for Lièvre’s designs were up to six times higher than those of other designers, including his contemporary, Gabriel Viardot. Fascinatingly, some pages from Henry Pannier’s account book survive which list a number of orders for L’Escalier de Cristal alongside simplified pen and ink designs for étagères, console tables and Japanese-inspired cabinets (P. Thiébaut, ‘Contribution à une histoire du mobilier japonisant: Les Créations de l´Escalier de Cristal’, Revue de l’art, 1989, No. 85, p. 78).

This rare and imposing étagère-vitrine is related to two known examples of similar composition, all of which pre-date Lièvre’s death, his subsequent estate sale in 1887 and the 1890 sale of his designs to L’Escalier de Cristal:

–Bibliothèque japonisante, sold Catalogue des Meubles d’Art de la Succession de feu M. Édouard Lièvre, Hôtel Drouot, Paris, 21–24 March 1887, lot 58. Private Collection, Paris.

–Etagère-vitrine, commissioned circa 1877 for Édouard Detaille (d. 1912), offered 10-11 March 1913, Hôtel Drouot, Paris, and subsequently sold Lempertz, Cologne, Germany, 20 November 2009 (€440,000).

CHRISTIE’S. THE OPULENT EYE: 19TH CENTURY FURNITURE, SCULPTURE, WORKS OF ART, CERAMICS, GLASS AND CARPETS, 18 November 2014, New York, Rockefeller Plaza.

« Baccarat. Les 250 ans » au sein de la Galerie Musée de la Maison Baccarat à Paris

Mots-clefs

Arthur Miller, échiquier Harcourt, Baccarat, Candélabre Lifestyle, Candélabre dit « du Tsar », Flacons à cognac, Horloge Soleil, Manufacture Baccarat, Marilyn Monroe, Narghilé Mémoire, Nicolas II, Presse agrumes Harcourt, Prince Rainier, Princesse Grace de Monaco, service "Malmaison", Service dit « du Tsar »

Le lustre monumental de l’escalier du 11, place des Etats Unis, à Paris. Ce lustre de plus de deux tonnes comporte pas moins de 157 lumières différentes. Crédit photo(c) Webster

PARIS – Une exposition rétrospective dévoilant près de 250 chefs d’œuvres élevés au rang d’icône au fil de 250 ans d’histoire, de culture, de savoir-faire et de moments inoubliables.

Depuis 1764, Baccarat écrit son fabuleux destin en lettres étincelantes. Fondée en Lorraine, sur autorisation du Roi Louis XV, la plus illustre Manufacture de cristal au monde a traversé les époques pour devenir un symbole d’excellence et d’Art de Vivre. Baccarat, un nom qui résonne comme l’écho de pièces d’exception, de lieux extraordinaires et de fêtes inoubliables. En témoigne la grande table dressée à l’entrée de l’exposition où sont disposées quelques-unes des plus prestigieuses créations commandées par les plus grands de ce monde.

La visite s’articule autour de cinq grands thèmes, qui incarnent la signature de la marque légendaire.

La Manufacture Baccarat. © Baccarat, Crédit photo (c) J. Lariviere

L’icône Harcourt
Expression parfaite du savoir-faire de Baccarat, le verre Harcourt inspiré du calice d’apparat gravé du monogramme royal commandé par le Roi de France Louis-Philippe a vu le jour en 1841. Une légende est née. Cette icône de l’excellence et de l’élégance fût adoptée entre autre par Napoléon III, le Pape Jean Paul II, la Reine du Siam ou le Roi du Maroc, ornant leurs tables prestigieuses et transformant chaque moment de vie en expérience inoubliable. Objet de désir intemporel et source d’inspiration infinie, il s’est vu réinterprété au fil des ans. Grâce à sa silhouette parfaite, il transforme chaque événement en une célébration élégante et raffinée. Eclectique, il s’adapte à tous les goûts et styles, comme le reflète sa longue histoire.

Presse agrumes Harcourt © Baccarat

L’échiquier Harcourt, réinterprétation du verre phare de Baccarat. © Baccarat

Haut en couleur
Dès 1839, la manufacture se distingue en proposant des pièces de couleurs, dont la gamme de teintes proposées ne cessera dès lors de s’étoffer. La maitrise du cristal doublé couleur marque également une étape déterminante de l’histoire de Baccarat. Cette technique, toujours utilisée, sera appliquée pour des pièces extrêmement sophistiquées, telles les sublimes créations d’Ettore Sottsass exposées. Le cristal éclate en un feu d’artifice éblouissant, véritable explosion de couleurs, symbole d’une palette chromatique qui se décline à l’infini.

Candélabre dit « du Tsar », 1896. © Baccarat, Crédit photo (c) C.Weber

Le Narghilé Mémoire © Baccarat, Crédit photo (c) C.Weber

Le Rouge à l’Or
La force du rouge à l’or tient à la magie d’une fusion entre le cristal clair et de la poudre d’or 24 carats, donnant à la matière cette incandescence vermillon : le cristal rouge Baccarat rayonne en un camaïeu de mille feux, du plus rosé au plus amarante, dont les miroitements révèlent un savoir faire autant qu’une passion. La plus haute expression, le rouge rubis, s’affiche dans la paire des majestueux vases « Simon » créés pour l’Exposition universelle de 1867 à Paris.

Service dit « du Tsar », 1909. Créé pour le Tsar Nicolas II. © Baccarat

Flacons à cognac du service « Malmaison » gravés aux chiffre du Prince Rainier et de la Princesse Grace de Monaco, réalisés à l’occasion de leur mariage en 1956.  Le service « Malmaison » date de 1913. © Baccarat

Virtuoses du savoir-faire / A la pointe de la perfection
Les créations Baccarat pérennisent l’élégance autant que l’excellence du savoir-faire. Un savoir-faire à l’avant-garde du progrès, transmis au fil des siècles par une élite d’artisans et reflet d’un héritage incomparable. Souffleurs, tailleurs, graveurs et doreurs mettent ainsi leur inimitable talent au service de la perfection. Chaque chef-d’œuvre intemporel est l’incarnation même du souffle de l’homme et nous transporte dans un voyage émotionnel entre lumière et création. Chaque carafe, chaque verre, chaque vase, chaque flacon, chaque lustre incarne une promesse ultime, une expérience à vivre et avant tout à partager.

Le Candélabre Lifestyle spécialement réalisé pour les 250 ans de la Manufacture. © Baccarat

L’Horloge Soleil réinterprètée à l’occasion du 250ème anniversaire, imaginée à l’origine par Georges Chevalier, directeur artistique de la maison pendant plusieurs décennies. Créée en 1949, cette horloge inspirée par le décor de Versailles et la mythologie du Roi Soleil avait été acheté par Arthur Miller pour l’appartement qu’il partageait avec Marilyn Monroe. © Baccarat

Un beau livre anniversaire publié aux éditions Rizzoli. Crédit photo (c) Rizzoli

Une exposition à Paris pour célébrer les 250 ans de Baccarat. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

Baccarat : les 250 ans. Crédit photo (c) T.Deron

« Baccarat, LA LÉGENDE DU CRISTAL » au Petit Palais

Mots-clefs

Aga Khan, Baccarat, Calices couverts, Candélabre dit « du Tsar », famille impériale du Japon, Franklin Delano Roosevelt, Jean-Baptiste Simon, Louis Philippe, Lustre Zénith, maharadjah d’Indore, Napoleon III, Nicolas II, Petit Palais, prince de Galles, Service « Chambord », Service « Harcourt », Service « Juvisy », Service « Paraison », Service dit « du Tsar », vases « Médicis », vases « Simon », verre à jambe haute, Verre à vin du service « Beauvais », Verre à vin du service « Jean Bart », Verre d’apparat à bouton rouge, Verre du service « François Villon »

Candélabre dit « du Tsar » commandé pour le tsar Nicolas II en 1896. © Archives Baccarat

PARIS – À l’occasion du 250e anniversaire de Baccarat, le Petit Palais exposera dans ses Grandes Galeries les chefs-d’œuvre de la plus illustre manufacture de cristal au monde, étonnants témoignages de la virtuosité de ses artisans.

Il s’agit de la première rétrospective en France dédiée à Baccarat depuis l’exposition du Bicentenaire aux Arts décoratifs en 1964. En accord avec l’architecture du Petit Palais élevé pour l’Exposition universelle de 1900, l’exposition présente les créations de Baccarat conçues pour les grandes expositions parisiennes de 1823 à 1937, au cours desquelles la manufacture conquiert une notoriété internationale. C’est également à la faveur de ces rendez-vous que Baccarat attire par son éclat les commandes des grands de ce monde.

Dessin pour le vase Simon « Allégorie de la Terre », Exposition Universelle, Paris, 1867, Dessin d’archives Baccarat. © Archives Baccarat

Dans une scénographie raffinée sublimant la virtuosité et le savoir-faire des artisans du cristal, le visiteur découvre au sein du parcours d’exposition les oeuvres rassemblées selon leurs affinités stylistiques ou leur contexte de création. Un choix exceptionnel de près de cinq cents pièces historiques est présenté, en majorité provenant de la collection privée de la manufacture lorraine et complété d’emprunts prestigieux au musée d’Orsay, au Louvre, aux Arts décoratifs, à la Cité de la Céramique, aux Arts et Métiers, au château de Compiègne et aux musées de Nancy. De nombreux dessins et documents d’archives inédits permettent de retracer la genèse des créations exposées et de dévoiler les sources d’inspiration qui ont nourri les artisans de la célèbre manufacture depuis 250 ans.

Service « Harcourt », Planche de catalogue commercial Baccarat, 1841. © Archives Baccarat

Ainsi, sont présentées des oeuvres exceptionnelles comme le monumental « Vase Négus », « la Toilette de la duchesse de Berry », ou les « Vases Simon » créés pour l’exposition universelle de 1867 à Paris. Des pièces de services issues de grandes commandes royales ou conçus pour les puissants du monde entier comme le tsar Nicolas II, l’empereur du Japon, ou encore des maharadjas témoignent de l’excellence du savoir-faire de Baccarat. Une table mettant en scène certaines de ces commandes souligne le triomphe de la manufacture dans le domaine de l’art de vivre. Un espace dédié retrace l’histoire légendaire du verre Harcourt, pièce iconique, inspiré du calice d’apparat et gravé du monogramme royal commandé par le Roi Louis-Philippe en 1840.

L’exposition s’achève de manière éblouissante par une galerie où sera accrochée  une série de lustres en majesté, dont le plus monumental resplendira de 250 lumières dans la galerie d’honneur du Petit Palais.

Table et nef, Exposition Universelle, Paris, 1889 (pour la table) et Exposition Universelle, Paris, 1900 (pour la nef). © Baccarat, photographe : Patrick Schüttler

Service « Paraison », commandé par le maharadjah d’Indore pour son palais Art Déco de Manik Bagh en 1933 © Baccarat, photographe : Patrick Schüttler

Service « Chambord », commandé pour l’Aga Khan en 1927 © Baccarat, photographe : Patrick Schüttler

Service « Juvisy », créé en 1867 pour l’Exposition Universelle de Paris et commandé en 1899 par le président de la République Française Emile Loubet pour le palais de l’Elysée. © Baccarat, photographe : Patrick Schüttler

Service « Harcourt », 1841 © Baccarat, photographe : Patrick Schüttler

Verre d’apparat à bouton rouge, commandé par le roi Louis Philippe en 1840.  © Baccarat, photographe : Patrick Schüttler

Verre à vin du service « Beauvais », créé en 1878 pour l’Exposition Universelle de Paris et commandé en 1909 pour la famille impériale du Japon © Baccarat, photographe : Patrick Schüttler

Verre à eau du service « Harcourt », commandé vers 1860 pour Napoléon III © Baccarat, photographe : Patrick Schüttler

Verre du service « François Villon », commandé en 1936 pour le président Franklin Delano Roosevelt. © Baccarat, photographe : Patrick Schüttler

Verre à vin du service « Jean Bart », créé par Georges Chevalier pour l’exposition Internationale des Arts Décoratifs de 1925 et commandé pour le prince de Galles en 1930 © Baccarat, photographe : Patrick Schüttler

Paire de vases « Médicis », Exposition Internationale de l’Est de la France, Nancy, 1909. © Baccarat, photographe : Patrick Schüttler

Paire de vases « Simon » : « Allégorie de la Terre » et « Allégorie de l’Eau », gravés par Jean-Baptiste Simon, Exposition Universelle, Paris, 1867 © Baccarat, photographe : Patrick Schüttler

Calices couverts et verre à jambe haute peints à l’or en relief, Exposition Internationale de l’Est de la France, Nancy, 1909 © Baccarat, photographe : Patrick Schüttler

Service dit « du Tsar », commandé pour le Tsar Nicolas II en 1909 © Baccarat, photographe : Patrick Schüttler

Lustre Zénith 84 lumières, Cristal clair et rouge © Baccarat, photographe : Patrick Schüttler