Jules Brateau. Catalog


Les arts Buire and its umbilical dish.

Photograph Musée des Arts Décoratifs. Paris

History :

The "Les Arts" ewer and tray was originally designed between 1887 and 1889 by Jules Brateau. 

This set became one of the highlights of the 1889 World's Fair, and was reissued during the artist's lifetime. Reissue numbers should be inscribed on the sculpture mound.

Countermarks : 

The gibbet* counter-punch is used in all editions during the artist's lifetime, as well as in Chaumette's reissues (before 1950).

(*The symbol of the hanged man refers to the artist's initials JB.)

Brateau trained at Honoré, then worked for Boucheron, Falize and Vever. This artist, who came from the world of jewelry and goldsmiths, took on the codes of the trade, which also explains the number of countermarks on his works, in places that are expected to be identical. 

Evolution of posthumous reissues: 

In the monograph on "Jules Brateau 1844-1923" written by Jean Christophe Boucaud (isbn 2-9520594-1-1), a passage (P33) reviews the history of hallmarks and countermarks: "In the 1960s, the molds were transferred to Gras et Etienne, where, alongside the cartouche hallmark, the crowned rose hallmark and the words 'étain d'art - titre légal' were affixed. The takeover of Gras et Etienne in the 70's led to a change of insculpation. It's interesting to look at the difference in treatment of the reverse side of the pieces in the subtlety of the finish. 

The authenticity of the works purchased is of course a determining factor in the decision to buy. 

The pieces that can be described as by Jules Paul Brateau (1844-1923) and signed below the base are not authentic pieces by the artist, but very fine later facsimiles, posthumous fonts. 

Photograph Musée des Arts Décoratifs. Paris