Metro Station

Toile de Jouy

If you’ve ever been to Paris, then you may be familiar with the street and metro stop Oberkampf in the 11^th arrondissement.  This metro stop is named for the eighteenth century fabric manufacturer Christophe-Philippe Oberkampf (1738-1815), the founder of Toile de Jouy, a well-known pattern in wallpapers, fabrics, and other decorative arts.

Hired from Switzerland in 1758 to work in Paris as a colorist and engraver for the cotton manufacturer Sieur Cottin, Oberkampf set out on his own a year later choosing the small town of Jouy-en-Josas to set up his manufactory, a short distance from the promise of Versailles’s clientele, yet close enough to Paris for the masses. Specializing in the highly valued (and formerly banned) Indian cottons, or indiennes as they were called in France, he sought perfection in his innovations with dyes and designs. He created more than 30,000 different designs, ranging from simple floral motifs, to Egyptian styles, as well as displays of eighteenth century French country life. In 1787, Louis XVI had Oberkampf knighted due to his influential designs of the genre scenes of French country living that were so dear to his wife Marie Antoinette. The later cashmere shawls worn by Josephine de Beauharnais were reproduced on Jouy cottons with their paisley and palmette motifs, the latter inspired by her husband’s Egyptian campaign at the end of the 18^th century.

By the year 1800 he had revolutionized the printing process, changing from the traditional wood block and copper plate methods for monochromes and designs to the mechanized process of the copper roller. Further decorations continued to be presented to him for his famous prints that had for many years dominated French fashion. In 1806 he was decorated by Napoleon himself on the site of his manufactory with the Cross of the Legion of Honor.

His monochrome scenes often can be read like a history book and, like all art, create a window into the different styles and fashions of the day. Included in his different commemorative prints, in particular, are scenes of the first ever hot air balloons, the American Independence, and moments from the French Revolution that include the anniversary of the storming of the Bastille.

Further exceptional motifs also include scenes from Greek mythology, chinoiseries, the Fables of La Fontaine, the monuments of Paris, Rome, and Egypt, and even popular operas of the time. Known throughout Europe in his day, Oberkampf was a man ahead of his time. Christophe-Philippe Oberkampf died in 1815, the year the Empire of Napoleon collapsed. His son Émile attempted to keep the company alive during the change of regime as best he could. Unfortunately, by 1843 the reputed style of Toile de Jouy had waned and the decline in its desirability had faded. The manufactory closed its doors that same year. However, the lasting effect of his designs and prints would be imitated for generations to come.

Take a look at our very own exceptional Toile viewable on our website:

https://frenchmetro.com/products/porcelain-of-paris-toile-sink

The Devil’s Bridge

Built in the fourteenth century, the Pont de Valentré, a bridge spanning the river Lot in Cahors, Southern France, is one that for centuries has been shrouded in mystery and superstition. Originally constructed as a defensive bridge against English invasion during the Hundred Years War, the bridge took seventy years to be built! This may seem somewhat ridiculous considering that the average full-sized castle at the time took between two to ten years to build. In comes the superstition and mystery! Legend has it that the master builder of the time, frustrated with the slow pace of the building project and the eager demands of the local lord to have it completed, signed a pact with the Devil. Agreeing to use his vast power and skills to accelerate the building process, the Devil promised the builder that his bridge would be completed soon if the builder would forfeit his soul upon the bridge’s completion.

After seeing the bridge completed on time, the builder regretted his decision for fear of his immortal soul. Issuing one final order, the builder commanded the Devil to fetch water for his exhausted workmen, however, instead of handing over a proper pail or bucket, the builder tricked the Devil by giving him a sieve. The Devil then went to collect water for the builder knowing that upon his return, the builder’s soul would belong to him. Nevertheless, the Devil realized that he had been tricked by the builder since he was unable to complete the final task with the sieve. Boiling with rage, the Devil vowed that the bridge must therefore never be completed and according to local folklore commanded a demon each night to loosen the final stone of the central tower of the bridge (known as the Devil’s Tower) in order to stay true to the pact. In return, the bridge had to be repaired each day.

I visited this mysterious bridge this summer on a road trip around France. So much superstition surrounds the bridge. Having fallen into disrepair in the nineteenth century, architect Paul Gout, in 1879, had the bridge restored and for good measure had the final stone of the central tower carved into a demon with arms wrapped around the stone.

The updated legend has it that when the Devil comes to check upon his sabotage, the sculpted demon confuses the Devil and fools him into thinking that the stone gargoyle is one of his demons tasked with dismantling the bridge. Truly a well spun tale, this medieval bridge is a site worth visiting in Cahors, France!

What is a French "salon"?

What is a  "salon" ? This French-origin word has different meanings. The first would be the definition of an elegant living room. The second is "a fashionable assemblage of notables (as literary figures, artists, or statesmen) held by custom at the home of a prominent person." And here is an example of the third meaning of a Salon with a capitalized S : an annual exhibition of works of art. For instance the Paris Salon was where the eighteenth and nineteen century artists displayed their works to the public. 

The Royal Academy of Art, established in 1648 by the Sun King, was the most significant professional art society in France. This school held annual exhibitions where artists could display their works of art and wait for the critics reviews!  It provided the chance for young artists to be promoted and to make connection with patrons who could help them move out of the "starving artist category."

From the late eighteenth century this institution had a real monopoly on how the public defined good taste and on official patronage of the artists who exhibited at the Salon.

In the 1850's, new movements appeared and undercut the influence of the Royal Academy. They would later be seen as avant-garde movements. The Realists represented by Gustave Courbet, Jean-François Millet, and  Édouard Manet was one of these movements. In the late nineteenth century, there appeared the most famous avant-garde movement : Impressionism. The first Impressionist exhibition was held in Paris in 1874, at 35 boulevard des Capucines, the former studios of the renowned French photographer Nadar.

By the end of the nineteenth century and the first decade of the twentieth, the Royal Academy's influence was gone and new Salons appeared, showing the works of modernist artists like Henri Matisse and André Derain.

The Cathedral of Beauvais

Another successful buying trip to France for those that kept up with us--we were very busy and productive but were able to sneak one day in to relax. We had worked through all of our appointments and were far ahead of schedule before we needed to head back to Paris from Normandy for our return flight home. With no clear plan in mind, and no set lodging to speak of, Renee and I decided to make an unscheduled stop in the cathedral town of Beauvais on our way back to Paris. I remembered studying the cathedral when I was at school in France and remembered that it was particularly of interest for its Gothic architecture, lack of a nave, and for boasting the tallest quire in the world, what Eugene Viollet-le-Duc called the “Pantheon of French Gothic”.

We decidedly drove to Beauvais and organized lodging while on the road. After we were settled in, we went out for dinner. The heat wave or “La Canicule” as the French called it had been heavy in the air for a few days already, so dinner was a delight. We ended up in a place which served fresh and light fare. The owner of the restaurant was surprised to hear that we’d decided to come to Beauvais on a whim and told us that we were indeed lucky. Apparently we were to be there for the local festival of Jeanne Hachette, a heroine from the late 15^th century who in 1472, inspired by Joan of Arc, defended the walls of the city of Beauvais against an attaching Burgundian force and cut down the Duc of Burgundy’s flag that had been hoisted atop one of the towers the enemy had penetrated.

After dinner we made our way toward the famed cathedral to see the light show.

The following day we went back to the cathedral for Mass, where we had been told of a performance by a choir from Romania. The acoustics in the church were an absolute  marvel.  

Our spontaneous visit was complete with the medieval parade and feast.  Beauvais was indeed a complete surprise!

Spotlight: Paul Sormani, 19th Century French Cabinet Maker

When it comes to fine “meubles de luxe” or luxury furniture, there are few cabinet makers that truly stand out. However, a number of exceptional “Ebenistes” in the nineteenth century stand above the rest for their remarkable skill and versatility in styles, none more than Paul Sormani! Born in Venice in 1817, Sormani would eventually move to Paris in 1847 and become the preeminent Napoleon III period cabinet maker. He was noted for his specialized furniture reproductions in the styles of the Louis XIV, Louis the XV, and Louis XVI eras of the previous centuries, appealing to eighteenth century nostalgics.

Detail on a Paul Sormani Vitrine

Sormani won numerous medals and exhibited in Paris six times and once in London. The catalogue for the 1867 Universal Exposition described his work as one with “une qualité d’exécution de tout premier ordre” or as one with having “a quality of execution of the first order.” Though his work emulated that of bygone craftsmen, his skill far surpassed those that had come before. The nineteenth century saw a reintroduction of many former styles in furniture that were predominant under the kings of the old regime.

Gilt-bronze mounted mahogany and fruit wood table. Sold at Sotheby's for $100,000 in 2014.

Sormani wanted his work to recall the ancient traditional knowledge of artisans past with an emphasis on attention to detail, inventiveness, excellence, and a taste for beauty and luxury. Sormani fashioned works of art that came in many forms, from jewelry boxes, writing desks, and commodes to mirrors, and many smaller precious objects. His works included exotic inlays and veneers in rare woods, finely chiseled gilded bronze decorations, as well as Boulle style pieces inlaid with tortoise shell.

Under the patronage of the Empress Eugenie, wife of Emperor Napoleon III, Sormani became immensely popular with the discerning European aristocracy, going on to decorate the palaces of the French Imperial family. Sormani was a global sensation after the 1862 Universal Exhibition in London, and the esteem that followed the name Sormani would continue after his death in 1877. Owning a signed Sormani piece became a status symbol. Leaving his business to his wife, Ursula-Marie-Philippine Bouvaist, and son, Paul-Charles after his death, the furniture firm he created continued his quality and style to perfection. Pieces created after this time were then signed Veuve Sormani or Veuve Sormani et Fils (the widow Sormani and sons). The firm thrived for more than ninety years, closing in 1934 after the death of Paul Charles.

Game box signed Veuve Sormani & Fils available at French Metro Antiques

Signed lock plate and mother-of-pearl gambling chips.

The Compagnons and their Meubles de Maitrise

When it comes to antiques, the meuble de maitrise is unique. Translated in English as Mastery Furniture, these pieces were not done by the masters. Instead, the meuble de maitrise was a scale model created by the cabinet maker's apprentice in order to prove his skills to the master. Often introduced as a challenge for the apprentice after they had completed a tour of France to observe different techniques, the meuble de maitrise was a means to show off one's acquired skills.

On the left a Louis Philippe miniature chest and on the right a Louis XVI miniature chest with a bottle for comparison to show size.

Though not a masterpiece in the strict sense of the term, these miniature pieces of furniture often masterfully displayed the intricacies of technique, complexity of materials, as well as the hard earned patience of the apprentice. Also unlike a master's work these pieces were rarely signed, with the apprentice behind them remaining anonymous to this day.

This institution of apprenticeship has roots that go back as far as the Middle Ages, however it wasn't until the 16th century that its organization became a permanent staple in furniture making. Due to a more sedentary lifestyle that began in the 16th century, there was a new demand from the upper class for cabinets, desks, seating, etc..Thus the cabinet maker was born and apprentices followed suit. To increase the number of assistants to aid the cabinet makers that were in high demand, a new institution named the Compagnons de France was initiated.

Louis XVI style secretary writing desk
(Click photo to view online)

To be compagnon, complete training was required. It began with six years of apprenticeship carrying out menial tasks, followed by three years as a journeyman touring the country. Once complete, the compagnon paid an admission fee and presented his Meuble de Maitrise to a jury of 6 Cabinet Makers, all with 10 or more years of mastery under their belts. Foreigners could also apply to become a Compagnon de France, but the requirements for their meuble de maitrise were doubled since many did not have the same programs of apprenticeship in their native countries. Once admitted to the institution, the new member would be restricted to Paris, near the king's court, thereby solidifying the king's "style" as the predominant one. Few member were allowed to leave Paris, though those that did would relay to the provinces the preferred ornamentation demanded by the current king.

Above a miniature chair in the English Jacobean style.
(Click photo to view online)

The institution of Compagnons exists to this day, with a final piece required of each new applicant to highlight their craft. Though no longer strictly relating to furniture, craftsmen now create pieces out of many things including bronze, marble, and even mechanics. It is no wonder that the Compagnons are the most sought after workers in France today due to the demanding training that makes them elite craftsmen.

 Compagnon de France miniature wooden hay wagon signed Marc 2007. 
(Click photo to view online)  

Bastille Day and Its Symbols

Bastille Day is the official French national holiday. The national holiday is celebrated annually on the 14^th of July to commemorate the storming of the Bastille Fortress in Paris that took place the same day in 1789. The Bastille Fortress at the time served as a prison for citizens that received arbitrary royal indictments that could not be appealed and did not indicate the reason for the imprisonment. Having served as a royal prison for this purpose since the reign of Louis XIV in the 17^th century, the fortress had become a symbol of monarchical oppression.

On the 14^th of July, 1789, large mobs began laying siege to the Hotel des Invalides (the military hospital in Paris) in order to obtain arms. Shortly after, the crowd moved on to the Bastille to liberate prisoners and seize the fortress's ammunition and gunpowder supply in order to arm the populace. Up until that date, the French citizenry had increasingly become afraid of an attack on them by royal troops to suppress their outrage towards a series of abuses relating to taxes, starvation, and lack of representation. After an initial loss of 200 attacking citizens, the mob was joined by mutinous Gardes Françaises or “French Guards”, a municipal police force in charge of protecting public buildings. The fortress soon after surrendered.

Contrary to the vast numbers believed to be held in the Bastille, only seven people were freed after the siege. Events following the siege of the Bastille fortress lead to abolition of feudalism and the proclamation of the Déclaration des Droits de l'Homme et du Citoyen or the Declaration of the Rights of Man and of the Citizen on August 26^th, 1789. The following year, the new republican government enacted the Fête de la Fédération (a precursor to the current holiday) as their new national holiday to commemorate the event.

Much like the Bastille itself, symbols throughout France were incorporated into the festivities. Supporters of the new republican government began wearing a Bonnet Rouge, or red cap with tricolor cockades and the rooster became a national mascot.

The Bonnet Rouge was a symbol taken from the headgear of ancient roman slaves who would have been presented with a similar cap as an emblematic gift when granted their freedom. Representing not only personal liberty, the cap also stood for the freedom of citizens and the right to vote. The Bonnet Rouge on a spear was proposed as a component of the national seal on 22 September 1792 and in 1793 the cap became the symbolic “hairstyle” of Parisians, becoming a rallying point and a way to mock the elaborate wigs of the aristocrats who represented the Noble Estate, and the red caps of the bishops who represented the Ecclesiastical Estate.

The tricolor and its associated cockade, or badge, were introduced just a day before the storming of the Bastille as a distinctive badge to be given to the citizen militia. The newly introduced badge took the form of a two-colored cockades, or circles of folded ribbon, in the ancient colors of Paris, blue and red. It would appear that the Marquis de Lafayette, former French commander during the American Revolution, added a white band representing loyalty to the sovereign on the 17^th of July when Louis XVI met with the newly formed National Guard. In 1792, the Assembly adopted the tricolor cockade as the official symbol of the revolution, with the three colors said to represent the three estates of French society: the clergy (blue), the nobility (white) and the third estate (red). The use of the three colors spread, and a law in 1794 made them the colors of the French national flag.

The Gallic rooster as a symbol of the French people was not an official one, but its roots went back to the Middle Ages. Originally a play on words in Latin, the Latin word Gallus meaning inhabitant of Gaul (the ancestral lands of the French) was very similar to the word gallus meaning rooster in Latin. During the French Revolution, the Gallic rooster saw a revival in use due to its association with pre-christian France. French history until then had been associated with the first French Christian king Clovis in 496. The new republican government therefore began using the rooster as a way to disassociate with the monarchy and re-associate their new regime with classical civilization such as the Gallo-Romans, consequently the Romans themselves. As an interesting point of fact, cathedrals and churches in France began placing rooster weather vanes atop their steeples as a means to reconnect the French with the Christian faith, since many had rejected it due to its close ties to the monarchy. This symbolic peace offering can still be seen on churches in France today.

 https://frenchmetro.com/products/20a143-copper-weathervane?_pos=1&_sid=74b738a82&_ss=r

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Restoration Musings

In practicing the art of restoration, I approach each piece with respect and love of craft.  Understanding the original function and form is key to this process. I often mutter to myself that the hand must not be seen.



The first stage is cleaning. I carefully go over the entire piece and clean all the nooks and crannies. By walking my fingers across the varied surfaces, I am able to find the life that the piece has lived. Time is seen in the burn marks, ink spills, and markings from Mother Nature. In viewing the buildup of gunk, a technical term, I can see if the piece has lived part of its life in a kitchen or next to a fireplace. I can tell where the piece was in a room, and where the window was in relation to the furniture. My job is not to erase it all. It is to soften it and let the character that has taken form over time speak to its next owner. In applying wax to the surface, I protect the finish. The finish, usually shellac, is there to protect the wood. I protect the markings of time and place, so that the next generation can pass on a shared piece of history of which they are now a part.