Ernest BLANCHER (1855-1935) LIMOGES

Painting in enamel on copper depicting an old man's head, Esope after Velasquez which is held at the museum of Madrid. Dated on the back "1897" and marked with the master enameller's monogram "E.B". Oak wood frame. Enamel painting on copper and on gold background. Perfect condition.
Paint enamel: the copper support, fully covered with enamel disappears under the vitreous material. Colors are added in multiple coats, they juxtapose and even mix.

About the artist

Blancher J.Ernest (1855-1935), successor of Lot and Dalprayat's workshops. Painter and enameller in Limoges.
Soccessor of M.Lot in 1886
In 1889 : Successor of F.Lot, in Limoges, 29 rue Pétiniaud-Beaupeyrat. Group III, class 20 : ceramic
1889 World Fair : Trays, plates, portrait on enamel, cups, caskets, reliquaries and other enamel objects.
In 1895 : 53, rue Pétiniaud-Beaupeyrat, Limoges. Class 20 : Ceramic, enamels
Société Philomathique Exhibition in Bordeaux in 1895 : Limoges enamels.
Ernest Blancher was a master enameller from Limoges and had remarkable technique skills which , in the 19th century, was a major standard of quality. Like most enamellers or porcelain decorators, Ernest Blancher drew his ideas from the painting exhibited at the fairs and reproduced by lithography. The 1889 Paris world fair, above all fairs put the emphasis on enamel arts and unveiled its excesses. 1889 marked a generational change for enamellers, Parisian workshops now drew the attention. Ernest Blancher and Louis Boudery, only one coming from Limousins, managed to get one of the seventeen bronze medals of this 1889 World Fair.

About the context

The rediscovery of enamel in the 19th century after a few decades of standstill is the result of a return to older art. Historical researches and the art market's activity started to feed off eachother, which gave room for restorators but also forgers. 19th century enamels, which technique was very meticulous often were the result of truthful copy of the Renaissance style, particuliary when it comes to grisaille. But some artists used these old techniques but explored new ways of working the material. At the end of the century, the enamel naturally found its room in people's new keen interest for decorative arts. The 1889 Paris World Fair introduced several hundreds of enamels. This century was also paradoxical since enamel arts were revived in Parisian decorative arts whereas it was a time of creation and invention. Thanks to the knowledge of enamelers from Paris or Limousin, enamel arts even became part of the french patrimony. The public then discovered, through a great network of national and international fairs which frequence still astonish today, the delicate effects of a revisited decorative art.

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Height : 12.2 in
Width : 10.6 in
Height : 8.1 in
Width : 6.5 in

Time 1897
Origin Limoges, France
Materials Enamel on copper, oak frame
Reference Email-Blancher12
Ernest BLANCHER (1855-1935) LIMOGES

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