Young Nude Girl Sitting on a Bundle of Flax. Raymond Rivoire. Made at the Claude Valsuani Foundry (Cire C.Valsuani Perdue)

VALSUANI DYNASTY. BRONZES BY VALSUANI. The Claude Valsuani Foundry.First: VALSUANI MarcelloI – 1) VALSUANI Claude – son of MarcelloI – 2) VALSUANI Marcel – son of Claude II – AFTER VALSUANIII – 1) Demeurisse-SokolowskiII – 2) Taube-Lebel FoundryII – 3) Taube FoundryII – 4) FONDERIE DE LA PLAINEII – 5) AIRAINDORII – 6) ART BRASS (Airain d'Art)II – 7) AIRAINDOR-VALSUANI Art WorkshopII – 8) PARISIAN COMPANY OF BRONZES AND SCULPTURES – PAINTINGS (BPBS) And more recently the company “CEPIMEX”, specializing in import-export, appeared. III – 1) VALSUANI Attilio – son of MarcelloIII – 2) VALSUANI Lucien – son of AttilioIII – 3) VALSUANI Claude – son of LucienIII – 4) VALSUANI Thierry – son of Claude IV – AFTER VALSUANI: DELVAL– – – I – 1) VALSUANI Claude – Died 9 September 1923 – Son of MarcelloCompany period: 1908–1981.Nationality: FrenchAddress: 74 rue des Plantes, Paris 14th (Plaisance district).Mark: CIRE / C. VALSUANI / PERDUE(The stamp has belonged to Airaindor — Atelier des Arts since 1981)On castings produced by Leonardo Benatov after 1981, the stamps are either identical to the old ones or slightly enlarged at the request of the client. Marcello Valsuani emigrated from Italy, probably as a specialist in lost-wax casting and torch patination, at Hébrard's invitation when his foundry opened in 1902. Marcello likely preceded, then sometimes replaced or assisted as technical director or workshop manager Albino Palazzolo, whom Hébrard hired only in 1903 and who returned to Italy at the time of World War I.There is a bronze by Rembrandt Bugatti (who died in 1916), all of whose works were cast by Hébrard under an exclusive contract, dedicated “To my friend Valsuani.” Rembrandt Bugatti, feeling very constrained by his contract with Hébrard, is said to have considered breaking it and having his works cast by Marcello Valsuani, encouraging him to set up on his own. Perhaps thanks to the insistence of Bugatti and other artists who wanted to benefit from the family's expertise without going through Hébrard's contracts, Claude, Marcello's son, opened his own foundry in Paris in 1908 at 74 rue des Plantes.It is said that Claude Valsuani showed automobile firms Bugatti (founded by the sculptor’s brother) and Renault his lost-wax casting method for producing engine parts.Valsuani took premises that had been occupied at the end of the 19th century by Pierre Bingen, a well-known lost-wax caster. However, Valsuani did not occupy Bingen’s premises but moved into a more recent building: a small house where he lived and the adjoining workshop of about 400 m2.Claude Valsuani practiced hot patination with a blowtorch — a technique that spread widely only with the arrival of gas torches that do not leave soot — a technique mastered by Italians in the early 20th century. He achieved results of extraordinary beauty. The Valsuani foundry was also famous for its “Italian-style” core work and the “cow-dung” core technique (see explanation in LEBON, p. 256, bottom of column 2 and p. 261, note 7) — a slow but economical process that produced remarkably fine results. Around 1910 he employed four to five workers.Following Hébrard's example, Valsuani adopted the practice of numbering bronzes, though probably not systematically at first. On his castings he indicated the number of each cast in relation to the total number of planned casts, something neither Hébrard nor Rudier did at the time. He appears to have been the first to adopt this method, undoubtedly at the instigation of sculptors who, having learned from Hébrard, chose unambiguous numbering. This type of numbering gradually spread and eventually became the legal standard.Edition sizes of casts made at Valsuani were often limited to 10 copies or fewer. This standard, while not mandatory, seems to have been adopted by sculptors wishing to limit their production from the early 20th century until the rules of 1968.In the early part of his career, Claude did not always systematically stamp his works.He quickly built a reputation as an excellent lost-wax caster. He attracted artists who valued quality. Never acting as a dealer, he willingly offered his help. At the end of hostilities in April 1918 he found himself alone and continued working at the foundry.In 1919 he was involved in the case of forged Rodins against Montagutelli. His good faith was recognized and he was not prosecuted.Sculptor Pierre Bouret worked at the foundry as a retoucher until the mid-1930s. Turridu Clementi, a young orphan and son of caster 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; when Claude suddenly died it was Attilio who warned clients and announced the need for extraordinary measures. However, he did not take over the business and apparently set up his own lost-wax foundry no later than 1926. I – 2) VALSUANI Marcel – 1924–1974In 1923 Claude’s widow ran the business. Then, in 1924, his son (also named Marcel, like his grandfather) interrupted medical studies to replace his father. He kept the Claude Valsuani stamp and maintained the foundry’s excellent reputation.Under the names Claude and Marcel the foundry attracted the most prestigious and demanding sculptors. The stamp “Claude Valsuani” became synonymous with excellent quality and remarkable patinas. The “Valsuani black” is one of the most famous patinas 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 the artists; they retained their rights and controlled their own production. Valsuani was simply their founder-caster.Marcel Valsuani, like most of his peers, saw his business decline in the 1930s. He was mobilized for the entire war. The foundry resumed activity only in 1947.In December 1950 Marcel Valsuani bought the land and buildings at 74 rue des Plantes. In 1952 the company employed 6 people, and by the mid-1970s their number had risen to about twenty.Occasionally Valsuani subcontracted sand casting to Susse or Georges Rudier. The castings were then delivered to Valsuani in a raw state; Valsuani was responsible for finishing them (they bore the stamp “C. Valsuani”).In 1973 Marcel Valsuani retired and moved to Nice, leaving the company in the hands of his technical director Antoine Tamburro.Claude Valsuani is the author of a text titled: Modern Processes of Lost-Wax Casting, reproduced in Devaux, p. 301. II – AFTER VALSUANI II – 1) DEMEURISSE-SOKOLOWSKI – 1974–1977Then, by 1974 at the latest, the business was sold to Anne Demeurisse, daughter of Pompon’s sole legatee, who entrusted its management to her husband Jacques Sokolowski, an insurance broker by training whose ambitions came at an unfortunate time during a recession. The company suffered heavy losses, some working methods attracted hostility from the profession, and in 1977 it was declared bankrupt.In 1977 sculptor Olivier Brice (famous for creating Bokassa’s throne) became manager from 1977 to 1980. Then part of the team left the foundry to help create a new foundry called: II – 2) TAUBE-LEBEL FOUNDRY – 1977–c. 1981Lost waxIn 1977 Jean Lebel, a former project manager at the Claude Valsuani foundry on rue des Plantes, partnered with Taube to create the “Fonderie Taube-Lebel” in La Plaine-Saint-Denis. The technical team was led by D. Jolivot and J. Rosini, former workers from the Valsuani foundry since 1974. II – 3) TAUBE FOUNDRY – circa 1981 – 24 March 1984Lost waxJean Lebel left the company around 1981.Mark: . CIRE . / TAUBE / (center: tree) / PARIS / PERDUEOnly Lebel’s name was removed from the mark.The Taube foundry ceased activity on 24 March 1984. II – 4) FONDERIE DE LA PLAINE – 1984–1985Lost waxAddress: 6 rue Proudhon, 93210 La Plaine-Saint-Denis.Stamp (hexagonal): FONDERIE / DE / LA / PLAINE / (center: sun) / CIRE / PERDUE The assets were immediately taken over by D. Jolivot and J. Rosini, who created the company Fonderie de La Plaine SARL.Sometimes molding was subcontracted. The waxes, casting, chasing and patination were performed in-house. II – 5) AIRAINDOR – 1985–1992Mark: WAX / AIRAINDOR / LOSTThe Airaindor foundry opened in Chevreuse in 1985. Already in 1981 its founder, sculptor Leonardo Bounatian-Benatov (known as Benatov, b. 1942), son of the Russian-Armenian painter Leonardo Bounatian-Benatov (1899–1972), had relocated the foundry by creating Airaindor Valsuani in Chevreuse. He acquired the stamp “CIRE / C. VALSUANI / PERDUE” at a candle-sale auction and used it either in its original form or slightly enlarged and more squared at clients' request or when he wished to distinguish his work from that of the famous rue des Plantes foundry. In 1989 Benatov was legally recognized, and again on appeal in 1991, in proceedings he initiated against Michel Toselli, the registered owner of the trademark “Valsuani”. However, in 1997 he lost before the Court of Cassation against Thierry Valsuani (great-grandson of Attilio Valsuani and himself a founder), who after Michel Toselli became owner of the mark “Attilio Valsuani”, which Benatov had challenged in court to defend his right to use the surname.The foundry specialized in single-stream vacuum casting of monumental pieces. In June 1992 Airaindor was placed under external administration by court decision. Mr. Benatov recreated the company:II – 6) ART BRASS (AIRAIN D’ART) – 1993The foundry later changed names several times, the founding dates being somewhat uncertain… II – 7) AIRAINDOR-VALSUANI ATELIER DES ARTS – active after 1993Address:– 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) More recently the company “CEPIMEX” appeared as an import-export firm. In the early 1990s the foundry was closely linked with the gallery ART et ART at 204 boulevard Saint-Germain, Paris.On 6 January 2012 Benatov received the label “Entreprise du Patrimoine Vivant” (Living Heritage Company) from Frédéric Lefebvre, Secretary of State for Crafts, and Valérie Pécresse, then Government Spokesperson. III – 1) VALSUANI Attilio – Died around 1960 – Son of MarcelloCompany period: before 1927 (1926?) – 1981.Nationality: ?Address: 1 rue Gustave Tricard (= 108 avenue Aristide Bruant, = 108 route d’Orléans, = 1 rue Bertie-Albrecht), Bagneux (Hauts-de-Seine).Stamps:– WAX / A. VALSUANI / LOST– WAX LOST / A. VALSUANI / PARIS (only one known example) Marcello Valsuani arrived in France at the beginning of the 20th century, apparently at Hébrard's invitation, who appointed him workshop manager when his foundry opened in 1902. Two sons of Marcello arrived with him or soon after: Claude, who would open the rue des Plantes foundry in 1908, and Attilio, who was living in Paris by 1910.It is quite possible that Attilio initially helped his brother. Despite the existence of several stamps, nothing confirms the existence of a foundry owned by Attilio in Paris. Did he use the misleading but more prestigious indication “Paris” before settling in Bagneux? The exact date of his move to Bagneux cannot be determined. Sculptor Gualterio Busato reports that his father, Mario Busato, before opening his own foundry in 1932, worked as a retoucher of wax figures for Attilio Valsuani from 1923 to 1931. Having frequented that workshop until its closure, Busato testifies that it always operated in very 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.Records indicate he was established as a founder in Bagneux no later than 1926, 1929, or 1931. He began very precariously, probably around 1926 or a little earlier if his start coincided with the death of his brother Claude in 1923.The Attilio foundry is listed in the business directory only in 1933: from 1933 to 1935 “New artistic lost-wax foundry,” and from 1936 “Valsuani, lost-wax casting.”Between 1950 and 1956 Mrs. Valsuani, née Alice Siran, is listed as owner and paid property taxes. Attilio died around 1960.Attilio served demanding sculptor clients. He used cow-dung cores (see explanation in LEBON, p. 256, bottom col. 2 and p. 261, note 7). He always used an alloy with low copper content, which produced a very yellow metal. After careful chasing he applied a high-quality hot patina. III – 2) VALSUANI LucienThe foundry was taken over by Attilio’s son Lucien; it is said he owned the foundry in 1972; he resided at 2 avenue de Touraine in Sceaux. III – 3) VALSUANI Claude – son of LucienClaude succeeded Lucien at the head of the company at an unknown date (do not confuse him with his great-uncle noted above). Skilled in creating patinas, he was less successful at managing the company; his taste for luxury led him to ruin.In 1977 the business tax was paid by “Établissements Valsuani et fils SARL,” which oddly described itself as a foundry producing lead castings to order.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. All company archives and many molds were destroyed. Claude closed his company and in December 1981 sold the stamp “Attilio Valsuani” to Michel Toselli for a nominal sum. (Between 1989 and 1997 there was litigation between Michel Toselli and Leonardo Benatov concerning the Valsuani stamps).Claude later provided financial support to create 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 ClaudeAfter a lengthy stay abroad he joined the Delval company in 1983. In 1986 he parted ways with Gérard Delmas and opened his own foundry in Paunat in Dordogne, operating under the mark “T. Valsuani.”Gérard Delmas became sole owner of the Delval company (see IV). IV – AFTER VALSUANI: DELVALThis foundry, named “Delval” (a combination of Delmas–Valsuani), was established in Antony on rue des Rabats. Gérard Delmas reused some of the equipment saved from the fire and relied on the former clientele of the Bagneux foundry.He was also supported by artists who had been clients of A. Valsuani and encouraged the creation of a new company. In 1986 he moved to Antony with his sons Olivier and Arnaud and began using his own stamp.A “Delval” stamp was immediately created and used. (Except during a period when the Delval foundry produced castings for Michel Toselli, owner of the “A. Valsuani” stamp, mainly many works by Camille Claudel).Start dates: 1982, period of active operation.Address: Rue des Rabats, Antony.The foundry does not keep records of cast works or their numbering. On the contrary, it systematically places all responsibility for the numbering of casts, the year of casting and the sculptor’s signature on the commissioning client. In this foundry casting, chasing and patination are practiced. There is no molding workshop.Sources and external linksSources: 1) Yves Devaux, "The World of Bronzes…", Paris, 1978, p. 301. - 2) Jean-Charles Hachet, "Illustrated Dictionary of Animalier Sculptors and Founders from Antiquity to the Present", 2 vols., 18,000 pages, 2005. "Founders", vol. II, pp. 885–886. - 3) Pierre Kjellberg, "Bronzes of the 19th century (Dictionary of Sculptors)", Paris, Les Éditions de l'Amateur, 1989, p. 678. - 4) Elisabeth Lebon, "Dictionary of Founders", 2003, pp. 256–263.