A Fine Pair of French 19th Century Japonisme Louis XV Style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900.
The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles.
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.[3]
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.
History
Seclusion (1639–1858)
During the most of the Edo period (1603–1867), Japan was in a time of seclusion and only one international port remained active. Tokugawa Iemitsu ordered that an island, Dejima, be built off the shores of Nagasaki from which Japan could receive imports. The Dutch were the only Westerners able to engage in trade with the Japanese, yet this small amount of contact still allowed for Japanese art to influence the West. Every year the Dutch arrived in Japan with fleets of ships filled with Western goods for trade. The cargo included many Dutch treatises on painting and a number of Dutch prints. Shiba Kōkan (1747–1818) was one of the Japanese artists that studied the imports. Kōkan created one of the first etchings in Japan which was a technique he had learned from one of the imported treatises. Kōkan combined the technique of linear perspective, which he learned from a treatise, with his own ukiyo-e styled paintings.
Gallery Hours
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Phone 323.735.6455
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