Bingen, Pierre

Born in 1842, Pierre Bingen worked in the first and residence for some silversmiths before giving himself up to casting bronzes.  He was particularly interested in lost wax procedure.  In 1880s established himself at 74 Rue de Plantes and furnished Rodin with nearly a dozen pieces in small dimensions.  Carrier-Belleuse, Falguière, Cordiér, Barrias, and Dalou were among his clients.  For Dalou, Bingen started casting the Triomphe de la République, but had to abandonment because the cost was too high.  This work was fine made by Victor Thiebaut.  Benjamin lived at 8 Villa Ciollet in 1900, during which can be found mention of his successors, Bingen Jr. and Costenoble.

  Bisceglia, Mario

Coming from Italy at the beginning of the 20th-century, this founder established himself in Malakoff, near Paris, and worked regularly for Henri Bouchard in the number of other artists.  His activity continued until 1962, after which he sold his studios to Emile Godard.  A certain number of seals carry the phrase "Bisceglia Frères”.

 

Blot, Eugene

 

A manufacturer of "art zinc" was documented in 1974 under the trade name Blot and Drouard.  In 1878, they exhibited many of his imitation bronzes, a certain number of them reproductions of works by Guillemin and Dumaige.  At the end of the 19th century, Eugene Blot, the son of the original founder, worked as an editor of bronzes and owned an exhibition Gallery at 5 Boulevard de la Madeleine.  There could be found some canvases of great impressionistic painters, lamps, curios, and some bronzes by Constantin, Meunier, Hoetger, Jouant, Vander Stratten, and Camille Claudel; all of the bronzes had been cast by Eugene blot.  He particularly admired Camille Claudel for whom he cast works in limited and numbered castings.  Adapting a phrase from Mirbeau, blot wrote later that Claudel "is to Rodin has Berth Morizot is to Manet”. In 1937 and 1938, after retiring from the business, Eugene blot yielded "the rights of manufacturing and casting models of the status" mentioned above to Leblanc-Barbedienne.  He indicated that this time that he was formerly the editor of arts at 11 Rue Richepasse and that this factory was found at 84 Rue de Archives.

 

Colin, Emile

 

Emile Colin worked in second half the 19th century for number of renowned artists, including Carrier Belleuse, Feuchère, Fratin, Pradier, Theodore Rivière, Mathurin Moreau, Mindron, and Charpentier.  He sent a bronze clock and some marble vases decorated with bronze to the 1893 Chicago exhibition, in addition to some sculpture.  The Colin foundry was located at 29 Rue de Sevinge in 1843, and then at 17 Rue des Tournelles starting in 1914.  Around 1930 the foundry operating a shop at 12 Avenue Victor-Emmanuelle III.

 

Collas, Achille

 

The inventor of diverse machines to variegate colors for the imprinting of calico, Collas completed a procedure of reduction of the status based on the pantograph and in 1838 went into business with the famous founder Ferdinand Barbedienne.  His first reduction, a statue in bronze of the Venus de Milo drew the attention of founders and sculptors when it was first exhibited in 1839.  His invention and other similar creations made simultaneously by different inventor's including Sauvage was originally used for producing immense numbers of bronze reproductions in the second half the 19th century.  In 1867, the international jury of the Exposition Universelle posthumously eulogized Achille Collas unhesitatingly comparing him to Gutenberg.

 

Daubree, Alfred

 

Daubree bone de Goldsmith's shop in Nancy before establishing himself as merchant of our bronzes and jewelry at the Paris address of 85 Rue Montmartre in 1850s.  He cast a certain number of bronzes by Fratin, Cumberworth, Menessier, Michel Pascal, and Kampf.  He used a number of intermediaries to sell his bronzes, which only rarely carried his mark.  Starting in 1860, he lived at 48 Boulevard de Strasbourg, and by 1881, he had moved to 12 Boulevard de Strasbourg.  At the time of the Exposition Universelle of 1867, Daubree was noted among reputed founders of the time.  His son succeeded him after his death in 1885.

 

Debraux

 

Sometimes called Debraux d’englures, this founder began participating in expositions of industrial products in 1834.  He was the first manufacturer to be titled as an "editor of art", and 1839.  He was then established on the Rue de Castigilione, and owned a store at 17 Rue d'Astorg.  In 1837, he made a cast for the statue by Emanuel Philibert of Savoie, of Marochetti, for a square in Turin.  His studio also cast other works for the sculpture as well as a number of other artists, including Gechter, Fauginet, and Barye.  In 1852, the commercial directories mention this foundry for the last time under the trade name "Veuve Debreaux."  However, its name appeared again in 1858, in the magazine picturesque for some castings in bronze by contemporary sculptors.

 

Delafontaine

 

As early as the 18th-century, there was a bronze factory managed by a master founder by the name of Jean Baptiste Maximilien Delafontaine, born in 1750.  His son Pierre Maximilien (1774-1860) succeeded him.  Their factory was first located at 13 Rue Neuve-d’Orleans, and beginning in 1824, at 10 Rue Neuve- de-L’Abbaye.  The succession apparently continued from Father to son; Auguste Maximilien Delafontaine operated the business at 46 Rue Bonaparte in 18 '40s, until the business move to 10 Rue de L’Université in 1870.  This period, while the firm was under Auguste Maximilien's direction, was its most fecund.  Simply an editor, he entrusted the execution of bronzes to the Molz foundry on the Rue de Rennes.  Resuming the contracts arranged by Duret with the founder Quesnel, he cast many of his works in 1850’s.  His catalog of "bronzes of arts and of furnishings" offered some works by other artists, including Pradier, reproductions of antique status, and diverse objects of art and furniture.  At the posthumous sale of Barye's works in 1876, Auguste Maximilien Delafontaine bought a certain number of models, particularly of dogs, of which he made some editions.  Pursuing his activities, his son Henri Maximilien succeeded him in 1884 and in turn published his own catalog, noting the Company's possession "of the greatest part of the work by Duret" and the addition of works by numerous other sculptors such as Cavelier, Pradier, Elias Robert, Guillaumè, Mathurin Moreau, some collections of animals by Barye and Jacquemart, some reductions of sculptors from antiquity, the Renaissance, and the 17th in 18th centuries, and finally some objects of furniture and decoration.  Henri Maximilien Delafontaine sold his business and retired in 1905.

 

Denière

 

The Denière factory of art bronzes began operating at 15 Rue Vivienne during 1820's, primarily praising furnishings, chandeliers, his candelabra, etc.  The manufacturing studios were situated on the Rue d'Orleans.  Denière Sr. had belonged to the Union des Fondeurs of Paris in 1818.  He participated in exhibitions of industrial products, particularly in 1839, with some objects made in collaboration with his son who joined the union in 1847.  He furnished to Duke of Orléans with an ornamented centerpiece consisting of figures by Cavelier, Klaggmann and some other sculptors; the centerpiece was sold at the same time as the collection of friends in 1852.  The Denière House acquired a tremendous notoriety, and his stand at the Exposition Universelle of 1855 attracted many customers.  In addition, beginning around 1855 the Company operated under the direction of Denière's son Guillaumè.  Moreover, he presented numerous works at the exposition de l’union Centrale des Beaux Arts Appliqués a L‘Industrie in 1874, including candelabra made up of Clodion figures, vases ornamented with cloisonné enamel, busts in marble by Carrier-Belleuse etc. the house also cast some statuettes by the Carrier-Belleuse, and executed the gilded bronze casting of the group of Apollon by Aime Millet, which surrounds the great gable of the stage from the opera.  Princes and kings figured among Denierè’s wealthy clients sell, and he remained active into the century, always at the same address.

 

Eck and Durand

 

After separating from Quesnel, the founder Louis Richard established himself at 15 Rue de Trois-Bornes.  In 1838, he entered into partnership with a chisel worker named Jean Georges Eck and a molder named a Durand.  Their business then took flight, thanks to the reputation for quality their castings earned.  Shortly after 1840, 53-year-old Richard retired, leaving Eck and Durand alone.  The Richard, Eck and Durand foundry became the Eck and Durand foundry, and produced a large number of works.  Some of these were very well known including bronzes by David d'Angers, the doors from the church of the Madeleine de Triqueti, a silver version of Rude’s Louis XIII a l’âge de size ans for the Chateau of Dampierre, and the Reveil de Napoleon for the parc de Fixin in the Cote d’Or.  They also produce some well-known statuettes of actresses and famous people sculpted by Barre, the Molière by Bernard Seurre for the Molière found in Paris, and de Dragons of the Fountain Saint Michel that had been sculpted by Jacquemart.  In 1863, at the death of Jean Georges Eck, Durand retired.  The studios were sold a number of models were redeemed by Victor Thiebaut. 

 

Feuchère

In 1784, the chiseler Jean-Francois Feuchère reactivated his father's foundry in began executing works for diverse royal residences.  In 1800, he transported his studio to 25 Rue Notre Dame de Nazareth, where he produced me chandeliers, fireplace garnitures, and other furnishings.  Before 1820, they were noted as chiselers/guilders, suppliers to His Majesty.  They produce some statuettes, for the most part copies of sculpture from antiquity or from the 17th in 18th centuries.  From 1841 to 1860, exists a record of one Armond Feuchère who store was located at seven Rue du Grand-Prieuré, and his factory at 20 Rue Crussol.

 

Godard

 

The origin of this foundry, though it is still in business at Malakoff near Paris, remains obscure.  The foundry was opened at the 19th or the beginning of the 20th-century by Desire Godard.  In 1928, dislocation was noted at 1820 rue Charles-Friedel in the 20th district.  Emile Godard succeeded his father and in 1962 acquired the old Bisceglia foundry in Malakoff.  He established his studio there, although the quarters on the Rue Charles-Friedel were still used for about 15 years more.  The Godard family executed some bronzes by Carpeaux, Bourdelle, Maillol, and Picasso among others.  It also worked for the Rodin museum practicing the art of casting by lost wax technique as well as by sand casting

 

Goldscheider

 

At the into the 19th century and still the first world war, the Parisian and Viennese art editor Frederic Goldscheider history bronzes, as well as some terra-cotta and marbles.  He worked for a number of sculptors including Alloiuard, Carlier, Carrier-Belleuse, Felix Charpentier, Injalbert, Loizeau-Rousseau, Moreau-Vauthier, Marqueste, and Tony Noël.  He lived at 45 Rue de Paradis and owned a retail store at 28 Avenue de l’Opéra.  After the war, and Arthur Goldscheider appeared on the rue de Paradis, and art editor noted as running a "House Franco-teque" Vander Stratten was one of the sculptors whose work was cast by the Goldscheider house at this time.

 

Gonon

 

Honoré Gonon, who established his foundry in 1810 in the Saint Martin suburbs, executed many official commissions under the Empire and, including some of the bas-relief of the Vendôme column.  The equestrian statue of Henri IV on the Pont-Neuf sculpted by Francois Lemot in 1818 was produced by Gonon's studios as well.  He soon became impassioned over the lost wax procedure, very seldom used at the time, and in 1829 began to manager foundry "of art objects difficult to make" with his two sons in Buttes-Chaumont.  The castings in lost wax made by Gonon and his sons for particularly well reputed.  Among the most famous are those made for Barye and the centerpiece for the Duke of Orleans and some works by other great sculptors like Pradier, d'Angers, Duret.  Honoré Gonon, who did not practice casting himself, retired in 1840.  He was succeeded by one of his sons, Eugene Gonon, who was also sculpture.  Located first at 80 rue de Sevres, and at 18 Rue Pérignon, Eugene Gonon continue to cast by the lost wax method, working in particular for Pradier, Barye, Frémiet, Gérôme, Dalou, In Earnest Christophe.  In addition, he worked for Rodin, who passed some commissions to him between 1882 in 1885. 

 

Gouge, Auguste

 

Resuming work at the sculptor Jules Moigniez's old foundry at 124 Rue Vieille-du-Temple in the 1880s, Gouge continue to cast works there through the beginning of the 20th century.  The foundry seems to have become inactive a short time after 1920.

 

Graux-Marly

 

This firm was active during the second half the 19th century, first on the Boulevard du Temple, and then at 8 Rue du Parc-Royal beginning in 1860.  In 1880, is the sons of the founder were noted as successors to their father.  They produce some bronze furnishings, clocks, an ornamented candelabra in the Clodion style, as well as in Russian, Byzantine, and Persian styles, decorated with enamel.  They also cast reproductions of sculpture from antiquity and the Renaissance as well as some models by Barye, Carpeaux, Frémiet, Carrier-Belleuse and other contemporary artists.

 

 

 

 

Griffoul

 

This founder was first in partnership with Francois Rudier, as evidenced by some invoices dated to1881 and preserved by the Rodin museum.  Next he formed the firm Griffoul and Lorge, which furnished Rodin with 105 bronzes including Le Baiser, Caryatid Le a la Pierre, Le Printemps, Ugolin, Faunesse a genoux to mention a few.  They were produced between 1887 and 1894.  In addition to some works for other artists, the castings for Rodin continue to be executed by Jean Baptiste Griffoul-18 pieces between 1885 and 1898-10 then with Auguste Griffoul, who made 21 bronzes between June of 1898 and March of 1899.  In 1899 Auguste Griffoul went to the United States, opened a prosperous foundry name A. Griffoul & Bros. Co. in Newark.

 

Gruet

 

This foundry executed works for different sculptors, but especially Rodin; a brief history of their work with the same sculptor can be compiled from the museum archives.  Gruet, established foundry around 1880 and furnished 13 castings to Rodin including the first version of Saint Jean Baptiste.  Three other bronzes were delivered to him between 1899 and 1900, but this time under the sole name of Gruet.  Later, between 1891 in 1995 24 bronzes including Le Baiser were delivered to his oldest son Adolph Gruet at the same address.  Adolf Gruet soon abandoned casting for the art of rendering the venous, but by the turn-of-the-century, E. Gruet was also working for Rodin.

 

Hébrard, Adrian

 

When 1865, this extremely well reputed founder doubled as a very shrewd businessman, an expert in valuing the talent of young artists and casting.  He possessed a gallery at 8 de la Rue Royale were reorganized exhibitions in present the works of his protégés.  He had a studio located on 73 Avenue de Versailles where he had frequently practice casting not only by the lost wax technique but also by sand.  The cast works by Carpeaux, Dalou (which included numerous bronzes from the terracottas and plasters at the Petit Palais, mostly numbered castings can, though some were special unique editions) Falguière, Jules Desbois, Bourdelle, Bugatti, Degas, Pompan, Joseph Bernard, and equality of other artists.  He does not seem to have worked for Rodin though he did desire to do so.  The Hébrard house disappeared in 1937 with the death of its founder. 

 

Hohwiller

 

The Hohwiller foundry was opened in 1906 by an Alsacien.  His son and widow maintained the firm to 1965.  This house works for many famous sculptors including Henri Bouchard.

 

Houdebine

 

The small business was founded in 1845 by a workman and can be traced until 1910 through the various trade names and addresses.  The Houdebine halls participated in many universal expositions-in 1878 and 1889 Paris and in 1893 in Chicago, sending candelabra and fireplace accessories and an Italian Renaissance style as well as of sculpture.  In 1900, the Houdebine house cast member works by Dalou and other artists including Bofill, Mars-Vallet, Picault, and Monard.

 

Labroue, E. de

 

This founder, is actually seems to have been a short duration, was established at 10 Rue des Filles-du-Calvaire.  His name appears just once at the time of the Expositions Universelle of 1855, at which he presented some chandeliers, candelabra, statuettes, and groups in bronze.  He cast member works by Pradier, Carrier-Belleuse, Feuchère, Polet, Michel-Pascal, Lequesne, and many others.

 

Lerolle Frères

 

These brothers succeeded their father in 1836 and one-year later cast the work by Dantan entitled Madame Alexis du Pont dans le pas styrien.  After 1850, they also began practicing techniques of galvanoplastic building and sobering, and produce some subjects in imitation bronze.  In 1863, they were still cited, as makers are bronzes, and participated with a very significant showing at the Exposition des Beaux Arts Appliqués a L’Industrie, exhibiting a quantity of furnishings and some individual statuettes.

 

Marchand, Leon

 

Founded in 1822, this factory are bronzes was located at 57 Rue de Richelieu around 1850.  It was accompanied by an important exhibition gallery, which, according to the numbers from L’illustration of 1860 was well stocked in bronze furnishings, candelabras, vases, fireplace accessories, statuettes and groups.  Among other works cast by Marchand is a group entitled Cleopatra and Lesbie by Cumberworth.

 

Matifat, C.

 

Noted as early as 1840 Matifat seems to have produced some small bronzes and furnishings.  In 1873, he made to important castings L'Enfant des Abruzzes, a bronze of 130 cm high modeled after the plaster sent to Rome by Allar, and the fountain from the Paris Observatory with Carpeaux's group and Fremiet's horses, dolphins, and tortoises.  For his work, modified earned 60,000 francs, much more than the two sculptors combined.

 

Mène, Pierre Jules

 

The famous animal sculptor opened his original foundry in 1837 in order to edit his own works.  It was first located at 129 Rue du Temple, but moved and 1842 to 7 Faubourg du Temple, and finally around 1857 to 21 Rue de l’Entrepot-du-Marais.  He also cast the bronzes for his son-in-law Auguste Caïn, another animal sculptor, who was definitive foundry.  The work of their studio was reputed to be an excellent quality and customers for well assured that the two artists chisel their bronzes themselves.  After the death of Mène in 1879, Caïn continued casting until his own to 1884.  The two sculptors models were then acquired by the Susse foundry, which in turn cast pieces themselves. Some were also sold Barbedienne.

 

Moigniez

 

This foundry on the Rue Charlot was opened around 1850 by Mello killed or stock casts the works as son, the animal sculptors Jules Moigniez.  The bronzes he produced had a reputation for their finesse of their casting and the quality of their patinas.  The trade name “Moigniez Fils" adopted in 1860 indicates that the sculptor himself had undertaken misdirection.  In 1870, however, the foundry was moved under the direction of Dietsch, Moigniez's successor.  Auguste Gouge became the final proprietor of the endeavor around 1890, casting bronzes by Moigniez until the beginning of the 20th century.

 

Paillard, Victor

 

As a child Paillard learned chiseling with Denière and opened his own business of "arts and furniture bronzes" in the 1830s into separate locations.  He first made small objects, then some candelabras, clocks, groups, and statuettes.  He appeared for the first time at Exposition des Beaux Arts Appliqués a L’Industrie in 1839.  He worked for a number of sculptors, including Feuchère, Pradier, Barye, Carrier-Belleuse, Preault, and Klaggmann.  According to his biographer in 1855 he employed nearly 100 workers and offered to his clientele more than 400 models, as many in bronze or imitation zinc.  He himself created some statuettes of young children and of lovers, with which he ornamented diverse objects, including inkwells, flat candlesticks and andirons.  His castings were usually marked by the initials "VP" surmounted by the closed crown.  He died in 1886 at age of the 81.  Most of his models were sold in 1890.

 

Persinka, Leon

 

A founder and chiseler established in Versailles Leon Persinka executed a number of castings for Rodin between 1896 and 1902. He was unable, however, to secure a position is Rodin's exclusive founder.  Some bronzes by other artists carry the mark of this founder.

 

Peyrol, Hippolyte

 

An old student of Barye, this founder set up his workshop at 14 Rue de Crussol.  He cast the works of Isadore and Rosa Bonheur, whose sister Juliette Bonheur, he married in 1852.  Until 1920's, this foundry pursued its activity under the same name.  It is also noted as specialists and animal bronzes by Isadore and Rosa Bonheur.

 

Pinedo

 

Before 1850, the Pinedo house was located at 25 Rue de Bretagne, though it would pursued its activity endeavor addresses until the 1930s.  In 1855, L. Pinedo operated at 110 Rue St. Louis-au-Marias.  His son, who was also a sculptor succeeded in 1865 under the trade name Emile Pinedo, Fils, producing art bronzes and furnishings from his studios at 18 Boulevard du Prince Eugene and 49 Rue de Bondy.  Starting in 1880, the Pinedo house (with no indication of a first name) was located at 40 Boulevard du Temple.  It produced some groups, statuettes, busts, candelabras, and all sorts of furnishings.  At the exposition of 1893 in Chicago, their bronzes were particularly appreciated by the public for their polychrome patinas.  Among the sculptors cast by Pinedo worker Leroux, Debut, Meissonnier and Van der Straeten.

 

Quesnel

 

A short time after separating from the founder Richard, Quesnel installed in so at 22 Rue des Amandiers-Popincourt and pursued the casting of Duret's works, among which was L’Improvisateur, exhibited at the Salon of 1839.  He appeared in 1844 under the trade name Quesnel et Cie., situated at 112 Rue de Richelieu, with a store full of vases, statuettes and are bronzes located at 15 Rue de la Paix.  Most notably, he offered works by Pradier and Duret.  It seems that have to be in ruined by the revolution of 1848, Quesnel yielded his business to son.  There is a record of a company called L. Quesnel et Cie.  Located at 22 Rue des Amandiers-Popincourt, until a move to 25 Rue des Trois-Bourns in 1852. His activity ended around 1855, at which time he transferred his contracts with Duret to the founder Delafontaine.

 

Raingo Frères

 

The Raingo business was founded in 1813, and around 1830 appeared at eight Rue de Touraine.  The four Raingo brothers were first recognized as clockmakers, but in 1841, they added art bronzes and furnishings to their repertoire.  As in 1860, the Raingo house furnished bronzes to the Emperor and Empress, and owned an important store of exhibition pieces as well.  At first they made reproductions of antiques, and then proceeded to works by contemporary artist, casts a small number of models.  Among the artists whose work was cast by Raingo Frères are Pradier, Carrier-Belleuse, and Auguste Moreau.

 

Richard and Quesnel

 

After having worked separately, the founder Louis Richard and the chiseler has now went into partnership in 1826.  Their studio produced subjects in bronze, some clocks, metals, and optical instruments.  They worked on commission for different sculptors.  In 1834 At the Exposition of products in industry, they presented casting in bronze by Duret for whom to work was cast in the following year by Gonon.  In 1835, they were indicated as founders but separated around the year 1836.  Quesnel continued to live for some time at 13 Rue des Enfants-Rouges.  Louis Richard established itself in went into partnership three years later with Eck and Durand.  The bronzes signed with the name Richard alone are rare.  He is, however, cited as David d'Angers favorite founder for casting medallions.

 

Rolland, A.

 

The successor of Boyer and Rolland, this founder was established 10 and 12 Rue de Asile-Popincourt and used the Sauvage procedure to produce some reductions of antique statues.  In 1884, he proceeded to casting large group by the sculptor Auguste Cain that was placed in the gardens of the Tuileries.

 

Rudier

 

There are plans for a foundry to be opened the second half the 19th century by three brothers: Victor, Francois and Alexis Rudier.  Apparently, however, their association did not last as in 1881 some invoices listed Francois Rudier as the head of Griffoule et Cies. and 41 Rue Vavin, then 1883, a Francois Rudier et Cie.  In particular, this foundry worked for Rodin, the noted furnished 115 bronzes between 1881 in 1904.  For the most part, these bronzes seem to carry neither the seal nor the signature of the founder.

 

Alexis, among other hand, opened his own foundry 1874.  His reductions became very important, but probably cannot work for Rodin, although it large quantity of Rodin bronzes to carry the mark of Alexis Rudier.  After Alexis’s death in 1887, his first widow and then his son Eugene Rudier preserve the signature for the still very active foundry, which work for a number of sculptors.  At the beginning of the century, the company was established at 45 Rue de Saintonge, and starting in 1902, Rodin entrusted to Eugene casting of some of the sculptors works.  Soon, Eugene Rudier became Rodin's principal founder, indeed the exclusive founder as a 1913.  He would later remain the founder for the Rodin Museum.

 

Eugene Rudier stayed at 45 Rue de Saintonge maintaining his studios 37 Rue Olivier-de-Serres.  Among the innumerable editions that he may in addition to Rodin's pieces are nearly 20 proofs of Daumier's Ratapoil from 1925, and, around 1835, 10 proofs of the second version of Daumier's immigrants.  Eugene Rudier also worked for Renoir, Bourdelle and Maillol.  The continued to use the mark of his father Alexis until his own death in 1952, which time the personnel and material of this foundry were dispersed among many firms.  For his part, Eugene's nephew Georges Rudier opened his own foundry at Chatillon-sous-Bagneux.  In 1955 cast 10 proofs of the first version of immigrants by Daumier.

 

Sauvage, Pierre Louis Frederic

 

Pierre Sauvage's producer of statues, for which he obtained actions in 1832, was use exclusively by the Susse foundry.  The iron in bronze instruments that he invented our preserve at the industrial Museum of Boulogne-sur-Mer.

 

Siot-Decauville

 

Founded by Mr. and Mrs. Siot-Decauville, this firm was directed around 1860 by Edmond Siot-Decauville.  His exhibition salon and shoppers located at 24 Boulevard des Italiens, and his foundry at eight and 10 Rue Villehardoin.  The Company The same addresses until 1920.  Indicated as a founder of bronze and pewter, their catalogs amortized bronze editions of our work by a number of reputed artists, including Gerome, Gardet, Meissonnier, Mercie, Bartholomé, Marqueste, Marioton, Recipon, Fix-Masseau, Injalbert, Vital-Cornu, Agathon Leonard, Valton, and Larche as well as a number of furnishings, laying elements and office accessories.  In 1890, the foundry cast 20 numbered models of the Ratapoil by Daumier, and in 1883, a 5 proofs of the second version of immigrants by the same artists.  For a number of years after 1920, the Siot-Decauville foundry was house at 63 Avenue Victor-Emmanuelle III, where they were sold statuettes and objects cast in bronze through the lost wax method. 

 

 Société des Bronzes de Paris

 

From the last quarter of the 19th century until the 1930s, this foundry was located at 41 Boulevard du Temple and at 14 Rue Bélanger.  Their manufacturing studios were found at 117 Boulevard Voltaire.  They made some castings for sculptors including Van der Straeten.

 

Soyer and Ingé

 

Established at 28 Rue des Trois-Bornes, this foundry practiced casting bronzes in large dimensions, like Dumont’s Genie de la Liberté of July in 1835 and his half size reduction for the Salon the following year, Philippe Lemaire's Henri IV équestre, and the reduction of Suerre’s Napoleon 1er.  The partnership Soyer and Ingé seemed to stop its activity in 1843. Soyer, who had already been recognized for chiseling Bosio's silver Henri IV in 1824, then cast by Odiot, exhibited some "galvanic bronzes" under his own name in 1844.

 

Valsuani

 

Originally from Italy, Claude Valsuani begins a workman, and then as a technical director at the Hébert house.  In 1899, he started a foundry in Châtillon, and around 1905 established, itself adds 74 Rue des Plantes in Paris.  After his death in Malgrate, Italy in 1923, his son Marcel succeeded him.  The Valsuani foundry acquired a great reputation very quickly, particularly for its castings made by the lost wax method.  The firm work for a number of famous artists including Renoir, Bourdelle, Picasso, Pompan, Despiau, Troubetskoy, and especially Matisse.  In addition, they can some works by Dalou, Carpeaux, Gauguin, and Daumier.  In fact, they began to cast 23 figurines for Daumier in 1930, and cast his autoportrait in 1954-1955 and 36 busts in 1970.  From 1959 to 1968, they also translated many woods by Gauguin into bronze.  Claude Valsuani's brother Attilio opened his own foundry in Bagneaux in the 1920s.