Style romanticism / Ref.12189

Surtout-de-table with putti in gilt bronze and Baccarat crystal

These two Neoclassical surtout-de-table forming a pair, were realized at the end of the 19th century by the crystal glass making factory Baccarat, of which we can see the signature under each foot.
Created under the reign of Louis XV, the glass making factory owes its international reputation to its many participation to the International Exhibitions throughout the 19th century and until 1937. it’s during this period that the factory distinguishes itself to the world’s eyes thanks to the excellence of its production and is perpetual research for innovation, winning each time medals. It especially wins fame during the Paris International Exhibition in 1878, where some furniture made out of glass were presented. Its creations inspire the other European glass and crystal factories during the decades that follow and share new techniques and stylistic models.

These two surtouts are exceptional because of the crystal parts cut in massive crystal. With the alliance between gilt bronze and cut crystal, they are part of a particularly appreciated vogue in the late 19th century and early 20th century as show other realizations such as the vase with Three Graces, presented during the Exposition Internationale de l’Est de le France in Nancy in 1909, illustrated in Dany Sautot’s book Baccarat une manufacture française. Or event the surtout cut as boat shape in crystal with decoration in gilt bronze conserved in the Corning Museum of Glass, made for the 1900 International Exhibition where it was presented on a glass table also conversed in the museum.
Remarkable work of the crystal and the bronze, the two crystal cups with gadroons are supported by gilt bronze putti. They rest on a massive crystal pediment put on four gilt bronze feet. The lower part of the crystal is cut in diamond peak and surmounted with a gilt bronze laurel leaves garland. The two chubby putti are represented naked with their intimate parts simply covered by a fabric that passes in their back and rest on their shoulder. The drapery finely chiseled seems to be taken in a small move on its extremity. We notice some slight differences between the two putti, in particularly in the bodies or the drapery position. A delicate expression is given tot the chubby face thanks to the mouth depicting half open and the worked curls of the hair.