Arthur Goldscheider

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Arthur Goldscheider's business card

Arthur Goldscheider (born June 6, 1874 in Pilsen , Kingdom of Bohemia , Austria-Hungary , † after 1948 , probably in Brazil ) was a French art dealer and manufacturer of high-quality decorative objects made of bronze and ceramics in Art Nouveau and Art Deco style .

life and work

Galerie Goldscheider
28 avenue de l'Opéra, Paris.

Arthur Goldscheider was the son of the Austrian entrepreneur, terracotta and bronze manufacturer Friedrich Goldscheider and his wife Regina Lewit-Goldscheider.

In 1892, the father founded the Paris branch of his Vienna manufactory. The French company called Frédéric Goldscheider was run by Arthur Goldscheider from 1900, with a Dépot Général (sample warehouse for wholesalers) at 25 Rue de Paradis and a Maison de Vente (retail showroom) at 28 Avenue de l'Opéra . In the Rue de Paradis there was also a bronze foundry Fabrique de Bronzes and a marble stone carving company , the Atelier de Marbres .

The company initially dedicated itself to the distribution of models from the Vienna parent company and their reproductions in bronze and marble.

Art Nouveau period

Arthur Goldscheider established himself in Paris as an Éditeur d'art , i.e. as an art publisher or editor of works by various mostly French artists with their own model numbering. After viewing the sculptures exhibited in the studios and salons of various artists, he usually selected models that he had cast in his bronze factory and then sold for international sales. Around the turn of the century he competed in Paris with other Éditeurs as Houdebine , E. Blot and Colin & Cie, the models of the artist Maurice Bouval , Léon Noël Delagrange and Louis Chalon represented.

In 1902 Goldscheider exhibited the Printemps de Bretagne and Eclosion models designed by Louis Chalon in the Paris Salon of the Société des Artistes Français . He was also able to win over the artist Marius Mars-Vallet . At the Salon of the Société Nationale des Beaux-Artes he showed designs by the Art Nouveau artist Hans Stoltenberg Lerche , as well as a bacchante statuette with an inkwell designed by Gottfrid Larsson and the Le Vice fuyant la lumière lighting fixture made of plaster.

In 1903 he sold terracotta, bronze and marble models based on designs by French artists such as Henri Allouard , Alfred Boucher , Maurice Bouval, Aristide Croisy , Joseph Carlier , Louis-Robert Carrier-Belleuse , Félix Maurice Charpentier and Alexandre Charpentier , Jean-Antoine Injalbert , Henri Louis Levasseur , Auguste Ledru , Paul Louis Émile Loiseau-Rousseau , Hector Lemaire , Mercie, Paul Moreau-Vauthier , Laurent Marqueste , but also models by the German sculptor Rudolf Maison and the Austrian Arthur Strasser .

In 1907 Goldscheider created the table decoration Le Déjeuner fleuri by Léo Laporte-Blairsy . Paul Phillipe designed several bronzes and marble figures for Goldscheider, including the marble statuette Le Réveil . Goldscheider implemented designs by the artist Georges Van der Straeten , which he exhibited at the Paris Salon of the Société des Artistes Français. The Italian sculptor Francesco La Monaca designed the bronze statuettes Danseur and Siffleur for Goldscheider.

At the beginning of the First World War , the close collaboration between Arthur Goldscheider and the Vienna headquarters broke off. In the interwar years, Arthur concealed his Viennese roots and called his company Maison franco-tchèque , which officially almost exclusively represented artists with French names. In Paris he now traded under the name Arthur Goldscheider, Éditeur d'Art with headquarters in the Rue de Paradis.

Art Deco period

In 1921, Celine Lepage designed the figure Mendiante a Marakech ( German  beggar from Marrakech ), which Arthur Goldscheider offered in various sizes. The art objects sold by Goldscheider were offered in numerous art shops in Amiens, Bordeaux, Lyon and Toulouse, among others. The figures advertised at the end of 1924 include the bronzes Tigre en furie by Francesco La Monaca, La danseuse Nattowa by Belarusian Serge Youriévitch (exhibited at the Salon of the Société du Salon d'Automne from 1923), Danse Bachique by Pierre Le Faguays , Dancing Girl and the bronze-ivory figure Jongleuse by Marcel Bouraine , Pierrette by Georges van der Straeten and the bronze-marble group Jalousie by Charlotte Monginot , which was exhibited in 1924 at the Salon Société des Artistes Français.

Artist groups La Stèle and L'Evolution

La Stèle and L'Evolution Pavilion , Paris 1925
La Stèle and L'Evolution exhibition space , Paris 1925

Arthur Goldscheider founded two progressive artist groups, La Stèle for modern sculpture and L'Evolution for decorative arts and crafts. In 1925 he presented her work at the Exposition Internationale des Arts Décoratifs et industriels modern , which was a defining form of Art Deco , in a pavilion designed by Éric Bagge .

Both groups were under the artistic direction of Marcel Temporal and took an active part in the industrial production of their creations, without - as before - the editeur selected models from artists and reproduced them at will without their "aesthetic control".

The artist group La Stèle belonged to Celine Lepage. Goldscheider exhibited her beggar woman from Marrakech under the more pleasant name Femme de Marakech (Woman from Marrakech) at the 1925 exhibition . Other sculptors in the group were E. Arnold, Daniel-Joseph Bacqué , Émile-Jean Armel-Beaufils , Henri Bouchard , Max Blondat , Marcel Bouraine , Jean-Marie Camus , Frédérique Ozeanne Cederlund , Georges Chauvel , Fernand David , Georges Halbout du Tanney , Gaston Hauchecorne , Nathan Imenitoff , Raoul Lamourdedieu , Francesco La Monaca, Paul Landowski , Pierre Lenoir , Charles Malfray , Joël Martel , Henri Édouard Navarre , François Popineau , Marius Saïn , Antoine Sartorio , S. Tallichet, Pierre Traverse , Pierre Vigoureux and Jean Verschneider . Above all, they made stylized figures from bronze, ivory, marble or combinations of chryselephantine materials.

In addition to the architect Eric Bagge, the members of the artist group L'Evolution included the craftsmen and decorators Jean Besnard , Les Ateliers Brugier, H. Brunel, Édouard Cazaux , Cochet-Ewald-Kohler, Raphaël Drouart , Henri Duret, Jean Dreyfus-Stern , Jean -Baptiste Gauvenet , Maurice Gensoli , L.-D. Germani, J.-Ch. Goetz, Guénou, J. Guinard, Claudius Linossier , James Malfray, P.-E. Mangin, Sibylle May , Mathurin Méheut , the jeweler Ernest Membré, Alexandre Noll , Jean Olin , H. Pecquériaux, Ekiel Raby (who received the “Grand Prix” for his ivory articles on display), Henri Rapin , G. Ringuet, A. Rivir, Jean Sala, E. Schenk & fils, Jean Saint-Paul and Amalric Walter . Jean Verschneider belonged to both groups.

Publication L'Évolution Artistique

Due to the success at the Paris exhibition, Arthur Goldscheider and the French art critic Yvanhoé Rambosson launched a new publication with the title L'Évolution Artistique from 1926 onwards . Several booklets were published under this title, which clarify the concerns of the two groups of artists. A version summarized in two volumes was published for the English-speaking market under the title Artistic Evolution . In this, Rambosson and Goldscheider advocate greater involvement of artists in the industrial production process and advocate cheaper duplication in series production. Their demand contradicted the French tradition of separating the production of unique handicrafts in small family manufactories and industrial series production in factories.

Goldscheider argued that artists should become better acquainted with the technical process of production and thus optimize their models with the technical possibilities.

Series production made it possible for a broader group of buyers to acquire a cheaper, yet high-quality art object, in which the artists themselves released each piece for sale. With this approach, the activities of the French arts and crafts should be strengthened nationally and internationally and the satisfaction of the artists and buyers promoted. With this, Rambosson and Goldscheider are also pursuing an ideal of society adopted from Art Nouveau. Only through lower prices could "all classes of society participate in the beauty of the arts and crafts".

End of the company

Arthur Goldscheider, aged around sixty, closed his company in the mid-1930s. Many of the sculptors he represented migrated to the rival company Les Neveux de Jules Lehmann .

In 1948 Goldscheider emigrated to Rio de Janeiro in Brazil, where his trace is lost.

literature

Web links

Individual evidence

  1. ↑ Dead notice Friedriech Goldscheider In: Neue Freie Presse, January 27, 1897
  2. ^ Alastair Duncan : The Encyclopedia of Art Deco. Knickerbocker Press, 1998. ISBN 1-57715-046-5 , p. 35.
  3. ^ Alberto Shayo : Statuettes art deco period. Antique Collectors Club Art Books, Woodbridge, Suffolk 2016. ISBN 1-85149-824-9 , p. 33.
  4. ↑ Mike Darton: Art Deco: An Illustrated Guide to the Decorative Style 1920-40. Wellfleet Press, 1989. ISBN 1-55521-571-8 , p. 25.
  5. ↑ a b c d e f Robert E. Dechant, Filipp Goldscheider: Goldscheider. Company history and catalog raisonné. Historicism, Art Nouveau, Art Deco, 1950s. Arnoldsche Verlagsanstalt, Stuttgart 2007. ISBN 978-3-89790-216-9 , 640 pp.
  6. ^ Goldscheider Friedrich Metal Alloy Paris France Boy Playing Mandolin, circa 1895. In: 1stdibs.com
personal data
SURNAME Goldscheider, Arthur
BRIEF DESCRIPTION French art dealer and manufacturer of high quality decorative objects
DATE OF BIRTH June 6, 1874
PLACE OF BIRTH Pilsen , Kingdom of Bohemia , Austria-Hungary
DATE OF DEATH after 1948
Place of death unsure: Brazil