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

The VALSUANI Dynasty. BRONZE WORKS BY VALSUANI. Claude Valsuani Foundry.First: VALSUANI MarcelloI – 1) VALSUANI Claude – son of MarcelloI – 2) VALSUANI Marcel – son of ClaudeII – AFTER VALSUANIII – 1) Demeurisse-SokolowskiII – 2) Taube-Lebel FoundryII – 3) Taube FoundryII – 4) Simple FoundryII – 5) AiraindorII – 6) Artificial BrassII – 7) Airaindor-Valsuani Art WorkshopII – 8) Parisian Company of Bronze and Sculpture – Painting (BPBS)More recently, the company "CEPIMEX" appeared, specializing in import and 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 ClaudeIV – AFTER VALSUANI: DELVAL– – –I – 1) VALSUANI Claude – Died 9 September 1923 – Son of MarcelloCompany lifetime: 1908-1981Nationality: FrenchAddress: 74 rue des Plantes, Paris XIV (Plaisance district).Mark: CIRE / C. VALSUANI / LOST(The stamp has belonged to the 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 customer's request.Marcello Valsuani emigrated from Italy, likely as a specialist in lost-wax casting and torch patination, at the request of Hébrard for the opening of his foundry in 1902. Marcello Valsuani probably preceded, and then sometimes replaced or assisted as technical director or workshop manager Albino Palazzolo, whom Hébrard hired only 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 dedicated "To my friend Valsuani." Rembrandt Bugatti, feeling constrained by his contract with Hébrard, reportedly considered breaking it and having his works cast by Marcello Valsuani, which prompted him to start his own business. Perhaps thanks to the insistence of Bugatti and other artists eager to use this family's expertise without contracts with Hébrard, Claude, son of Marcello, opened his own foundry at 74 rue des Plantes, Paris, in 1908.Claude Valsuani reportedly demonstrated his lost-wax casting method for engine parts to the Bugatti (founded by the sculptor's brother) and Renault car companies.Valsuani took over premises previously occupied by Pierre Bingen, a renowned lost-wax founder at the end of the 19th century. However, Valsuani did not move into Bingen's space but instead into a newer building: a small house where he lived and an adjoining workshop of 400 sqm.Claude Valsuani practiced hot patination using a blowtorch – a technique that only became widespread when gas torches, which left no soot deposits, appeared – 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" patination and "cow dung" patination (see explanation in LEBON, p. 256, bottom of column 2 and p. 261, note 7) – a slow but economical process producing remarkable quality results. Around 1910, he employed 4 to 5 people.Following Hébrard's example, Valsuani adopted the practice of numbering bronze sculptures, though probably not systematically at first. On his casts, he indicated the number of each sculpture relative to the total number of planned casts, which neither Hébrard nor Rudier did at that time. He seems to be the first to apply this method, likely at the behest of sculptors who, learning from Hébrard, chose clear numbering. This scheme gradually became widespread and eventually became a legal standard.The editions produced at Valsuani were often limited to 10 copies or fewer. Although not mandatory, this standard appears to have been adopted by sculptors wishing to limit production from the early 20th century until the 1968 regulations were introduced.At the beginning of his career, Claude did not always leave his mark on his works.He quickly built a reputation as an excellent lost-wax caster, attracting artists who prized quality. Never acting as a merchant, he willingly provided support. At the end of hostilities in April 1918, he remained alone, continuing to work at the foundry.In 1919 he was involved in the "fake Rodin vs Montagutelli" case. His integrity 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, the son of 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, since when Claude died suddenly, it was Attilio who notified the clients and announced the need for extraordinary measures. However, he did not take over the business and founded his own lost-wax foundry, apparently no later than 1926.I – 2) VALSUANI Marcel – 1924–1974In 1923, the business was managed by Claude's widow. Then, in 1924, his son Marcel (named after his grandfather) interrupted his medical studies to replace his father. He retained the Claude Valsuani mark and maintained the excellent reputation of the foundry.Under the names of Claude and Marcel, the foundry attracted the most prestigious and demanding sculptors. The "Claude Valsuani" mark became synonymous with outstanding quality and remarkable patinas. The "Valsuani black" is one of the most famous patinas produced by the company.Valsuani is sometimes mentioned as a publisher in the interwar period, for example in relation to Pompon publishing. However, he cannot be regarded as a publisher like Susse or Barbedienne: there were no contracts with artists, who did not relinquish rights and maintained control over their own production. Valsuani was simply their caster.Marcel Valsuani, like most of his peers, witnessed a decline in business in the 1930s. He was mobilized for the entire war. The foundry resumed operation only in 1947.In December 1950 Marcel Valsuani purchased the land and buildings at 74 rue des Plantes. In 1952 the company employed 6 people, and by the mid-1970s about twenty.At times, Valsuani subcontracted sand casting to Susse or Georges Rudier. The resulting raw casts would then be delivered to Valsuani for finishing (with the stamp "C. Valsuani").In 1973 Marcel Valsuani retired and moved to Nice, leaving the business in the hands of technical director Antoine Tamburro.Claude Valsuani is the author of a text entitled: "Modern lost-wax casting processes," reproduced in the book by Devaux, p. 301.II – AFTER VALSUANIII – 1) Demeurisse-Sokolowski – 1974-1977Then, no later than 1974, the business was sold to Anne Demeurisse, daughter of the sole heir of sculptor Pompon, who entrusted its management to her husband Jacques Sokolowski, an insurance broker by training. Unfortunately, his ambitions arrived at the wrong time during a recession. The company suffered heavy losses, some of its practices attracted hostility from the profession, and in 1977 it was declared bankrupt.In 1977, the business was taken over by the sculptor Olivier Brice (famous for creating Bokassa's throne!) who managed it from 1977 to 1980. Part of the team then left the foundry to participate 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, 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 employees of the Valsuani foundry since 1974.II – 3) Taube Foundry – circa 1981 – 24 March 1984Lost-wax castingJean Lebel left the company around 1981.Mark: . WAX . / TAUBE / (a tree in the center) / PARIS / LOSTOnly Lebel's name was removed from the mark.The Taube Foundry ceased operations on March 24, 1984.II – 4) Simple Foundry – 1984-1985Lost-wax castingAddress: 6 rue Proudhon, 93210, La Plaine-Saint-Denis.Stamp (hexagonal): FOUNDRY / OF / PLAINE / (center: sun) / LOST WAXThe assets were immediately taken over by D. Jolivot and J. Rosini, who created the SARL "Fonderie de La Plaine".Molding is sometimes subcontracted. Wax models, casting, chiseling, and patination are performed by the company itself.II – 5) AIRAINDOR – 1985-1992Mark: WAX / AIRAINDOR / LOSTThe Airaindor Foundry opened in Chevreuse in 1985. As early as 1981, its founder, the sculptor Leonardo Bounatian-Benatov, known as Benatov (1942–), the son of Russian-Armenian painter Leonardo Bounatian-Benatov (1899–1972), relocated the foundry and created Airaindor Valsuani in Chevreuse. He acquired the "CIRE/C.VALSUANI/LOST" mark at a candle auction, which he uses either in its original form or in a slightly enlarged and more square version at the client's request or to distinguish his work from the notable foundry on rue des Plantes. In 1989 Benatov was legally granted, and then again on appeal in 1991, the ownership of the registered trademark "Valsuani" in a court case he initiated against Michel Toselli, the then owner. However, in 1997 he lost a cassation appeal to Thierry Valsuani (great-grandson of Attilio Valsuani and himself a founder), who after Toselli became owner of the "Attilio Valsuani" mark contested in court, defending the right to use the surname.The foundry specialized in vacuum casting of monumental pieces in a single pour. In June 1992, Airaindor was placed under external administration by court decision.Mr. Benatov recreated a company:II – 6) ART BRASS – 1993Subsequently, the foundry changed its name several times, with the dates of foundation somewhat unclear…II – 7) Airaindor-Valsuani Art Workshop – active after 1993Address:– 72 bis, rue de la Porte de Paris, 78460 – Chevreuse– La Croix Saint-Lubin, rue Fabre d’Églantine, 78460 – ChevreuseII – 8) PARISIAN COMPANY OF BRONZE AND SCULPTURE – PAINTING (BPBS)And more recently: "CEPIMEX", as an import-export company.In the early 1990s, the foundry was closely linked to the ART et ART gallery 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 around 1960 – Son of MarcelloCompany existence: until 1927 (1926?) – 1981Nationality: ?Address: 1 rue Gustave Tricard (= 108 avenue Aristide Bruand, = 108 route d’Orléans, = 1 rue Bertie-Albrecht), Bagneux (Hauts-de-Seine)Marks:– WAX / A.VALSUANI / LOST– Lost wax / A. Valsuani / Paris (only one known example)Marcello Valsuani arrived in France at the beginning of the 20th century, apparently at the invitation of Hébrard, who made him workshop manager at the opening of his foundry in 1902. The two sons of Attilio arrived with him or shortly after: Claude, who set up as a founder on rue des Plantes from 1908, and Attilio, who lived in Paris by 1910 at the latest.It is possible that Attilio initially assisted his brother. Although some stamps exist, nothing confirms that Attilio's foundry existed in Paris. Did he use the more prestigious Paris address before moving to Bagneux? The precise 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 wax retoucher for Attilio Valsuani from 1923 to 1931. Having frequented the foundry until its closure, Busato states that it always operated under very precarious conditions.In Bagneux, Attilio Valsuani is listed 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 show he set up in Bagneux no later than 1926, 1929, or 1931. He began very precariously, probably around 1926 or possibly earlier if his establishment coincided with his brother Claude's death in 1923.Attilio's foundry appears in trade directories only in 1933: from 1933 to 1935 as "New artistic lost-wax foundry", and from 1936 as "Valsuani, lost-wax foundry".Between 1950 and 1956, Mrs. Valsuani, née Alice Siran, is listed as owner and pays property taxes. Attilio died around 1960.Attilio served a demanding sculptor clientele. He used cow dung for mold making (see technique explanation in LEBON, p. 256, bottom of column 2 and p. 261, note 7). He always used a low-copper alloy, resulting in very yellow metal. After detailed chasing, he applied a high-quality hot patina.III – 2) VALSUANI LucienThe foundry passed to Attilio's son, Lucien; he is recorded as owner in 1972, living at 2 avenue de Touraine, Sceaux.III – 3) VALSUANI Claude – son of LucienClaude succeeded Lucien as head of the company at an unknown date (not to be confused with his great-uncle, see previous notes). Talented in patination, he was less skillful in company management, and his passion for luxury led to his ruin.In 1977, the business tax was levied on "Établissements Valsuani et fils SARL", which oddly positioned itself as a custom lead foundry.Claude was afflicted with an incurable disease, and his foundry was in a critical financial position when a fire of unknown origin destroyed it in September 1981. All company archives and many molds were lost. Claude closed his company and in December 1981 sold the "Attilio Valsuani" mark to Michel Toselli for a symbolic sum. (From 1989 to 1997 a legal dispute occurred between Michel Toselli and Leonardo Benatov regarding Valsuani stamps).Claude then financially participated in the creation of a new foundry managed by his former workshop manager, Gérard Delmas (see Section 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 ways with Gérard Delmas and opened his own foundry in Paunat, Dordogne, working under the mark "T. Valsuani".Gérard Delmas then became the sole owner of Delval (see paragraph IV).IV – AFTER VALSUANI: DELVALThis foundry, named "Delval" from the combination Delmas-Valsuani, was established in Antony, rue des Rabats. Gérard Delmas reused some equipment saved from the fire and relied on the old clientele from the Bagneux foundry.He was also supported by artists who had been clients of A. Valsuani, encouraging the creation of the new company. In 1986 he partnered with his sons Olivier and Arnaud, moving to Antony and using his own stamp.The "Delval" stamp was immediately created and used (except during a period when Delval produced castings for Michel Toselli, owner of the "A. Valsuani" mark, mainly for the works of Camille Claudel).Start date: 1982, active period.Address: Rue des Rabats, Antony.The foundry does not record or number the cast works. Instead, all responsibility for numbering, date of casting, and the sculptor's signature lies with the client who commissions the castings. In this way, the foundry removes itself from liability for any irregularities. The foundry offers casting, chasing, and patination, but has 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 Animal Sculptors and Founders from Antiquity to the Present Day", 2 vols, 18,000 pages, 2005. "Founders", vol. II, p. 885-886. - 3) Pierre Kjellberg, "Nineteenth Century Bronzes (Sculptors' Dictionary)", Paris, Les Éditions de l'Amateur, 1989, p. 678. 4) Elisabeth Lebon, "Dictionary of Founders", 2003, pp. 256-263.