BRONZE WORKS BY VALSUANI. Claude Valsuani's Foundry.

Cire perdue, C. Valsuani

The VALSUANI Dynasty. BRONZE WORKS BY VALSUANI. Claude Valsuani's Foundry.

The first: VALSUANI Marcello

I – 1) VALSUANI Claude – son of Marcello

I – 2) VALSUANI Marcel – son of Claude

II – AFTER VALSUANI

II – 1) Demeurisse-Sokolowski

II – 2) Taube-Lebel Foundry

II – 3) Taube Foundry

II – 4) Fonderie de la Plaine

II – 5) Airaindor

II – 6) Art Brass

II – 7) Atelier des Arts Airaindor-Valsuani

II – 8) Parisian Company of Bronzes and Sculptures – Paintings (BPBS)

Recently, a company named “CEPIMEX” has emerged, engaged in import and export.

III – 1) VALSUANI Attilio – Son of Marcello

III – 2) VALSUANI Lucien – Son of Attilio

III – 3) VALSUANI Claude – Son of Lucien

III – 4) VALSUANI Thierry – Son of Claude

IV – AFTER VALSUANI: DELVAL

– – –

I – 1) VALSUANI Claude – Died on September 9, 1923 – Son of Marcello

Company existence period: 1908-1981

Nationality: French

Address: 74 rue des Plantes, Paris XIV (Plaisance district).

Mark: CIRE / C. VALSUANI / LOST

(The postal mark has belonged to the company Airaindor-Atelier des arts since 1981)

On castings made by Leonardo Benatov after 1981, the marks are either identical to the old ones or slightly enlarged at the client's request.

Marcello Valsuani emigrated from Italy, probably as a specialist in the lost wax casting method and torch patination, at the request of Hébrard in connection with the opening of his foundry in 1902. Marcello Valsuani probably preceded, and then sometimes replaced, sometimes assisted as technical director or workshop manager, Albino Palazzolo, whom Hébrard only hired in 1903 and who returned to Italy during World War I.

The collection includes a bronze sculpture by Rembrandt Bugatti, who died in 1916, all of whose works were cast by Hébrard under an exclusive contract and were dedicated "To my friend Valsuani." Rembrandt Bugatti, feeling greatly constrained by his contract with Hébrard, was rumored to be considering its termination and to have his works cast by Marcello Valsuani, encouraging him to set up his own business. But perhaps it was precisely due to the insistence of Bugatti and other artists eager to benefit from the family's expertise, bypassing contracts with Hébrard, that Claude, Marcello's son, opened his foundry in Paris in 1908 at 74 rue des Plantes.

It is said that Claude Valsuani introduced the lost wax casting method to car manufacturers Bugatti (established by the sculptor’s brother) and Renault for the production of engine parts.

Valsuani took over a space previously occupied at the end of the 19th century by Pierre Bingen, a renowned lost wax caster. However, Valsuani did not occupy Bingen's premises, but instead moved into a newer building: a small house where he lived, and an adjoining workshop of 400 m2.

Claude Valsuani practiced hot patination with a blowtorch—a technique that only became widespread with the advent of gas torches that do not leave soot residue, a technique mastered by Italians in the early 20th century. He achieved extraordinarily beautiful results. The Valsuani foundry was also known for its “Italian-style” core and “cow dung patination” (see explanation in LEBON, p. 256, bottom of column 2 and p. 261, note 7)—a slow but economical process yielding surprisingly high-quality results. Around 1910, the foundry employed four to five people.

Following Hébrard's example, Valsuani adopted the practice of numbering bronzes, though at first, probably not systematically. He indicated the number of each sculpture relative to the total number of planned editions, something that neither Hébrard nor Rudier did at the time. He seems to have been the first to use this method, likely at the initiative of sculptors who, learning from Hébrard, opted for unambiguous numbering. This numbering system gradually spread and eventually became the current legal standard.

The editions created at Valsuani's were often limited to 10 copies or fewer—a standard, though not mandatory, apparently adopted by sculptors wishing to limit their production, from the early 20th century until the 1968 regulations.

In his early years, Claude did not systematically place his mark on his works.

He quickly gained a reputation as an excellent lost wax founder. He attracted artists who valued quality. Never acting as a dealer, he willingly offered his support. At the end of the hostilities in April 1918, he remained alone working at the foundry.

In 1919, he was involved in the Rodin forgeries case against Montagutelli. His good faith was recognized, and he was not prosecuted.

The sculptor Pierre Bouret worked at the foundry as a retoucher until the mid-1930s. Turridu Clementi, a young orphan and son of the founder Tullio Clementi, did part of his apprenticeship with Claude Valsuani (from 1927 to 1932).

Attilio (died around 1960), Claude's younger brother, probably worked with him, as when Claude died suddenly, it was Attilio who notified clients and announced the need for emergency measures. However, he did not take over the business and established his own lost wax casting company, apparently no later than 1926.

I – 2) VALSUANI Marcel – 1924–1974

In 1923, Claude's widow managed the business. Then, in 1924, his son, named Marcel like his grandfather, interrupted his medical studies to replace his father. He retained Claude Valsuani’s mark and maintained the foundry’s excellent reputation.

Under both Claude and Marcel, the foundry attracted the most prestigious and demanding sculptors. The "Claude Valsuani" mark became synonymous with excellent quality and remarkable patinas. The "Valsuani black" patina is one of the most famous produced by this firm.

Valsuani is sometimes mentioned as a publisher in the interwar period, for example for Pompon. However, he cannot be considered a publisher in the same sense as Susse or Barbedienne: no contracts were made with artists, who did not give up their rights and controlled their own production. Valsuani was simply their founder.

Like most of his colleagues, Marcel Valsuani saw his business decline in the 1930s. He was mobilized for the entire war. The foundry only resumed work in 1947.

In December 1950, Marcel Valsuani bought the land and buildings at 74 rue des Plantes. In 1952, the company employed 6 people; by the mid-1970s, this number had grown to about twenty.

Sometimes, Valsuani subcontracted sand castings to Susse or Georges Rudier. The rough casts were then delivered to Valsuani for finishing (bearing the mark "C. Valsuani").

In 1973, Marcel Valsuani, being ill, retired to Nice, leaving the company in the hands of technical director Antoine Tamburro.

Claude Valsuani authored a text titled: "Modern Lost Wax Casting Processes," reproduced in Devaux, p. 301.

II – AFTER VALSUANI

II – 1) Demeurisse-Sokolowski – 1974-1977

Then, no later than 1974, the business was sold to Anne Demeurisse, daughter of the sole heir of sculptor Pompon, who entrusted management to her husband Jacques Sokolowski, an insurance broker by profession whose ambitions came at a bad time during a recession. The company incurred heavy losses, some practices caused hostility from the profession, and it was declared bankrupt in 1977.

In 1977, the business was taken over by sculptor Olivier Brice (known for creating Bokassa's throne!), who served as manager from 1977 to 1980. Then part of the team left the foundry to participate in the creation of a new foundry named:

II – 2) Taube-Lebel Foundry – 1977–approx. 1981

Lost wax

In 1977, Jean Lebel, former project manager at the Claude Valsuani foundry on rue des Plantes, partnered with Taube to create the "Taube-Lebel Foundry" in La Plaine-Saint-Denis. The technical team was led by D. Jolivot and J. Rosini, former Valsuani foundry workers since 1974.

II – 3) Taube Foundry – Approx. 1981 – March 24, 1984

Lost wax

Jean Lebel left the company around 1981.

Mark : . WAX . / TAUBE / (tree in the center) / PARIS / LOST

Only Lebel's name was removed from the mark.

The Taube foundry ceased operations on March 24, 1984.

II – 4) Fonderie de la Plaine – 1984-1985

Lost wax

Address: 6 rue Proudhon, 93210, La Plaine-Saint-Denis.

Stamp (hexagonal): FOUNDRY / OF / THE PLAIN / (sun in the center) / POLYGRAPHIC LOST WAX

The company's assets were immediately taken over by D. Jolivot and J. Rosini, who created "Fonderie de La Plaine" LLC.

Sometimes moulding is subcontracted. The company itself performs wax modeling, casting, chasing, and patination.

II – 5) AIRAINDOR – 1985-1992

Mark : WAX / AIRAINDOR / LOST

The Airaindor foundry opened in Chevreuse in 1985. As early as 1981, its founder, sculptor Leonardo Bounatian-Benatov (known as Benatov, 1942-), son of Russian-Armenian painter Leonardo Bounatian-Benatov (1899-1972), relocated the foundry, establishing Airaindor Valsuani in Chevreuse. He acquired the "CIRE/C.VALSUANI/PERDUE" stamp at a candle auction, using it either as is or in a slightly enlarged and more square version at the request of clients or to distinguish his works from those of the famous foundry on rue des Plantes. In 1989, Benatov was officially recognized, and again on appeal in 1991, in proceedings he initiated against Michel Toselli, owner of the "Valsuani" registered trademark. However, in 1997 he lost on appeal to Thierry Valsuani (great-grandson of Attilio Valsuani and himself a founder), who, after Michel Toselli, became owner of the "Attilio Valsuani" mark, which he defended in court, securing the right to use his surname.

The foundry specializes in vacuum casting for monumental pieces in single-pour technique. In June 1992, Airaindor was placed under external administration by court decision.

Mr. Benatov re-established a company:

II – 6) ART BRASS – 1993

Subsequently, the foundry changed its name several times, with foundation dates being relatively uncertain…

II – 7) Atelier des Arts AIRAINDOR-VALSUANI – operating after 1993

Address:

– 72 bis, rue de la Porte de Paris, 78460 – Chevreuse

– La Croix Saint-Lubin, rue Fabre d’Églantine, 78460 – Chevreuse

II – 8) Parisian Company of Bronzes and Sculptures – Paintings (BPBS)

Recently, a company named "CEPIMEX" has emerged, involved in import and export.

In the early 1990s, the foundry was closely linked to the ART et ART gallery, located at 204 boulevard Saint-Germain, Paris.

On January 6, 2012, Benatov received the "Living Heritage Company" label from Frédéric Lefebvre, Secretary of State for Crafts, and Valérie Pécresse, then Government Spokeswoman.

III – 1) VALSUANI Attilio – Died about 1960 – Son of Marcello

Company existence period: until 1927 (1926?) – 1981

Nationality: ?

Address: 1 rue Gustave Tricard (= 108 avenue Aristide Bruand, = 108 route d’Orléans, = 1 rue Bertie-Albrecht), Bagneux (Hauts-de-Seine)

Stamps:

– WAX / A.VALSUANI / LOST

– Lost wax / A. Valsuani / Paris (only one example known)

Marcello Valsuani arrived in France at the beginning of the 20th century, seemingly invited by Hébrard, who made him head of his workshop from the opening of the foundry in 1902. Attilio’s two sons arrived with him or soon after: Claude, who from 1908 established himself as a founder at rue des Plantes, and Attilio, who by 1910 was already living in Paris.

It is quite possible that Attilio initially helped his brother. Despite several stamps, nothing confirms the existence of a foundry owned by Attilio in Paris. Did he use the misleading but more prestigious designation of Paris before settling in Bagneux? The exact date of his move to Bagneux is unclear. Sculptor Gualterio Busato reports that his father, Mario Busato, before opening his own foundry in 1932, worked as a wax retoucher for Attilio Valsuani from 1923 to 1931. Visiting this foundry until its closure, Busato testified that it always operated under precarious conditions.

In Bagneux, Attilio Valsuani appears as the owner of a workshop at 1 rue Gustave Tricard from 1929, a house on rue de Limours, and a small house at 44 route d’Orléans from 1934.

According to records, he was a founder established in Bagneux no later than 1926, 1929, or 1931. He began under very precarious conditions, probably around 1926 or even slightly earlier if his establishment coincides with the death of his brother Claude in 1923.

Attilio's foundry is only mentioned in the commercial directory in 1933: from 1933 to 1935 — “New artistic foundry, lost wax method,” and from 1936 — “Valsuani, lost wax casting.”

Between 1950 and 1956, Mrs. Valsuani, née Alice Siran, is listed as owner and paid the property taxes. Attilio died around 1960.

Attilio welcomed a clientele of demanding sculptors. He used cow dung to make molds (see explanation of this technique in “Lebon,” p. 256, bottom of col. 2 and p. 261, note 7). He always used a low-copper alloy, giving a very yellow metal. After careful chasing, he applied a high-quality hot patina.

III – 2) VALSUANI Lucien

The foundry passed to Attilio’s son, Lucien; he is reported as owner of the foundry in 1972; he resided at 2 avenue de Touraine in Sceaux.

III – 3) VALSUANI Claude – son of Lucien

Claude succeeded Lucien at the head of the company at an unknown date (not to be confused with his great uncle, see next section). Gifted in patination, he was less skilled in managing the company, and his passion for luxury led to his ruin.

In 1977, the business tax was paid by "Établissements Valsuani et fils SARL", which, oddly, described itself as a lead foundry “à façon.”

Claude suffered from an incurable disease, and his foundry was in critical financial condition when a fire of unknown origin destroyed it in September 1981. The fire destroyed all the company’s archives and many molds. Claude closed his company and sold the "Attilio Valsuani" stamp to Michel Toselli in December 1981 for a symbolic sum. (From 1989 to 1997, there was a lawsuit between Michel Toselli and Leonardo Benatov (see: III.- 5) regarding the Valsuani marks).

Claude later contributed financially to creating a new foundry run by his former workshop manager Gérard Delmas (see section IV).

Claude died in October 1985.

III – 4) VALSUANI Thierry – son of Claude

After a long stay abroad, he joined the Delval company in 1983. In 1986, he separated from Gérard Delmas and opened his own foundry in Paunat in Dordogne, working under the mark “T. Valsuani.”

Gérard Delmas became sole owner of the Delval company (see section IV).

IV – AFTER VALSUANI: DELVAL

This foundry, named "Delval" by combining the names Delmas-Valsuani, was set up in Antony, on rue des Rabats. Gérard Delmas reused some equipment saved from the fire and relied on customers of the former foundry in Bagneux.

He was also supported by artists who had been clients of A. Valsuani, who encouraged him to create a new company. In 1986, he joined his sons Olivier and Arnaud, set up in Antony, and used his own stamp.

A "Delval" stamp was immediately created and used. (Except during the period when the Delval foundry made casts on behalf of Michel Toselli, owner of the "A. Valsuani" stamp, mainly for numerous works by Camille Claudel).

Start of activities: 1982, active period.

Address: Rue des Rabats, Antony.

The foundry does not keep track of the cast works or their numbering. On the contrary, they systematically transfer all responsibility for the numbering of editions, the year of casting, and the sculptor’s signature to the client. Thus, they seek to absolve themselves of any irregularities. This foundry conducts casting, chasing, and patination. There is no mold-making workshop.