A Group of Six Franco/Dutch 19th/20th Century Japonisme Style Gilt and Ebonized Bronze and Gilt-Bronze Figural Chenets (Andirons), Gilt-Bronze Figural Fire-Tools and Metal Fire-Screen. The tall orientalist flavor chenets, each surmounted with a figure of a Komodo dragon, the fire-tools comprising of tongs, a poker and a shovel, the large spark screen with decorative elements. The chenets stamped 'Belgium'. Circa: 1900. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872. While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing. Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné enamel reached its "golden age" from 1890 to 1910, producing items more advanced than ever before. These items were widely visible in nineteenth-century Europe: a succession of world's fairs displayed Japanese decorative art to millions, and it was picked up by galleries and fashionable stores. Writings by critics, collectors, and artists expressed considerable excitement about this "new" art. Collectors including Siegfried Bing and Christopher Dresser displayed and wrote about these works. Thus Japanese styles and themes reappeared in the work of Western artists and craftsmen.

Description:

A Group of Six Franco/Dutch 19th/20th Century Japonisme Style Gilt and Ebonized Bronze and Gilt-Bronze Figural Chenets (Andirons), Gilt-Bronze Figural Fire-Tools and Metal Fire-Screen. The tall orientalist flavor chenets, each surmounted with a figure of a Komodo dragon, the fire-tools comprising of tongs, a poker and a shovel, the large spark screen with decorative elements. The chenets stamped 'Belgium'. Circa: 1900.

Chenets Height: 35 inches (89 cm)
Chenets Width: 17 inches (43 cm)
Chenets Depth: 6 1/2 inches (17 cm)
Screen Height: 41 inches (104 cm)
Screen Width: 52 inches (132 cm)
Screen Depth: 11 inches (28 cm)

Ref.: A2731

Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.

While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing. Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example.

From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions.

Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné enamel reached its "golden age" from 1890 to 1910, producing items more advanced than ever before. These items were widely visible in nineteenth-century Europe: a succession of world's fairs displayed Japanese decorative art to millions, and it was picked up by galleries and fashionable stores. Writings by critics, collectors, and artists expressed considerable excitement about this "new" art. Collectors including Siegfried Bing and Christopher Dresser displayed and wrote about these works. Thus Japanese styles and themes reappeared in the work of Western artists and craftsmen.

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Gallery Hours M-F 9:00 - 4:00 Sat BY APPMNT Phone 323.735.6455

Connect

About

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Gallery Hours
M-F 9:00 - 4:00 Sat BY APPMNT
Phone 323.735.6455