{"title":"French Marble Objets D’Art","description":"\u003ch2\u003eWhy French Marble Objets d'Art Deserve Attention\u003c\/h2\u003e\u003cp\u003eFrench marble objets d'art occupy a compelling space between sculpture and decoration. They often rely on the natural beauty of stone as much as on carving or mounting, which gives the category a distinctive gravity and calm. Within M.S. Rau's \u003ca href=\"https:\/\/rauantiques.com\/collections\/objets-d-art\"\u003eObjets d’Art\u003c\/a\u003e, French marble objects appeal to collectors who appreciate material presence and disciplined design.\u003c\/p\u003e\u003cp\u003eMarble can be richly veined or quietly uniform, architectural or intimate, and that flexibility allows the category to span a wide range of forms. The strongest examples make the most of the stone rather than merely using it as a support for ornament.\u003c\/p\u003e\u003ch2\u003eStone, Color and Mounting\u003c\/h2\u003e\u003cp\u003eCollectors should look at marble quality closely, including veining, polish, tone and how the chosen stone contributes to the object's effect. Some pieces depend on dramatic contrast between different marbles, while others rely on subtle surface depth and controlled silhouette. Metal mounts, gilt accents and additional materials should feel integrated rather than applied as afterthoughts.\u003c\/p\u003e\u003cp\u003eBecause stone is both substantial and vulnerable, condition needs careful attention. Chips, edge wear, cracks and later repairs can affect not only appearance but structural confidence. A successful object should still feel visually complete and materially convincing.\u003c\/p\u003e\u003ch2\u003eWhat Collectors Should Look For\u003c\/h2\u003e\u003cp\u003eFrench marble objets d'art often reward restraint. A piece does not need heavy ornament to be impressive if the stone, proportion and mounting are strong. Collectors frequently respond to objects that feel composed and intentional, especially when marble color and form are well matched.\u003c\/p\u003e\u003cp\u003eThe category also pairs naturally with other decorative arts. Collectors building a broader interior may find meaningful connections through M.S. Rau's \u003ca href=\"https:\/\/rauantiques.com\/collections\/antiques\"\u003eAntiques Collection\u003c\/a\u003e, where marble can converse with bronze, silver, mirrors and porcelain.\u003c\/p\u003e\u003ch2\u003eDisplay and Care\u003c\/h2\u003e\u003cp\u003eMarble objets d'art benefit from stable surfaces and thoughtful placement because weight distribution can matter as much as visual presentation. These objects often look best where they can be appreciated from multiple angles, especially if the stone has active veining or sculptural contour.\u003c\/p\u003e\u003cp\u003eCare should remain cautious. Dragging or frequent repositioning can stress mounts or feet, and harsh cleaning agents are best avoided. In most cases, gentle dusting and secure support are the soundest approach.\u003c\/p\u003e\u003ch2\u003eFrench Marble Objets d'Art at M.S. Rau\u003c\/h2\u003e\u003cp\u003eM.S. Rau selects French marble objets d'art with attention to stone quality, condition and decorative clarity. Our specialists consider how successfully material, form and ornament work together, as well as whether the object retains the quiet authority that marble can bring to an interior.\u003c\/p\u003e\u003cp\u003eFor collectors drawn to French decorative arts with sculptural weight and refined finish, this category offers unusual richness. The best examples feel stable, elegant and deeply considered without relying on excess.\u003c\/p\u003e\u003ch2\u003eWhat qualifies as an objet d'art in marble?\u003c\/h2\u003e\u003cp\u003eMarble objets d'art are decorative works in which the artistic use of stone is central to the object's identity. They can include small sculptures, mounted vessels, boxes and other cabinet objects made to be admired closely.\u003c\/p\u003e\u003ch2\u003eWhy is marble so appealing in decorative arts?\u003c\/h2\u003e\u003cp\u003eMarble offers natural color variation, visual depth and a sense of permanence that few materials can match. Even relatively small objects can feel important because the material carries so much presence.\u003c\/p\u003e\u003ch2\u003eWhat condition issues should collectors watch for?\u003c\/h2\u003e\u003cp\u003eCollectors should look for chips, cracks, repaired breaks and wear around edges or mounts. These issues can affect both the appearance and the long-term stability of the object.\u003c\/p\u003e\u003ch2\u003eAre mounts important in marble objects?\u003c\/h2\u003e\u003cp\u003eYes. Metal mounts, bases and applied ornament often shape how a marble object is perceived. The most successful examples show a thoughtful relationship between stone and mounting rather than competition between the two.\u003c\/p\u003e\u003ch2\u003eHow should marble objets d'art be displayed?\u003c\/h2\u003e\u003cp\u003eThey should be displayed on secure, stable surfaces with enough room for the form and veining to be appreciated. Weight and balance should always be considered before moving or installing them.\u003c\/p\u003e\u003ch2\u003eCan marble decorative objects work in modern rooms?\u003c\/h2\u003e\u003cp\u003eYes. French marble objets d'art often have enough formal clarity to work beautifully in contemporary interiors, especially when their material richness is allowed to stand out.\u003c\/p\u003e","products":[{"product_id":"french-bronze-and-marble-inkwell","title":"French Bronze and Marble Inkwell","description":"Crafted of brilliant doré bronze and fine brocatelle marble, this wonderful Napoleon III-period inkwell is as functional as it is beautiful. In a style reminiscent of Louis XV Rococo, two acanthus leaf urns, an inkwell and powder shaker, are joined by soldierly putto upon the serpentine marble base. This well-balanced design is enhanced by the exceptional quality of materials and skillful execution. A revival of the luxurious Louis XV style took place in France in the mid 19th century. It came about as part of the preference during this period, known as the Second Empire, for a mixture of styles from previous centuries. Largely due to the influence of Emperor Napoleon III, who wished to have his name associated with the classical grandeur of Rome and cement his place in French history. Pieces from this period are highly prized, as artisans exhibited not only an incredible grasp of a wide variety of style, but an immense talent for innovation as well. \n\nCirca 1860 \n\n20 ½” wide x 11” deep x 9 ¼” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215144521863,"sku":"29-3185","price":19850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-3185_1.png?v=1736118773"},{"product_id":"griotte-rouge-vases-attributed-to-charles-henri-joseph-cordier","title":"Griotte Rouge Vases attributed to Charles-Henri-Joseph Cordier","description":"Fashioned of rare and precious griotte rouge marble and gilt bronze, these vases embody neoclassical elegance at its finest. Borrowing its forms and motifs derived from classical Roman and Greek antiquity, the gilt bronze contrasts beautifully with the griotte rouge marble, a material that has been highly prized for centuries. Each urn features two mounts depicting a resplendent African King in all his finery, sculpted without the intent of caricature. These superb urns show the influence and similarity to the work of the French master Charles-Henri-Joseph Cordier, a highly talented Parisian sculptor of the 19th century. \u003cbr\u003e\u003cbr\u003e Griotte rouge marble gets its name from the morello cherry (\u003cem\u003egriotte\u003c\/em\u003e in French), which has a distinctively vivid red color. Louis XIV was especially fond of this color and ordered fireplaces made of this marble for the Palace of Versailles. Fireplaces in the Château de Fontainebleau, and the grand foyer of the Opéra Garnier in Paris are also crafted of griotte rouge marble. From the opulent color and rich veins running along the surface, it is clear why royalty preferred this marble in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Charles-Henri-Joseph Cordier was appointed the ethnographic sculptor to the Muséum national d’histoire naturelle in Paris in 1851, and established an international reputation for his warm renderings of different ethnicities. Originally inspired by Orientalists like Delacroix, his ethnographic interests led the sculptor to focus more intently on the costuming and posing of his non-European subjects. In 1862, Cordier is quoted as saying: \"Beauty does not belong to a single, privileged race, I have promoted throughout the World of art the idea that beauty is everywhere. Every race has its own beauty, which differs from that of others.\" \u003cbr\u003e\u003cbr\u003e Mid-19th century \u003cbr\u003e\u003cbr\u003e 26\" high x 12 1\/4\" wide x 9\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790108041351,"sku":"31-5794","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5794_1_c0597c1c-cf47-4201-9366-bf2b6b3bf2e3.png?v=1728289728"},{"product_id":"louis-xvi-style-gilt-marble-cassolettes-and-clock","title":"Louis XVI Style Gilt Marble Cassolettes and Clock","description":"The bodies of this exquisite pair of Louis XVI-style cassolettes, along with a complementary annular clock, are crafted from exceptional specimens of Carrara white marble, each measuring almost a foot in height. Doré bronze mounts, emblematic of the Louis XVI style, create a striking contrast with the vibrant hues of the hardstone. Classical eagle masks adorn the legs, featuring intricately detailed foliate festoons held in their beaks. These mounts imbue the neoclassical pieces with a distinct aura of luxury. The cassolettes are accompanied by a matching clock, executed in the same design. \u003cbr\u003e\u003cbr\u003e The annular clock, a crown wheel with a deadbeat escapement, is distinguished by a gilt timepiece at its summit, instead of a removable lid. Its winding mechanism at the base bears the signature of the maker, Victor Athanase Pierret (1806-1893). Operating in Paris, Pierret was the innovator behind lamp clocks featuring rotating globes marked with hour figures, patented in 1863. This clock, marked \"SGDG,\" indicates that innovation, marking its accordance with Parisian patent law. \u003cbr\u003e\u003cbr\u003e The term \"cassolette\" is from the French for \"small container.\" While the word has other meanings in culinary respects, in the decorative arts, cassolettes are small covered vases meant to hold perfumed substances or incense. Popular during the 18th and 19th centuries, these objets d'art were crafted from all manner of materials, including marble, porcelain and bronze. \u003cbr\u003e\u003cbr\u003e Circa 1865 \u003cbr\u003e\u003cbr\u003e Clock marked: VAP \/ BREVETE \/ SGDG \u003cbr\u003e\u003cbr\u003e Cassolettes: 11\" high x 4 1\/4\" wide x 4 1\/2\" deep\u003cbr\u003e Clock: 10“ high x 4 5\/8” wide x 4 1\/2“ deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42508331286663,"sku":"31-6965","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6965_1_785b1714-8730-4502-9e00-301488836020.png?v=1743858787"},{"product_id":"19th-century-gilt-bronze-egitto-serpentino-urn-after-pierre-gouthiere","title":"19th-Century Gilt Bronze \u0026 Egitto Serpentino Urn After Pierre Gouthière","description":"This 19th-century gilt bronze \u0026amp; Egitto Serpentino urn is modeled after the opulent design of one of the last gilders of the Versailles Court, Pierre Gouthière. An identical urn is held in the Musée du Louvre, Paris, modeled after a drawing by François-Joseph Bélanger, and appeared at The Musée des Arts Décoratifs and the Frick Collection in New York in a joint exhibition of Gouthière’s work. This was the first exhibition to concentrate on his career, with objects loaned from private collections and institutions like the Louvre and the Royal Castle of Warsaw. The drawing by François-Joseph Bélanger represents a vase from the Duke of Aumont’s collections. \u003cbr\u003e\u003cbr\u003e Elevated on a square Ormolu pedestal beneath a circular mottled marble socle, the green marble urn features intricate detailing, such as a chased pierced Ormolu band embellished with foliate scrolls and a central reserve. The urn is further accentuated by ornate Ormolu rams' heads adorning each side, their expressions remarkably lifelike, perhaps even identifiable as Pyrenean goats. Their dynamic hair is delicately chased on the noses and ears, which contrasts with the tight tufts elsewhere on their heads, showcasing the mastery of technique employed by the artisan. The horns, meticulously burnished and matte gilded to emulate nature's elegance, imbue the work with a sense of refinement and luxury. \u003cbr\u003e\u003cbr\u003e Pierre Gouthière was an unrivaled metal worker, born in Troyes, France, and traveling to Paris at an early age as the pupil of Martin Cour. During his brilliant career, he executed a vast quantity of metalwork of astounding variety, becoming the most famous Parisian bronze chaser and gilder of the late 1700s. Gouthière was a master of chasing and invented a new type of gilding that left a matte finish. Combining polished with matte finishes to create varied effects on the surfaces of his bronzes, he made many types of objects, including furniture mounts, ornaments for mantelpieces and coaches, and mounts for porcelain or marble vases. He received commissions from some of the leading connoisseurs of his day. The collection of the duc d'Aumont served almost as a retrospective of Gouthière's work, displaying a range of items, including lacquer cabinets and chandeliers, all mounted with the artist's excellent bronze. Most notable were the many commissions he received for furniture from the court of Louis XVI, creating several bronzes, especially for Marie Antoinette. \u003cbr\u003e\u003cbr\u003e Gouthière was successful and enjoyed an extravagant lifestyle. After 1775, however, the death of two of his major patrons and unwise financial speculations left him in dire financial difficulty. Madame du Barry, Louis XV's mistress, owed him 750,000 livres for nearly 20 years of work, and his inability to collect this debt finally forced him into bankruptcy in 1787. He died in poverty, still trying to make her heirs repay him. \u003cbr\u003e\u003cbr\u003e Circa 1840 \u003cbr\u003e\u003cbr\u003e 18 1\/8“ high x 15” wide x 12“ deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790390009991,"sku":"31-8847","price":48850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8847_1_595f9b9d-8b68-4d97-a9f7-c8d2e38b46aa.png?v=1730880890"},{"product_id":"pair-of-napoleon-iii-royal-rouge-griotte-athenienne","title":"Pair of Napoleon III Royal Rouge Griotte Athenienne","description":"Royal Rouge Griotte Marble Athenienne\u003cbr\u003e After Pierre Gouthière\u003cbr\u003e Late 19th Century \u003cbr\u003e\u003cbr\u003e This monumental pair of Napoleon III gilt bronze-mounted Royal Rouge Griotte athenienne perfume vases epitomizes the splendor of 19th-century French artistry. Designed in the neoclassical palatial taste, these vases are crafted from the finest Royal Rouge Griotte marble, a rare and vibrant stone historically reserved for French royalty. Their superb gilt bronze mounts showcase intricate Greco-Roman motifs, including exquisitely detailed lion paw feet and masks, which contrast beautifully with the rich red marble. These magnificent works reflect the influence of Pierre Gouthière, the most celebrated Parisian chaser and gilder of his era. \u003cbr\u003e\u003cbr\u003e The Royal Rouge Griotte marble, named after the Morello cherry (\"griotte\" in French) is a prestigious stone that often features fossilized goniatites filled with white calcite, creating a striking pattern referred to as \"oeil de perdrix\" (“partridge eye”). The quarries in the Caunes-Minervois and Félines-Minervois regions, northeast of Carcassonne, have a history dating back to Antiquity. Rediscovered in 1615 by Italian sculptors Stefano Sormano and Antoine Lignani, these quarries gained fame under the patronage of sculptor Bernini, who drew the attention of the French court. Declared \"Royal Quarries\" by decree in 1692, the marble became a hallmark of opulence, adorning the Palace of Versailles and other royal apartments. The stone used in this pair is among the finest examples of Royal Rouge Griotte marble. \u003cbr\u003e\u003cbr\u003e 28 1\/2\" high x 11 1\/2\" diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42604536103047,"sku":"32-0091","price":38850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0091_1_bc1ff590-17a2-43d3-a263-16ef33841b7e.png?v=1746450590"}],"url":"https:\/\/rauantiques.com\/collections\/french-marble-objets-d-art.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}