DOI Page / Citation link:
https://doi.org/10.11588/diglit.1398#0011
PLATE 102.
A SILYER REPOUSSE TABLE,
BY MESSES. ELKING-TON & CO., LONDON AND BIRMINGHAM.
IN the accompanying plate we have given, among some of Messrs. Elkington's most artistic
productions, the very beautiful oxydized silver table, about three feet high, designed and
executed by M. Morel-Ladeuil, to whom a prize medal was awarded by the International Jury.
The subject of the composition, as described by the artist himself, represents the dreams of
three figures, reclining in sleep at the base of the table—a husbandman, a soldier, and a minstrel—
beneath a stem formed of poppies. The top of the table is richly chased with female figures, each
succeeding the other in regular order, and forming a complete ensemble, though divisible into
three separate tableaux or dreams—Victory, Glory, and Fame appear to the soldier; Love, Music,
and Fortune scattering gold, unmindful where it falls, pass by in the sleeping fancies of the poet's
dreams; whilst allegorical figures of Peace, Plenty, and Mirth cheer the slumbers of the weary
husbandman,—the whole surmounted by a statuette of the Goddess of Sleep strewing the slumber-
laden poppy over the world.
This fine piece of silversmith's work places M. Morel-Ladeuil in the very foremost rank of
artists. Nothing could be more graceful and fanciful in design, or more exquisite in point of
execution, and it is a pleasure to have to record the unanimous award by the International Jury
of a prize medal to the sculptor. It is an additional happiness to know that the artist and his
employers have the very best guarantee that their enterprise and talent will be appreciated by
those whom they would, above all others, have desired to please, and that this magnificent
specimen of the silversmith's art has been purchased by the city of Birmingham as a marriage
present to the Prince and Princess of Wales.
The remaining subjects in our Plate are, a rosewater-dish in repousse silver, partly gilt, modelled
by the late Emile Jeannest. The subject of the centre, a marine triumph of Venus, is taken from
a fresco painting found at Pompeii. The large flower-vase is characterized by boldness of design
in form and ornament.
Among other remarkable pieces were particularly to be remarked a rosewater-dish and ewer
in oxydized silver, parcel gilt, ornamented with medallion subjects of the Elements. This graceful
composition was designed by A. Willms, who has for some time been principal artist to Messrs.
Blkington. It was executed by M. Morel-Ladeuil, by whom also were two very beautiful silver
repousse tazzas, enriched with poetical renderings of Night and Morning, represented by female
winged figures floating in the clouds, and surrounded with the Hours and their respective attributes;
and a grand silver-gilt and oxydised shield, presented to the Eight Honourable Lord Churston,
one of the finest we think in the Exhibition. M. Morel-Ladeuil was born in 1820, at Clermont-
Ferrand, Anvergne, and proceeded to Paris in 1835 to study sculpture in metal; aided by the
advice and encouragement of Jean Feuchere, he entered the atelier of Vechte. A shield composed
of silver and iron, richly damascened, executed for the Emperor, obtained general admiration at
the Exhibition of Fine Arts at Paris in 1852. In 1859 he was employed by Messrs. Elkington
to execute a silver repousse vase, which gave such satisfaction that he was definitively engaged
by that enterprising firm, and we trust will long continue to enrich our country with his beautiful
productions.
Of all the processes by means of which the goldsmith produces raised figures in relief, not
one is so purely artistic as that known as repousse, or hammered work. There is the same
intimate and subtle connection between the soul, the eye, and the hand of the artist in executing
repousse work as there is in the art of violin-playing. From the days of Tubal Cain this has
been the usual method of hand-working on the precious metals. If the work is done on a
curved thin plate, it is placed on a bed of elastic cement, and the design, which has been
previously traced upon it, is beaten out by a succession of taps with a hammer upon hand-
punches. The greater the relief required, the more difficult is the process; and the larger raised
work is finished up with the chisel, graver, &c.
Some of the most elaborate and minute repousse work we have ever seen is executed by
native artists in northern India. In these cases the bottles or other objects are first made and
left plain", they are then filled up inside with pitch; and the design having been traced on the
outside, the body of the vase is beaten in with small hammers, leaving the design in slight relief.
In this process the Indians have attained extraordinary skill.
Hmm
A SILYER REPOUSSE TABLE,
BY MESSES. ELKING-TON & CO., LONDON AND BIRMINGHAM.
IN the accompanying plate we have given, among some of Messrs. Elkington's most artistic
productions, the very beautiful oxydized silver table, about three feet high, designed and
executed by M. Morel-Ladeuil, to whom a prize medal was awarded by the International Jury.
The subject of the composition, as described by the artist himself, represents the dreams of
three figures, reclining in sleep at the base of the table—a husbandman, a soldier, and a minstrel—
beneath a stem formed of poppies. The top of the table is richly chased with female figures, each
succeeding the other in regular order, and forming a complete ensemble, though divisible into
three separate tableaux or dreams—Victory, Glory, and Fame appear to the soldier; Love, Music,
and Fortune scattering gold, unmindful where it falls, pass by in the sleeping fancies of the poet's
dreams; whilst allegorical figures of Peace, Plenty, and Mirth cheer the slumbers of the weary
husbandman,—the whole surmounted by a statuette of the Goddess of Sleep strewing the slumber-
laden poppy over the world.
This fine piece of silversmith's work places M. Morel-Ladeuil in the very foremost rank of
artists. Nothing could be more graceful and fanciful in design, or more exquisite in point of
execution, and it is a pleasure to have to record the unanimous award by the International Jury
of a prize medal to the sculptor. It is an additional happiness to know that the artist and his
employers have the very best guarantee that their enterprise and talent will be appreciated by
those whom they would, above all others, have desired to please, and that this magnificent
specimen of the silversmith's art has been purchased by the city of Birmingham as a marriage
present to the Prince and Princess of Wales.
The remaining subjects in our Plate are, a rosewater-dish in repousse silver, partly gilt, modelled
by the late Emile Jeannest. The subject of the centre, a marine triumph of Venus, is taken from
a fresco painting found at Pompeii. The large flower-vase is characterized by boldness of design
in form and ornament.
Among other remarkable pieces were particularly to be remarked a rosewater-dish and ewer
in oxydized silver, parcel gilt, ornamented with medallion subjects of the Elements. This graceful
composition was designed by A. Willms, who has for some time been principal artist to Messrs.
Blkington. It was executed by M. Morel-Ladeuil, by whom also were two very beautiful silver
repousse tazzas, enriched with poetical renderings of Night and Morning, represented by female
winged figures floating in the clouds, and surrounded with the Hours and their respective attributes;
and a grand silver-gilt and oxydised shield, presented to the Eight Honourable Lord Churston,
one of the finest we think in the Exhibition. M. Morel-Ladeuil was born in 1820, at Clermont-
Ferrand, Anvergne, and proceeded to Paris in 1835 to study sculpture in metal; aided by the
advice and encouragement of Jean Feuchere, he entered the atelier of Vechte. A shield composed
of silver and iron, richly damascened, executed for the Emperor, obtained general admiration at
the Exhibition of Fine Arts at Paris in 1852. In 1859 he was employed by Messrs. Elkington
to execute a silver repousse vase, which gave such satisfaction that he was definitively engaged
by that enterprising firm, and we trust will long continue to enrich our country with his beautiful
productions.
Of all the processes by means of which the goldsmith produces raised figures in relief, not
one is so purely artistic as that known as repousse, or hammered work. There is the same
intimate and subtle connection between the soul, the eye, and the hand of the artist in executing
repousse work as there is in the art of violin-playing. From the days of Tubal Cain this has
been the usual method of hand-working on the precious metals. If the work is done on a
curved thin plate, it is placed on a bed of elastic cement, and the design, which has been
previously traced upon it, is beaten out by a succession of taps with a hammer upon hand-
punches. The greater the relief required, the more difficult is the process; and the larger raised
work is finished up with the chisel, graver, &c.
Some of the most elaborate and minute repousse work we have ever seen is executed by
native artists in northern India. In these cases the bottles or other objects are first made and
left plain", they are then filled up inside with pitch; and the design having been traced on the
outside, the body of the vase is beaten in with small hammers, leaving the design in slight relief.
In this process the Indians have attained extraordinary skill.
Hmm