Henri Dasson French, 1825 - 1896 An important and unique gilt bronze-mounted satiné and vernis-Martin decorated meuble à hauteur d'appui Paris, the cabinet dated 1889, the painted panel, northern Europe, 18th century

surmounted by a brèche de Saint Maximin marble top, opening to one shelf, the carcass stamped 1889 / HENRY DASSON ^CIE and engraved Henry Dasson et cie 1889 to the proper left hand side back gilt bronze mount

Exposition Universelle Internationale de Paris, 1889

Victor Champier, Les Industries d'Art à l' Exposition Universelle de 1889, illustrated.
Jonathan Meyer, Great Exhibitions, London, New York, Paris, Philadelphia, 1851-1900, 2006, London, p. 270, illustrated.
Camille Mestdagh, L'Ameublement d'Art Français: 1850-1900, Paris, 2010, p. 66, illustrated. 

Overall in good condition and presentation with the usual minor hairline scratches and minute nicks to veneers and carcass consistent with age and use. A band of veneer on the proper left hand front is a later replacement. On both sides there are areas of veneer replacements The vernis martin is in good condition and well painted. The vernis martin has not been examined with a black light but we expect some in painting and touch ups have occured: one can see three hairline cracks to the bombé door with some painting touch ups to those areas. Tarnishing to gilt-bronze in places also consistent with age and atmospheric conditions through the years. The mask centering the apron has most probably been cleaned as a test and as a result is brighter in colour than the rest of the mounts. The marble with the usual small chips and nicks to edges, light scratches to surface consistent with age and use, due to placing object on top. Some veins are showing colored filler.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The 1889 Paris Universal Exposition, showcasing the newly erected Eiffel Tower, is often considered as one of the greatest of all Universal Expositions. Celebrating the centenary of the 1789 French Revolution, the Exposition’s exhibits and events emphasized the triumphs of equality and the improved standards of living for the working classes. Some European monarchies, including Britain, refused to formally participate in an event celebrating the French Revolution, but they were still represented by private exhibitors who did not want to lose out on the publicity and profits of the Exposition.

Without government-supported British participation, the French furniture section dominated the exhibition class dedicated to “ Meubles de Luxe et meubles à bon marché”. Not only were the French furniture exhibitions the most fashionable, but they also utilized technology in new ways. Overall, the 1889 Exposition was celebrated for its use of electricity and its technological feats, such as the Eiffel Tower, a giant globe viewed from an elevator, and a hot air balloon; therefore, cabinet makers were also heralded for utilizing new technologies to meticulously copy 18^th century models and to create stunning bronzes.

Christopher Payne, the 19th century furniture scholar, commented on the intersection of technology and art, writing, “The Parisian cabinet makers of the second half of the 19^th century, such as Henri Dasson, were arguably the best technicians, designers and craftsmen that France ever produced. They were able to take the innovative style and verve of the eighteenth-century and adapt it to the modern living conditions. Technology was used to improve construction techniques, casting, metal work and gilding, but at the same time the traditional methods of hand production were paramount in creating the superb quality which collectors so appreciate.” Likewise, Victor Champier (1851-1929), art critic and founder of the Société du Musée des Arts Décoratifs de Paris in 1876, was impressed by the painstakingly accurate copies produced by the exhibiting cabinet makers: MM. Dasson et Beurdeuley sont nos élèves, ils sont les Boulle, Les Oeben, Les Riesener de notre époque. Les meubles qu’ils copies dans les musées, d’ aprés Louis XIV et Louis XV, valent presquent les originaux,… ». In her book, L'Ameublement d'Art Français: 1850-1900, Camille Mestdagh also describes the mix of styles displayed at the Exposition. In the chapter titled Vers une esthétique nouvelle- Recherche d’un nouveau style (pp. 170-8), Mestdagh describes the stands of Dasson, Beurdeuley, Millet, Krieger, Zwiener but also the new comers like Viardot, Majorelle and Gallé, whose exhibits tended towards a more modern style known as the “art Nouveau”.

The present meuble à hauteur d'appui or grande commode à panneau peint vernis-Martin was a highlight of Henri Dasson’s exhibition stand at the 1889 Exposition. The piece was designed by Dasson’s partner Georges Marronier, while the sculptural mounts were most probably executed by the master’s appointed sculptors, MM. Aubert et Dallier. The center panel depicts an allegory of the continent of Africa.

Dasson’s stand was praised for this grande commode and a bureau plat "aux chimères", (See C. Mestdagh, p. 172, fig. 194 & 195). The two very audacious furniture creations, both tours de force of design and technical skill, won the Henri Dasson et Cie firm Le Grand Prix for Artistic output. As a consequence of this Exhibition Grand Prize, Henri Dasson was promoted to Officier de la Légion d'Honneur on October 29, 1889.  

Henry Dasson established his workshop at 106, Rue Vielle du Temple, after a brief career at Rue des Nonnains-d’ Hières in the fabrication of bronze artifacts and bronzes for clocks in association with Emile Godeau.  A gifted draftsman, Dasson studied under Justin Marie Lequien, professor at the École Superieur Turgot.  In 1867 he took over the workshop of Carl Dreschler, who was the ébéniste famous for reproducing J.H. Riesner’s le Grand Bureau du Roi for the 4th Marquess of Herford. Interestingly Dreschler was the foreman of the celebrated Sculptor and Bronzier Charles Crozatier (d. 1855). By purchasing Dreschler’s workshop, Dasson also gained most of Crozatier’s celebrated master models. In 1871 he purchased the workshop and stock of Charless-Guillaume Winckelsen for 14,000 francs from his widow. With these acquisitions, Dasson gained notoriety and soon became recognized as a brilliant ébéniste and bronzier.  Specializing mostly in the production of works from the Garde Meuble National, he participated in the 1878 Paris Exposition Universelle prompting critic Louis Gonse to comment: ‘nouveau venu dans la carrière industrielle, Henri Dasson s'est rapidement crée par la perfection de ses oeuvres une très haute situation à laquelle nous applaudissons chaleureusement.’ He was made a Chevalier of the Légion d'honneur in 1883 and was awarded the Grand Prix Artistique at the 1889 Paris Exposition Universelle. When the business closed in 1894, an auction was organized to clear the remainder of his stock.