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

THE VALSUANI DYNASTY. VALSUANI BRONZES. The Foundry of Claude Valsuani.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 PLAINE (The Plain Foundry)II – 5) AIRAINDORII – 6) ART BRASS (Airain d’Art)II – 7) AIRAINDOR‑VALSUANI Art WorkshopII – 8) PARISIAN COMPANY OF BRONZES AND SCULPTURES – PAINTINGS (BPBS) More recently there is the company “CEPIMEX”, involved in import‑export. 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).Stamp/Mark : CIRE / C. VALSUANI / PERDUE(The stamp/mark has been the property of Airaindor‑Atelier des Arts since 1981)On casts made by Leonardo Benatov after 1981, the stamps 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 lost‑wax casting and torch patination, at Hébrard’s invitation when Hébrard opened his foundry in 1902. Marcello likely preceded, then sometimes replaced or assisted as technical director or workshop manager Albino Palazzolo, whom Hébrard only hired in 1903 and who returned to Italy at the time of the First World War.There is a bronze by Rembrandt Bugatti (died 1916) in the collection, all of whose works had been cast by Hébrard under an exclusive contract, dedicated “To my friend Valsuani”. Rembrandt Bugatti, feeling constrained by his contract with Hébrard, is said to have considered breaking it so that Marcello Valsuani would cast his works, which encouraged Marcello to set up on his own. But it was perhaps the insistence of Bugatti and other artists who wished to benefit from the family’s expertise without going through Hébrard’s contracts that prompted Claude, Marcello’s son, to open his own foundry in Paris in 1908 at 74 rue des Plantes.It is said that Claude Valsuani showed his lost‑wax casting method for producing engine parts to the automobile firms Bugatti (founded by the sculptor’s brother) and Renault.Valsuani took premises that had been occupied at the end of the 19th century by Pierre Bingen, a famous lost‑wax caster. However, Valsuani did not occupy Bingen’s old premises but moved into a more recent building: a small house where he lived and an adjoining workshop of about 400 m2.Claude Valsuani practiced hot patination with a blowtorch — a technique that only became widespread 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 exceptional beauty. The Valsuani foundry was also renowned for its Italian‑style core technique and its “cow‑dung” potée (see explanation of this technique 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 bronze casts, though probably not systematically at first. On his casts 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 apparently was the first to adopt this method, undoubtedly at the instigation of sculptors who, having learned from Hébrard’s example, chose unambiguous numbering. This type of numbering gradually spread and ultimately became the current legal standard.Print runs of casts produced at Valsuani were often limited to 10 copies or fewer. This standard, while not compulsory, appears to have been adopted by sculptors who wished to limit their production from the early 20th century until the 1968 regulations.In his early career Claude did not systematically stamp his works.He quickly gained a reputation as an excellent lost‑wax caster. He attracted artists who valued quality. Never acting as a dealer, he willingly offered his assistance. At the end of hostilities in April 1918 he was left working alone at the foundry.In 1919 he was involved in the Rodin fake works 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 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 since, 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 the business was run by Claude’s widow. Then, in 1924, his son, also named Marcel (like his grandfather), interrupted medical studies to replace his father. He kept Claude Valsuani’s stamp and maintained the foundry’s excellent reputation.Under the names of 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 house.Valsuani is sometimes mentioned as a publisher in the interwar period, for example in connection with the publishing of Pompon. However, he cannot be considered a publisher in the same sense as Susse or Barbedienne: no contracts were concluded with artists; they did not give up rights and controlled their own production. Valsuani was simply their caster.Marcel Valsuani, like most of his peers, saw his business decline in the 1930s. He was mobilized for the whole war. The foundry resumed operations 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 that number had grown to around twenty.Occasionally Valsuani subcontracted sand‑casting to Susse or Georges Rudier. The casts were then delivered raw to Valsuani, who was responsible for their finishing (they bore the mark “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 entitled: “Modern lost‑wax casting processes,” reproduced in Devaux, p. 301. II – AFTER VALSUANI II – 1) DEMEURISSE‑SOKOLOWSKI – 1974–1977Then, at the latest in 1974, the business was sold to Anne Demeurisse, daughter of the sole legatee of the sculptor Pompon, who entrusted its management to her husband Jacques Sokolowski, an insurance broker by training whose ambitions came at an inopportune time during a recession. The company suffered heavy losses, some working practices provoked hostility from the professional community, and in 1977 it was declared bankrupt.In 1977 the company was run by the sculptor Olivier Brice (famous for creating Bokassa’s throne!), who served as manager from 1977 to 1980. Then part of the team left the foundry to take part in the creation of a new foundry called: II – 2) TAUBE‑LEBEL FOUNDRY – 1977 – circa 1981Lost‑wax castingIn 1977 Jean Lebel, former project manager at the Claude Valsuani foundry on rue des Plantes, joined Taube to create the “Fonderie Taube‑Lebel” 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 – circa 1981 – 24 March 1984Lost‑wax castingJean Lebel left the company around 1981.Mark/Stamp : . CIRE . / TAUBE / (center: tree) / PARIS / PERDUEOnly Lebel’s name was removed from the stamp.The Taube foundry ceased activity on 24 March 1984. II – 4) FONDERIE DE LA PLAINE – 1984–1985Lost‑wax castingAddress : 6 rue Proudhon, 93210, La Plaine‑Saint‑Denis.Stamp (hexagonal): FONDERIE / DE / LA / PLAINE / (center: sun) / CIRE / PERDUE The company’s assets were immediately taken over by D. Jolivot and J. Rosini, who created the limited company “Fonderie de La Plaine”.Sometimes molding was subcontracted. Wax models, casting, chasing and patination were carried out by the company itself. II – 5) AIRAINDOR – 1985–1992Stamp : WAX / AIRAINDOR / LOSTThe Airaindor foundry opened its doors in Chevreuse in 1985. As early as 1981 its founder, the sculptor Leonardo Bounatian‑Benatov (known as Benatov) (b. 1942), son of the Russo‑Armenian painter Leonardo Bounatian‑Benatov (1899–1972), relocated the foundry by creating Airaindor Valsuani in Chevreuse. He acquired the stamp “CIRE / C. VALSUANI / PERDUE” at a candle‑sale auction, which he used either in its original form or in a slightly enlarged, squarer version at clients’ requests or when he wished to distinguish his work from that of the famous rue des Plantes foundry. In 1989 Benatov obtained legal recognition, 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 a cassation appeal against Thierry Valsuani (great‑grandson of Attilio Valsuani and himself a founder), who, after Michel Toselli, became owner of the stamp “Attilio Valsuani,” which Benatov had contested in court to defend the right to use that family name.The foundry specialized in vacuum casting of monumental pieces with single‑stream pouring. In June 1992 the company Airaindor was placed under court‑ordered external administration. Mr. Benatov recreated the company:II – 6) ART BRASS (AIRAIN D’ART) – 1993Subsequently the foundry changed names several times, the founding dates being relatively uncertain… II – 7) AIRAINDOR‑VALSUANI ART WORKSHOP – active after 1993Addresses :– 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: “CEPIMEX” as an import‑export company. In the early 1990s the foundry was closely connected to the ART et ART gallery at 204 boulevard Saint‑Germain, Paris.On 6 January 2012 Benatov received the quality 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– CIRE PERDUE / A. VALSUANI / PARIS (only one example) Marcello Valsuani arrived in France at the beginning of the 20th century, apparently at Hébrard’s call, who made him workshop chief when his foundry opened in 1902. Two sons of Marcello arrived with him or soon after: Claude, who from 1908 set up the rue des Plantes foundry, and Attilio, who was living in Paris by 1910.It is quite possible that Attilio initially assisted his brother. Despite a few stamps, nothing proves the existence of a foundry run 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 established. The 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 this workshop until its closure, Busato testifies that it always operated in very precarious premises.In Bagneux Attilio Valsuani appears as 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 a founder established in Bagneux no later than 1926, 1929 or 1931. He started very precariously, probably around 1926 or even a little earlier if his start coincided with his brother Claude’s death in 1923.The Attilio foundry appears in the commercial 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 (born Alice Siran) is listed as owner and paid the property taxes. Attilio died around 1960.Attilio received sculptor clients with high demands. He used cow‑dung for molding (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 that gave 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; he is said to have been owner in 1972; he lived at 2 avenue de Touraine in Sceaux. III – 3) VALSUANI Claude – son of LucienClaude succeeded Lucien as head of the company at an unknown date (do not confuse him with his great‑uncle). Talented at producing patinas, he was less skilled at running the company; his taste for luxury drove him to ruin.In 1977 business tax was collected from “Établissements Valsuani et fils SARL”, which oddly described itself as a foundry for lead works to order.Claude suffered from an incurable disease and his foundry was in a critical financial state when it was destroyed by a fire of unknown origin in September 1981. The fire destroyed all company archives and numerous molds. 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 were legal proceedings between Michel Toselli and Leonardo Benatov regarding the Valsuani stamps.)Claude then made a financial contribution to create a new foundry run by his former workshop manager Gérard Delmas (see paragraph IV).Claude died in October 1985. III – 4) VALSUANI Thierry – son of ClaudeAfter a long stay abroad he joined the Delval company in 1983. In 1986 he parted company with Gérard Delmas and opened his own foundry in Paunat in the Dordogne, working under the stamp “T. Valsuani”.Gérard Delmas became sole owner of the company Delval (see section IV). IV – AFTER VALSUANI: DELVALThis foundry, named “Delval” by combining the names 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 clients of the Bagneux foundry.He was also supported by artists who had been clients of A. Valsuani and encouraged the creation of the new company. In 1986 he, together with his sons Olivier and Arnaud, moved to Antony and began using his own stamp.A “Delval” stamp was immediately created and used. (Except during the period when the Delval foundry produced casts on behalf of Michel Toselli, owner of the “A. Valsuani” stamp, mainly for numerous works by Camille Claudel.)Start date: 1982, active period.Address: rue des Rabats, Antony.The foundry does not record cast works or their numbering. On the contrary, it systematically transfers all responsibility for numbering casts, the casting year and the sculptor’s signature to the client who commissioned the casts. In this foundry they practice casting, chasing and patination. There is no mold‑making 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) Élisabeth Lebon, “Dictionary of Founders”, 2003, pp. 256–263.