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Lot Essay
This table de salon is exemplary of Edouard Lièvre’s furniture in ‘le style japonais et chinois’. In addition to the present example, a rarefied number of tables of Lièvre’s innovative design are presently known; one described with a ‘breche d’Alep’ marble top sold from Lièvre's personal collection at Hôtel Drouot following his death in March 1887 (lot 60), another in the Musée d'Orsay (OAO1162), and two further sold sold Christie's, London, 18 September 2014, lot 31and Christie’s, London, 25 September 2015, lot 132.
Towards the late 1870s, Lièvre created a suite of Japanese-inspired furniture for Albert Vieillard (d. 1895), the renowned director of Bordeaux's ceramics manufactory, including his celebrated Cabinet Japonais, now in the Musée d'Orsay (OAO555). Lièvre was no doubt inspired by Vieillard's keen interest for the ‘sinojaponais’, but also by a 16th century Chinese table belonging to Baron James de Rothschild which he illustrated for the publication ‘Les Collections Célèbres’.
The distinctive gilt-bronze mount to the centre of the front and back frieze is the Chinese symbol ‘shou’ for longevity and also used on other pieces by Lièvre.
EDOUARD LIEVRE
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. 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 Lièvre, Gabriel Viardot and their contemporaries to create ‘sinojaponais’ decorations incorporating enamel, Baccarat crystal, Japanese lacquer 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, commanded high prices in their 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).
Towards the late 1870s, Lièvre created a suite of Japanese-inspired furniture for Albert Vieillard (d. 1895), the renowned director of Bordeaux's ceramics manufactory, including his celebrated Cabinet Japonais, now in the Musée d'Orsay (OAO555). Lièvre was no doubt inspired by Vieillard's keen interest for the ‘sinojaponais’, but also by a 16th century Chinese table belonging to Baron James de Rothschild which he illustrated for the publication ‘Les Collections Célèbres’.
The distinctive gilt-bronze mount to the centre of the front and back frieze is the Chinese symbol ‘shou’ for longevity and also used on other pieces by Lièvre.
EDOUARD LIEVRE
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. 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 Lièvre, Gabriel Viardot and their contemporaries to create ‘sinojaponais’ decorations incorporating enamel, Baccarat crystal, Japanese lacquer 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, commanded high prices in their 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).