REF NO : B75270



France, Circa 1870


A Large Napoleon III Gilt-Bronze and Champlevé Enamel Mounted, Marble Tazza or Centrepiece, Attributed to Louis Constant Sevin and Ferdinand Barbedienne. This...


Width: 60 cm (24 in)
Depth: 35 cm (14 in)
REF NO : B75270


A Large Napoleon III Gilt-Bronze and Champlevé Enamel Mounted, Marble Tazza or Centrepiece, Attributed to Louis Constant Sevin and Ferdinand Barbedienne.

This impressive tazza or centrepiece has a shallow Belgian Black marble bowl enriched with a Champlevé enamel band of fruiting vines, the handles finely cast as scrolling vines surmounted by facing Leopards which assertively stalk the rim of the tazza; the bowl is raised on a vine cast spreading column flanked by hipped legs which terminate in hoof-feet, the whole raised on a shaped red marble plinth and circular cast feet.


Louis-Constant Sévin (1821-1888) was one of the most important French ornamental sculptors of the second half of the nineteenth century. He began his training at the early age of thirteen, when in 1834 he was apprenticed to the Parisian sculptor Antoine-André Marneuf. In 1839 he left Marneuf in order to join forces with the sculptors Phénix and Joyau, with whom he began designing objects for famous silversmiths including François-Désiré Froment-Meurice, Jean-Valentin Morel and Henri Duponchel.

He fled to London during the 1848 Revolution and there worked at Morel’s recently opened studio on New Burlington Street. Under Morel’s auspices, Sévin designed many pieces that were presented at The Great Exhibition of 1851. Returning to France in 1851, he began designing porcelain models for the factories of Jouhanneaud and Dubois in Limoges, many of which featured at Paris’s 1855 Exposition Universelle.

In 1855, Sévin took the position of ‘sculpteur-ornamentiste’ with Ferdinand Barbedienne (1810-1892), who had established one of the most highly esteemed bronze casting foundries of the nineteenth century. Sévin was to spend the remaining twenty-three years of his life there providing plans and instruction to the company’s craftsmen. Executing over two thousand designs in this time and often using novel techniques, his objects were some of the most stylistically diverse and innovative in the Barbedienne foundry and indeed in the wider production of decorative arts in France.

Sévin regularly received commissions from European nobility and royalty, and his pieces were frequently displayed at the Great International Exhibitions of the period. His most prestigious commissions include his work for the chapel and tomb of Prince Albert at Frogmore House in Windsor, his bronze work at the Hôtel de la Païva in Paris, and the candelabras designed for the Kremlin. He was to achieve great recognition in his own time and was awarded many medals for artistic excellence.






Champlevé Enamel



他是卡尔瓦多斯省一个小农民的儿子,他的职业生涯是从巴黎的一个墙纸经销商开始的。1838年,他与Achille Collas(1795-1859)合作,后者刚刚发明了一台制造雕像微型铜制复制品的机器。他们一起开始了销售来自欧洲各地博物馆的古董雕像缩影的业务,从而使艺术民主化,使其更容易被家庭接受。从1843年起,他们通过复制在世艺术家的作品扩大了自己的范围,并通过制作珐琅彩的家用物品实现了多样化。随着1870年普法战争的爆发,由于金属的短缺,该公司不得不短暂地转而生产大炮,但之后又恢复了业务。1892年巴贝迪安去世后,他被埋葬在Père-Lachaise公墓,公司由他的侄子古斯塔夫-勒布朗继续经营到1952年。