Paul Victor GRANDHOMME (Paris, 1851 - Saint-Briac-sur-Mer,... - Lot 27 - Ader

Lot 27
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Estimation :
1500 - 2000 EUR
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Result : 15 360EUR
Paul Victor GRANDHOMME (Paris, 1851 - Saint-Briac-sur-Mer,... - Lot 27 - Ader
Paul Victor GRANDHOMME (Paris, 1851 - Saint-Briac-sur-Mer, 1944) and Alfred-Jean GARNIER (Puiseaux, 1848 - Paris, 1921) Pandora Polychrome enamel plate painted on copper Signed lower right: "Grandhomme AGarnier_Inv(enit) et Pinx(it) On the back, partially erased inscription : " Grandhomme Garnier / ...mail ". Size : 24,8 x 14,2 cm, in a gilded and blackened wood frame : 38 x 28 cm Exhibition: Paris, Salon de la Société Nationale des Beaux-arts, 1892, no. 53 ("Pandora, app. To Mr. Charles H..."). Related literature: Pascal Massé, "Gustave Moreau, Botticelli and the painting of masters in the fire arts on metal at the end of the 19th century," in Sèvres, revue de la Société des Amis du musée national de Céramique, no. 10, 2001. pp. 61-73. Related works: - Grandhomme et Garnier, Les Voix (after G. Moreau), 1889, enamel and gold, H. 21 x W. 11 cm, Paris, Musée des Arts décoratifs, inv. 4911 ; - Grandhomme and Garnier, Hélène (after Gustave Moreau), 1893, enamel and gold. H. 9 x W. 5 cm, Paris, Musée d'Orsay, inv. OAO 192 ; - Grandhomme and Garnier, Sapho (interpretation after Gustave Moreau), 1895, enamel painted on copper, H. 17 x W. 12 cm, Paris, Musée d'Orsay, inv. OA0 1169. - Grandhomme and Garnier, Youth and Immortality (after Gustave Moreau), 1894, enamel painted on copper, H. 0.325 ; W. 0.185. Paris, Musée des Arts décoratifs, inv. L24484. As a student of cameo engraving and woodcutting, Alfred-Jean Garnier discovered a vocation for the art of enamel, which had been booming since the 1830s. While taking refuge in Limoges, the age-old land of enamellers, during the Commune, he discovered, as did Paul Victor Grandhomme, Claudius Popelin's innovative book, L'Émail des peintres. The meeting of these two artists in 1877 was decisive for the continuation of their respective careers, which were brilliant until the eve of the Universal Exhibition of 1900. The two partners created magnificent paintings on enamel inspired by both Renaissance artists, notably Michelangelo, and the dreamlike, symbolist world of the painter Gustave Moreau. Here Pandora, the first human woman fashioned in clay by Hephaestus, is represented in frontal nudity with sensual curves, in an antique setting of great detail and color. She sits on a throne in the shape of a sphinx, carrying the famous box containing all the evils of humanity - here a jewel of goldsmithery - in a lyrical representation of a modern Eve.
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