Page 4 - catalogue 2016
P. 4
my first catalogue, I have chosen the novel theme of an I have always felt and still feel strongly that patina does not exist on gilt
exhibition on mounted porcelain in the 18th Century. bronzes. In some cases, the piece is covered in dirt and it makes sense to
clean it delicately, using the appropriate products to bring it back to its
Since the beginning of my career, I have bought clocks and works of art original appearance. In others, the gilding is very worn or may have
which combine gilt bronze with Asian, Meissen or Sèvres porcelain. I find disappeared altogether (often the disastrous result of use of the brass
the contrast between the two materials especially appealing. cleaning product, Mirror). Needless to say, it is always possible to not
wash a gilt bronze and leave it in its dirty state; if the original gilding
In the 18th Century, the only artificial light came from candles, meaning remains it can reappear unaltered one day, no matter how long one waits.
that the gilt bronzes had to sparkle brilliantly, much in the same way that
fabrics had to be woven in bright colors. Today, the glare of electric lights Time does not alter gold.
means one no longer understands the subtle differences between the
burnished and chased surfaces which made the gilt bronze shimmer in I would like to thank M. Christian Baulez for very kindly agreeing to write
candle-light. the preface to the catalogue; his competence in this field and research
on gilt bronze-makers are universally recognized. M. Vincent Bastien and
The lack of connoisseurship has always created a polemic around the Mme Sylvie Ruyz graciously accepted my request to prepare the text on
dating of gilt bronzes. Wouldn’t it be better if buyers and collectors Sèvres porcelain and helped track down certain provenances. MM.
realized that errors are commonplace in the catalogues of salerooms large Bernard Dragesco and Didier Cramoisan, whom I have known for so
and small, in France and abroad, from the humblest to the most many years, gave invaluable advice on the authenticity of the Sèvres
prestigious? Sometimes the errors are to the client’s detriment and porcelain as well as deciphering the marks of the painters and gilders
sometimes in their favour. Gilt bronzes catalogued as genuine 18th which hold no secrets for them. My thanks are due also to M. Patrick
Century turn out to be later copies from the 19th or 20th Centuries. Leperlier who I like to say knows so much about the history and society
Conversely, pieces described as style in reality date to the 18th Century. of the 18th Century that he must have actually lived then; M. Christian
In both cases, there is an enormous difference in value. Bazinette whose generously shared his considerable knowledge of
Chinese porcelain; M. Stéphane Molinier for his research, M. Gérard
A bronze which shines like new can of course have retained all of its Leroy, M. Jean-Jacques Coron, M. Jean-Michel Hansart, Mme
original mercury gilding (à l’ormolu) and one sees it today as it would have Emmanuelle Galand, and M. et Mme. Daniel Cousté. Finally, M. William
appeared in the 18th Century. A gilt bronze which shows signs of wear Iselin, adviser to an important clientele, who motivated me to undertake
can also have been re-gilt at a later date and been rubbed to create false this catalogue and prepared its English translation.
signs of wear.
Pascal Izarn
2
exhibition on mounted porcelain in the 18th Century. bronzes. In some cases, the piece is covered in dirt and it makes sense to
clean it delicately, using the appropriate products to bring it back to its
Since the beginning of my career, I have bought clocks and works of art original appearance. In others, the gilding is very worn or may have
which combine gilt bronze with Asian, Meissen or Sèvres porcelain. I find disappeared altogether (often the disastrous result of use of the brass
the contrast between the two materials especially appealing. cleaning product, Mirror). Needless to say, it is always possible to not
wash a gilt bronze and leave it in its dirty state; if the original gilding
In the 18th Century, the only artificial light came from candles, meaning remains it can reappear unaltered one day, no matter how long one waits.
that the gilt bronzes had to sparkle brilliantly, much in the same way that
fabrics had to be woven in bright colors. Today, the glare of electric lights Time does not alter gold.
means one no longer understands the subtle differences between the
burnished and chased surfaces which made the gilt bronze shimmer in I would like to thank M. Christian Baulez for very kindly agreeing to write
candle-light. the preface to the catalogue; his competence in this field and research
on gilt bronze-makers are universally recognized. M. Vincent Bastien and
The lack of connoisseurship has always created a polemic around the Mme Sylvie Ruyz graciously accepted my request to prepare the text on
dating of gilt bronzes. Wouldn’t it be better if buyers and collectors Sèvres porcelain and helped track down certain provenances. MM.
realized that errors are commonplace in the catalogues of salerooms large Bernard Dragesco and Didier Cramoisan, whom I have known for so
and small, in France and abroad, from the humblest to the most many years, gave invaluable advice on the authenticity of the Sèvres
prestigious? Sometimes the errors are to the client’s detriment and porcelain as well as deciphering the marks of the painters and gilders
sometimes in their favour. Gilt bronzes catalogued as genuine 18th which hold no secrets for them. My thanks are due also to M. Patrick
Century turn out to be later copies from the 19th or 20th Centuries. Leperlier who I like to say knows so much about the history and society
Conversely, pieces described as style in reality date to the 18th Century. of the 18th Century that he must have actually lived then; M. Christian
In both cases, there is an enormous difference in value. Bazinette whose generously shared his considerable knowledge of
Chinese porcelain; M. Stéphane Molinier for his research, M. Gérard
A bronze which shines like new can of course have retained all of its Leroy, M. Jean-Jacques Coron, M. Jean-Michel Hansart, Mme
original mercury gilding (à l’ormolu) and one sees it today as it would have Emmanuelle Galand, and M. et Mme. Daniel Cousté. Finally, M. William
appeared in the 18th Century. A gilt bronze which shows signs of wear Iselin, adviser to an important clientele, who motivated me to undertake
can also have been re-gilt at a later date and been rubbed to create false this catalogue and prepared its English translation.
signs of wear.
Pascal Izarn
2
