Extracted in the valley of Estours, a beautiful valley of the Ariège department in France, the Vert d'Estours marble has a fresh spring color. It is used in the decorative arts for the realization of fireplaces, pedestals of statuettes, shelfs of furniture pieces, etc.
Invented by the decorators Oppenord, Meissonier and Pinault, the Rocaille ornaments are key elements of the Regence style and the Louis XV style. Shells and plants thus invade the decoration, transforming themselves according to the caprices of dreams into abstract and eventful forms.
The Rocaille ornaments are hence the French expression, in the decorative arts, of the late Baroque exuberances throughout Europe. In the nineteenth century, art historians forged a new term from "Baroco" and Rocaille to designate this European aesthetic of the eighteenth century: the Rococo.
Rocaille or Rococo, objects with capricious forms in the taste of the Louis XV style can often be described as both. More precise, however, we will prefer to speak of Rocaille for asymmetrical ornaments, evoking natural forms. These dreamlike forms continued to seduce in the nineteenth century as witnesses the success of François Linke and Leon Messager, to name but a few. Finally, the Art Nouveau also retains the lessons of these turbulent lines.
Alphonse Giroux is a well-known Parisian brand for toys and precious objects to offer. He is "the prince's merchant", offering a range of luxury products valued by the aristocracy and the upper bourgeoisie. Around 1830, he turned to cabinetmaking, which remained his main business: writing desks, sewing tables, boxes and sewing kits made of precious wood.
Founded in 1799, the shop shines under the Restoration: Louis-Philippe purchases the present he intends to offers to the Duke of Berry’s children, a carriage of gold and crystal, decorated with emeralds and pulled by horses of nacre. At the World’s Fair of 1855, the Empress Eugénie acquires an extraordinary cabinet by Alphonse Giroux, covered with climbing plants in carved linden wood.
Not only known for its luxury furniture and accessories, Alphonse Giroux is interested in optics. He was thus the first manufacturer of kaleidoscopes in 1818 and daguerreotypes in 1839, which he also sold in his Parisian shop.
Napoleon III, admiring the first World's Fair in London, organized the second one in Paris in 1855. He built the Palais de l'Industrie for the occasion as well as ancillary buildings where the products of all nations could be discovered and compared.
England in 1851 had made a great display of the richness of its colonies, and France replied by emphasizing its numerous painters, luxury manufactures, and agricultural products. In the decorative arts, French bronze-makers, cabinet-makers and ceramists are among the best in the world. The furniture of Jeanselme, Tahan, and the skilful Rivart, the goldsmithery of Christofle and Deniere, and the porcelain of Sevres are praised.
The structure of our fireplace, abandoning the styles of the 18th century, has an organic appearance, reminiscent of Nature. An extremely rare and original piece, this fireplace comes from the area of Genoa, in Italy and was realized in the late 19th century.
Many Parisian buildings facades from the 18th and 19th centuries are decorated with these scenes directly inspired by Du Quesnoy. Putti are usually represented in these moments of joy and effervescence, which slowly get rid the attributes of Bacchus. Thus, the putti of our fireplace, in the middle of the heavy clusters of grapes, are clearly inspired by this iconography. Instead of goats and cups of wine, the children play ancestral games that evoke the golden age of humanity.
An extraordinary fireplace
This extraordinary fireplace, covered with sculptures which form a real ode to vitality, also has a very singular form. Indeed, before the end of the century, decorators respect the repertoire of past styles which allows to structure a fireplace with jambs in the form of consoles or pilasters, on which one can add sculptures.
Thus, it is very rare to see a form so organic, as modeled, for a work carved in Statuary marble. Here, the opening of the fireplace is delimited by ivy. Two feet of vines rise on each of the jambs, carved with special attention to the bark, the shapes of the leaves and the curls of the vines.
This work, most likely carried out according to the wishes of a private sponsor, is thus the work of a talented artist. Statuary marble, which befits precious sculptures, makes this fireplace an exceptional piece. The noble materials of statuary art and the ancient iconography are used to realize a modern and unique work.