Ref.11349
Gabriel VIARDOT (attributed to) - Japanese style cupboard with dragon

This small walnut cabinet is attributed to Gabriel Viardot. The decor is quite characteristic of the production of this Parisian cabinetmaker specializing in Japanese and Chinese-style furniture. The lower part consists of multiple vertical boxes surmounted by three shelves. The upper part of this piece is decorated with latticed wood in the tradition of Japanese furniture. A gilded bronze dragon crowning this cupboard is entirely characteristic of the production of Gabriel Viardot. The vertical uprights are also decorated with gilded bronze elements that we can also find on other productions by Gabriel Viardot. Gabriel Viardot started his wood-sculpting career in 1849, when he sent some furniture pieces in natural décor to the horticultural exhibition. He then became the head of a small team of sculptors when he was just 19 years old. In 1853, he had a factory and a store of furniture located at 36 and 38 Rambuteau Road. During this time, he worked with his brother, Louis Gustave, under the name “Viardot Brothers and Company.” In 1860, he created his own workshop, “G. Viardot” at 5 Grand-Chantier road, and became head of the family business that he kept until 1872. He decided to devote himself to “Chinese-Japanese style furniture,” which he was able to observe mainly at the 1867 World Exposition. At this same exposition, he was awarded four medals. It’s with this production that he was awarded at the 1878 World Exposition with a silver medal. Following that, he practiced consecutively at 15 Chaume road, 3 Archives road in 1878 and 36 Amelot road near the end of the century. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother of pearl inlays from Tonkin. He enlivened his furniture with bronze decorations, of which he made all the designs by hand. Over the course of the years, the success only continued to grow, particularly at the expositions of Nice and the 8th exposition of the Central Union of Decorative Arts in 1884. In 1885, he participated in the World Exposition of Antwerp where he obtained a gold medal. At this time, the shop employed 90 – 100 workers, sculptors or cabinetmakers, a lot of who were educated directly by Gabriel Viardot. Following this exposition, he was promoted to the rank of Knight in the Legion of Honor (December 29 1885). In 1889, he was at the World Exposition that took place in Paris and awarded a gold medal. He obtained the same award at the 1900 World Exposition.

Ref.13638
Large vase with a bronze mount and dragons

This important enamelled ceramic Chinese vase with a patinated bronze mount has an enamelled decor on our vase was made in brown, red and green shades. Applied with friezes, we can recognize the influence of the Islam and Chinese arts through the succession of geometrical and flowery motifs. The patinated bronze foot and neck also depict an open work decor of which the drawn motif take their inspiration from the same sources. Finally, two small dragons, typical of the Chinese folklore, come to lighten up the mount by their presence.

Ref.15112
Victor GEOFFROY-DECHAUME (model), Auguste-Maximilien DELAFONTAINE (bronze caster), “Persian” Gilt Bronze Clock Set, circa 1852

This “Persian” style clock set consists of a clock, a pair of two-light candlesticks, and two tazze in gilt bronze with white marble for the candelabra and red marble for the clock. The model for this clock set was created by Adolphe Victor Geoffroy-Dechaume, realized by sculptor Charles-François-Édouard Elmerich, and executed by bronze caster Auguste-Maximilien Delafontaine (1813-1892). The latter, who succeeded his father in 1840, regularly collaborated with Geoffroy-Dechaume from 1847 onwards. Together, they created orientalizing caskets, vases, clocks, and lighting fixtures. Geoffroy-Dechaume’s records reveal that he delivered the design for a “Persian” clock to Delafontaine in 1851-1852. The execution was entrusted to sculptor Elmerich. This design is still preserved in the Geoffroy-Dechaume archives (now in the collection of the Cité de l’Architecture et du Patrimoine in Paris). The clock’s richly decorated dial features enamel tiles with hours inscribed in Persian numerals. It is flanked by two dragons whose tails extend into multiple scrolls inhabited by fantastic birds. The clock rests on a polylobed base covered with a red marble plaque. It bears the signature of Geoffroy-Dechaume. The two bowls are elevated by a base with four openwork feet. Their base features multiple interlaced patterns in low-relief, echoing the ornamentation of the clock. In the upper part, the bowls alternate between solid and openwork motifs, giving great delicacy to the ornamentation. The two candlesticks are finely crafted: on a white marble base, the body of each element is openwork, chiseled, and decorated with scrolls and volutes. The candleholders are supported by two long-necked fantastic animal heads. An old photograph of the “Persian” clock set by Charles Marville includes the entire garniture: clock, bowls, and candlesticks. Ours has some differences compared to this one: the base of the clock is red marble instead of white, and the base of the two candlesticks is not openwork in our garniture. It appears that an example of the clock was displayed at the 1855 Universal Exhibition in Paris, on Delafontaine’s stand. He presented numerous candelabra, bowls, caskets, cigar holders and candlesticks designed by Geoffroy-Dechaume, earning a first-class medal on this occasion. This garniture is a testament to the Persian taste combining references to Islamic and medieval arts, which developed from the late 1840s in all areas of decorative arts, particularly in the work of Victor Geoffroy-Dechaume. This prolific creator of models for civil and religious goldsmithing entered the École des Beaux-Arts in Paris in 1831, where he was a student of David d’Angers and James Pradier. His taste led him to focus on art objects, particularly models for goldsmithing until 1848, when he discovered medieval sculpture. In 1844, he gave the model for the Coupe des Vendanges to goldsmith François-Désiré Froment-Meurice, with the first example preserved at the Louvre Museum. In 1847, he participated in the design of the toilet service made by Froment-Meurice for the Duchess of Parma, now housed at the Musée d’Orsay in Paris. This Persian garniture, for which he provided the design around 1851-1852, was thus created in line with these major works that marked the first part of his career. He then provided models to many editors and founders of the time, including this garniture, whose model was commissioned by bronze caster Delafontaine. Around 1850, he turned to the study of monumental statuary, particularly medieval. He became one of Viollet-le-Duc’s main collaborators and participated in the major restoration projects of his time, such as those of Chartres Cathedral, Notre-Dame de Paris, and the Sainte-Chapelle. A prolific artist, Geoffroy-Dechaume was simultaneously a restorer of religious buildings, a monumental sculptor, an author of commemorative statues, a goldsmith for princes, and a molder. In 1885, he was appointed director of the Musée de Sculpture Comparée (now the Cité de l'Architecture et du Patrimoine).