Ferdinand Barbedienne Furniture

An exquisite and monumental true pair of French 19th century Napoleon III Period Renaissance st. Ormolu and patinated Bronze andirons, stamped by F. Barbedienne. Each andiron has an ...

A Large And Rare Pair of ‘Neo-Grec’ Style Multipatinated Bronze Amphora Vases by Ferdinand Levillain and Ferdinand Barbedienne. Signed to the cast ‘F. Levillain Fecit 1880’ and ‘F. Barbedienne’. This large pair of multipatinated vases are of amphora form modelled in the ‘Neo-Grec’ style with trumpet shaped necks and scrolling handles terminating in masks; the vases are raised on circular spreading bases put down on plinths. Each vase is finely ornamented with laurel leaves and garlands to the neck, the main body with a superb banded frieze cast in low relief depicting the Centauromachy. In the Centauromachy, the Lapiths battle with the Centaurs at the wedding feast of Pirithous. An enduring classical theme linked with the idea of culture versus nature, the Centauromachy was widely depicted in ancient Greece from the Southern Metopes of the Parthenon Freieze to the Temple of Apollo Epikourious at Bassai, it also appears as a subject on numerous Attic vases such as the Ilioupersis krater. A popular theme for artists from the Renaissance onwards it was depicted by amongst others, Michelangelo, Piero di Cosimo, Luca Signorelli, Sebastiano Ricci...

A handsome pair of French 19th century Renaissance st. patinated bronze and black Belgian marble lamps signed F. Barbedienne. Each lamp is raised by an impressive hexagonal black Bel...

An extremely decorative and handsome true pair of French 19th century Renaissance st. marble and ormolu lamps signed "F. Barbedienne Paris & F. Levillain". Raised on a mottled Rouge ...

Enamelled bronze box, signed F. Barbedienne, 19th century, Napoleon III period. Yellow, blue and red enamelled bronze box, signed F. Barbedienne, 19th century, Napoleon III period. ...

Gilt bronze and enamelled cup or cache-pot, signed F. Barbedienne, 19th century, Napoleon III period. A gilt bronze and enamelled floral cache-pot or bowl, signed F. Barbedienne, 19...

A pair of gilt bronze and enamelled goblets or cache-pots, signed F. Barbedienne, 19th century, Napoleon III period. A pair of gilt bronze and enamel...

A most impressive and large scale pair of French 19th century Belle Epoque period Neo-Greek st. patinated Bronze, black Belgian marble, and Ormolu lamps, attr. to Ferdinand Barbedien...

An extremely high quality and palatially scaled pair of French 19th century Belle Epoque Period Louis XV st. Rouge Griotte marble and Ormolu candelabras, attributed to F. Barbedienne...

A stunning and finely detailed set of four French 19th century Belle Epoque period Louis XVI st. Ormolu candlesticks, signed F. Barbedienne. Each wonderful candlestick is raised on i...

Beautiful "Panther of India" sculpture by Antoine Louis Barye mounted atop a green and white veined marble inkwell, Ferdinand Barbedienne edition, France circa 1900. Signed by the ar...

Signed F. Barbedienne Rare Ottoman style gilded bronze chandelier composed of an openwork crown, from which ten arms of light emerge, holding six transparent glasses decorated with ...

Glorious 19th century gilt bronze low handled urn modelled after the original Borghese vase by Giovanni Zoffoli (c1785-1845) cast by Barbedienne in the third quarter of the 19th cen...

Grand Tour circa 1860s bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers or The Pancrastinae...

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very good condition.

Signed F. Barbedienne & Cie Height : 31,5 cm (12,4 in.) ; Width : 12 cm (4,7 in.) ; Depth : 10,5 cm (4,1 in.) Charming baluster-shaped ewer in gilded bronze decorated with red and blue polychrome cloisonné enamel. Two beaded handles connect the body to the slender neck, ending in a flared pouring spout, and it rests on a circular piedouche. The whole is decorated with abundant engraved decoration of foliage interlacing. Barbedienne and the Cloisonné enamel : Ferdinand Barbedienne continuously 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...

Oil lamp or hand candle holder in gilded and patinated bronze signed "Ferdinand BARBEDIENNE". It is in very good condition.

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 beautifully and high quality pair of French 19th century Louis XV st. Cloisonné and Ormolu candelabras, signed F. Barbedienne. Each six arm candelabra is raised by a square Ormolu ...

19th Century Barbedienne French Champleve Enamel and Gilt bronze clock set A fine 19th Century French three piece clock garniture set. Comprising of a clock and pair of candelabra, ...

This French 19th Century antique lovely bronze and cloisonnè enamel tazza or cup with handles is an artwork made by Ferdinand Barbedienne (1810–1892). This Napoleon III period little...

A fine pair of champlevé enamel candlesticks in a chinoiserie style by Ferdinand Barbedienne (1810 - 1892), made in Paris ca.1880. Signed "F. Barbedienne" They are an example of the ...

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...

We present you with this beautiful pair of large andirons with their gilded bronze bar. They exemplify the exuberant Napoleon III style and they originate from the late 19th century....

An exceptional French patinated realistic miniature bronze bust of Jesus Christ, 1858 Signed: J CLESINGER. 1858 and F. BARBEDIENNE FONDEUR, wi...

Large Bronze Grand Tour Jardiniere Planter by Barbedienne with neoclassical satyr masks and designs, after the original Borghese vase by Giovanni Zoffoli (1785-1845). Exceptionally ...

Illuminating Heritage: An Important "Exhibition" Pair of Ferdinand Barbedienne and Louis Constant Sevin Champleve Enamel and Ormolu Eight-Light Candelabra / Lamps In the realm of de...

A handsome pair of French 19th century Néo-Grec st. Grand Tour Period patinated Bronze lamps, signed Barbedienne. The pair of original oil lamps are raised on circular socle shaped bases below the stunning and high quality busts of the goddess Athena. Each oil lamp displays wonderful and richly chased classical scenes of female figures playing instruments and weaving while dressed in elegant flowing fabrics. Above is a mottled top cap below our signature Cedric DuPont...

A pair of most impressive and large scale French 19th century Belle Epoque period Neo-Greek st. patinated Bronze and Ormolu lamps, signed Ferdinand Barbedienne. The pair of baluster ...

19thc French Louis XVI Rococo Form Gilt Bronze Chandelier Signed by F. Barbedienne. This a truly stunning classic chandelier. Seashell, C Scroll and more Rococo detail. 5 Lights.

A stunning and extremely high quality pair of French 19th century Louis XVI st. Belle Époque period patinated Bronze and Ormolu plaques, signed F. Barbedienne. Each most decorative w...

Vase with handles or kantharos cup in chiseled and openwork silvered bronze produced in 1866 by the founder Ferdinand Barbedienne. Model created by the sculptor Louis Constant Sevin ...

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

A Patinated Bronze Figural Group of ‘Gloria Victis’ (‘Glory to the Vanquished’), Cast by Ferdinand Barbedienne from the Model by Marius-Jean-Antonin Mercié (French, 1845-1916). ‘Gloria Victis’ (‘Glory to the Vanquished’). Bronze, gilt and dark brown patina. Signed 'A. Mercié', with foundry inscription 'F. BARBEDIENNE, Fondeur. Paris.' and A. Collas reduction cachet. The integral base titled 'GLORIA VICTIS'. This cast is part of a limited edition by the Barbedienne Foundry. France. Circa 1880. ‘Gloria Victis’ is one of the most recognisable and important works of sculpture of the nineteenth century and a definitive image of France’s historic national identity. The figure of glory, winged and wearing armour, carries a dying young warrior heavenwards towards fame and immortality. The compositional daring of the group must be admired for balancing two figures on the minimal support of one foot, wings spread in the moment before taking flight. Mercié was a student at the French Academy of Rome when the Prussians invaded France in 1870. Shortly after the war had begun, he executed a group depicting the figure of Fame supporting a victorious soldier. When news reached Mercié in Rome that the French had surrendered, he decided to alter his group, replacing the victorious soldier with a defeated casualty, thus transforming an allegory of ‘Glory to the Victors’ into one of ‘Glory to the Vanquished’. Completed in 1872, a year after the defeat of French soldiers against the Prussian army, the statue personifies a defeated but heroic France. The title is also a reversal of the famous formula, ‘Vae Victis’ (Death to the Vanquished), which the Gallic general Brennus exclaimed upon defeating the Romans in 390 BC. The figure of the fallen soldier was thought to represent Henri Regnault, a fellow sculptor of Mercié who was killed on the last day of fighting. Measuring 317 cm. high the original group of ‘Gloria Victis’ was unveiled in plaster at the Salon of 1872. It was bought by the City of Paris for the sum of twelve thousand francs and then cast in bronze by Victor Thiébaut for eight thousand five hundred francs. The bronze was exhibited at the Salon in 1875 and first placed in Montholon Square in the 8th arrondissement. In 1884 it was transferred to the courtyard of the Hôtel de Ville and in 1930, it entered the collection of the Musée du Petit Palais, where it can be seen to this day. The Thiébaut Frères foundry also cast Gloria Victis bronzes for the cities of Niort (requested 1881) Bordeaux (requested 1883), Châlons-sur-Marne (today, Châlons-en-Champagne; requested 1890), and Cholet (requested 1901). In 1905, the Danish brewer and art collector Carl Jacobsen was permitted to have an exact cast made of the original sculpture in Paris, on condition that the base was made 2 cm lower and bore the inscription “Original tilhører Paris By” (The original belongs to the City of Paris). It too was cast by the Thiébaut Frères foundry. Gloria Victis was one of Jacobsen’s most important and his last acquisition. Today it has been returned to its original position in the Winter Garden at Glyptoteket, Copenhagen, Denmark. The full-size plaster was shown again at the Paris Expositon universelle of 1878 alongside a bronze reduction by Barbedienne. By this time Antonin Mercié had entered into a commercial edition contract with the Ferdinand Babedienne foundry to produce bronze reductions of Gloria Victis, his most famous work. Gloria Victis is first recorded to have been produced in three sizes and by 1886 Barbedienne’s ‘Catalogue des Bronzes D’Art’ lists six sizes measuring 3/5, 9/20, 7/20, 3/10, 6/25 and 2/10, of the original. These reductions were produced by an invention of Barbedienne’s business partner Achille Collas. The Collas reducing machine was a type of complex mechanical pantograph lathe that enabled sculpture to be mathematically measured and transcribed to scale, in the round, thus making a reduced size plaster from which a bronze could be cast. Mercié's modern sculpture had become an instant classic, even receiving an entry in the Nouveau Larousse Illustré. The success of the group undoubtedly lay in the fact that it was admired not just on an aesthetic level, but also on a patriotic level, particularly in its commemoration of heroism in defeat. Immediately ‘Gloria Victis’ was recognised as a national artwork, capable of arousing patriotism and casts were ordered from Barbedienne as local memorials commemorating the war’s dead for cities across France. ‘Gloria Victis’ was considered so much a part of France’s national identity that for the 1900 Paris Exhibition, Ferdinand Barbedienne’s nephew Gustave Leblanc, loaned a bronze example to feature as part of l’Exposition centennale de l’art français. Literature: For an interesting account of the process of creating a reduction in bronze of the Gloria Victis by Barbedienne and illustrations of the casting and finishing of the bronze see: 'Ferdinand Barbedienne': Theodore Child; Harper's new monthly magazine, Volume 73, Issue 436, September 1886. ‘Contemporary French Sculptors’: The Century, Volume 33, Issue 3, Jan 1887. ‘Modern French Sculpture’: Harper's new monthly magazine, Volume 76, Issue 452, January 1888. S, Lami, ‘Dictionnaire des sculpteurs de l'Ecole française au dix-neuvième siècle’, Tome III. G.-M., Paris, 1914, p. 432. Peter Fusco and H.W. Janson, The Romantics to Rodin: French Nineteenth Century Sculpture from North...

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...

An antique French Barbedienne enamel candlestick holder. Crafted with meticulous attention to detail, this piece showcases the intricate champleve enamel technique, a hallmark of the Barbedienne workshops expertise. The vibrant enamel hues contrast beautifully against the rich tones of the metalwork, creating a harmonious and visually striking spherical composition. The piece is elevated by a sturdy marble base, adding a touch of luxury and stability to its overall aesthetic. Circa the late 19th century. Antique French Enamel Candlesticks...

Magnificent antique crucifix in cloisonné arabesque shaped enamel and gilt bronze by the Ferdinand Barbedienne foundry. On a wood backdrop and a gilt bronze back. Signed F. Barbedien...

Pair of 19th century/2nd Empire bronze decorative amphorae by Ferdinand Barbedienne By: Ferdinand Barbedienne Material: bronze, metal, copper Technique: forged, gilt, metalwork, mol...

Antique patinated bronze and onyx mantel clock by Mercié and Barbedienne French, Late 19th Century Height 113cm, width 58cm, depth 40cm Two renowned French makers, Antonin Mercié (...

Our partially gilt bronze vase from Barbedienne was designed by Ferdinand Levillian (1837-1905), circa 1880s, and features a Roman scene and face of Bacchus on other side. Drilled f...

A very nice clock in bronze made by F.BARBEDIENNE louis XVI style of very high quality the dial of the clock is in enamel, and its remarkably executed by one the best bronziers of ...

Let me say that I feel this is the most amazing clock I have seen in over 30 years. The clock case is signed Barbedienne Paris. The clock works are signed with a medallion from Japy ...

Height without/with lampshade : 168/185 cm (66,1 / 72,8 in.) ; Base : 43 x 43 cm (16,9 x 16,9 in.) Beautiful pair of neo-Greek floor lamps in bronze with double patina, composed of cylindrical lamps, decorated on the body with a rotating frieze representing women dressed in the Antique style weaving and spinning, surmounted by lampshades with cut sides in red pleated silk with golden braid. They are placed on pedestals from which hang thin chains attached to the slender shaft decorated with stylized leaves and flowers, resting on a tripod base decorated with large palmettes and ending in lion’s paws. The stylistic repertoire used here, composed in particular of palmettes, masks, and nymphs, evokes Greek Antiquity, as does the reuse of forms of furniture and objects such as tripods and antique vases. The rediscovery in the 18th century of the archaeological remains of Pompeii and Herculaneum allowed artists of all disciplines to draw inspiration from Antiquity while reinterpreting it. This trend did not fade and, in the 19th century, many personalities fitted out their interiors with neo-Greek furniture, as was the case for the Maison Pompéienne built in 1856 by the architect Alfred Normand (1822-1909) for Prince Napoleon, or Empress Eugénie who bought from the Maison Barbedienne pedestals inspired by antique tripods. Related work : Pedestal model presented by Maison Barbedienne at the Universal Exhibition in Paris in 1855. On this occasion, Empress Eugénie bought it for her bathroom in the Château de Saint-Cloud. This model pleased the Empress so much that she ordered two other pairs in 1858 for her boudoir in the palaces of Compiègne and Fontainebleau. (see photo attached) Photo showing a floor lamp similar to ours in Empress Eugénie’s bedroom in the Château de Compiègne (Oise), in Architecture intérieure et Décoration en France des...

fine antique Napoleon III period signed F. Barbidienne gilt and patinated bronze, carved slate four light lamp with mythological creatures and classical Grecian maidens. circa 1870 ...

Manufactured in France by the renowned Ferdinand Barbedienne and designed by Henry Cahieux specifically for the iconic 1855 Paris Exposition Universelle. The stands with deep brown p...

After Michelangelo Laurent de' Medici, spectacular red marble inkwell surmounted by a sculpture and three bronze cups with brown patina. Signed F Barbedienne founder, Collas Paris me...

A Pair Of 'Japonsime' Gilt-Bronze-Mounted Powder-Blue Porcelain Vases, Mounted As Lamps. By Ferdinand Barbedienne, Paris. Each with a square shaped body. The sides decorated with ...

A highly important pair of large patinated bronze figural torcheres by Émile Guillemin, cast by Ferdinand Barbedienne. French, dated 1872. Barbedienne Title: 'Deux Femmes, Indi...

Antique 19th century French pair of bronze and marble candelabras. These exceptional candelabras are by the renowned metalworker Ferdinand Barbedienne, made from rouge griotte marble...

A Pair of Gilt-Bronze And Rouge Griotte Marble Vases and Covers. By Ferdinand Barbedienne, Paris. Designed in the Neo-Grec style these elegant vases stand atop Rouge Griotte marb...

A fine pair of 19th-century Bronze and Gilt Classical Vases By Ferdinand Barbedienne 1810-1892. Each is unique with male nude figures in classical Greek poses playing music and ad...

A Fantastic 19th century French Islamic/Orientalist Style Champleve Enamel Vase and Underplate, Signed F. Barbedienne. The wide-mouthed vase terminates down a narrowing body and is m...

An exceptional French patinated realistic miniature bronze bust of Jesus Christ, 1858 Signed: J CLESINGER. 1858 and F. BARBEDIENNE FONDEUR, wi...

An exceptional French patinated realistic bronze bust of Jesus Christ, circa 1858 Signed: J CLESINGER. & F. BARBEDIENNE FONDEUR, with the Reduction Me...

An exceptional pair of French Ormolu and Champleve Enamel vases by Louis Constant Sevin and Ferdinand Barbedienne, circa 1860. "A Pair of Monumen...

Large Louis XV style Rococo ormolu three-piece clock set by Barbedienne French, late 19th century Clock: height 58cm, width 51cm, depth 19cm Candelabra: height 75cm, width 35cm, d...

A highly attractive pair of late 19th century gilt bronze twin handled vases. The handles in the form of twisted vines and the vases decorated with butterflies and birds with snails ...

Antoine-Louis Barye (French, 1795-1875). ‘Éléphant du Sénégal’ (‘Senegalese Elephant’). Patinated bronze. Cast by Ferdinand Barbedienne, Paris, from the model by Antoine-Louis B...