As business declined, he sold his workshop, tools and kiln in 1877. At that moment, the architect Edouard Corroyer, following the advice of Jules Brateau, commissioned an enamel plaque, entitled Musique, for which Grandhomme worked in partnership with his ex-pupil Alfred Garnier. The pair continued producing enamels together, once again meeting with great success. They were awarded the gold medal at the 1889 Universal Exhibition in Paris, and their production was qualified 'd'une grande valeur artistique et éxécutés avec une étonnante perfection.' (Exposition Universelle de Paris, 1889, Rapports du jury international, groupe III, p. 297). Grandhomme and Garnier were the last enamel painters to collaborate with Gustave Moreau.
Paul Grandhomme also often worked with Jules Brateau (1844-1923), a celebrated silversmith, metalworker and chaser, whose most famous legacy is probably his pewter production, bringing this misjudged metal back to fashion. The latter received a gold medal at the Universal Exhibition of 1900 for his 'very finest work [showing] the loving care of the artistic crafstman' (The Paris Exhibition, The Art Journal, 1900, pp. 115-116.)
A magnificent gold and enamel jewel casket, entitled ‘le Secret’, was created by Grandhomme and Brateau, and presented to the Salon de la Societé Nationale des Beaux-Arts in 1897. It then belonged to Georges Berger, président de l’Union centrale des Arts décoratifs de 1891 à 1910, and is now in the Musée des Arts décoratifs, Paris (Inv. 17461).
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