16 - PAUL BERTHOUD (1870–1939) SCULPTOR & JANIN ET GUÉRINEAU MANUFACTORY IN PARIS

PAUL BERTHOUD (1870–1939) SCULPTOR & JANIN ET GUÉRINEAU MANUFACTORY IN PARIS *Les Chuchoteuses*, likely a one-of-a-kind piece; our work, or an identical model, was exhibited at the Salon d’Automne, Paris, 1904 An exceptional and spectacular L-shaped garden bench. Composed of 17 elements made of polychrome glazed flamed stoneware; greens with rich drips and ochre-beige hues. The various parts are joined together by cementing. Scattered chips and missing pieces. Signed “BERTHOUD St” on a section of the left side of the backrest and marked “Grès JANIN” on a section of the right side of the backrest. Height: 180 cm – Length: 254 cm – Depth: 120 cm Exhibition: Salon d’Automne, Paris, 1904 – Our work, or an identical model, was presented at this event under catalog number 1711 (with an error in the name of the manufacturer and another regarding the material, which was listed as plaster). Bibliography: - Salon d’Automne Catalog, Paris, 1904 – Our work, or an identical model, is cited and referenced under number 1711 on page 149 of this publication (with an error in the name of the manufacturer and another regarding the material, which is listed as plaster). - *La Revue Illustrée* – No. 21, October 15, 1904. Our work, or an identical model, cited and described in an article on the Salon d’Automne written by Charles Ponsonailhe. - *L’Art décoratif* – No. 75, 1904. Our work, or an identical model, cited and described on page 220 in an article on the Salon d’Automne written by Roger de Félice. Janin and Guérineau Founded in 1855 and located at 172 Avenue de Choisy in Paris, the firm Janin et Guérineau—also known as Janin Frères et Guérineau—was a manufacturer specializing in refractory products, which gradually expanded its operations to include architectural ceramics. As Pierre Roche recalls in his article on the 1899 Salon, at the time, “[t]he fascination with the art of fire—despite concerns about its commercial production—was spreading even to large-scale industry itself. […]. Janin and Guérineau turned away from refractory clay to follow the path pioneered by Massier and those who were the first to apply metallic sheens to architectural decoration.” Consequently, the Janin and Guérineau factory very quickly established shaping and decoration workshops, as well as molds and kilns designed for the production of decorative stoneware pieces and high-fire glazes. Note: *Revue populaire des Beaux-Arts*—No. 23, June 10, 1899, pp. 353–354. Janin and Guérineau’s interest in ceramic art was particularly evident during their participation in the 1900 World’s Fair, which demonstrated their great mastery of the material as well as the breadth of their knowledge of ceramic art. For this occasion, they created a spectacular pavilion made of flamed stoneware with illuminated fountains, located on the west pillar of the Eiffel Tower on the Champ-de-Mars. Titled “Pavilion of the History of Architectural Ceramics,” it truly traced the various eras of ceramic art from the Assyrians onward, through an exhibition of replicas of the most famous works of ancient and modern ceramics. A catalog was also published to accompany this exhibition, describing these various formative periods. As Janin and Guérineau themselves explained in the monthly magazine *La Céramique* in 1899, their goal was to show “the many visitors from all corners of the world the myriad possibilities of these materials, which are destined to completely transform modern architecture, by providing, for the delight of the eye, the subtle interplay of flamed stoneware on the interior, and on the exterior, the cheerful polychromy of glazed motifs and earthenware tiles, so well suited to harmonizing with the neutral tones of our climate.” Note: See: A. Janin – Pavilion on the History of Architectural Ceramics by Janin Frères & Guérineau – 1900 World’s Fair – Kossuth Imprimeur, Paris, [1900]. Note: *La Céramique: Revue mensuelle illustrée* – No. III, April 1899, p. 200. Driven by this ambition, Janin and Guérineau continued their commitment to architectural ceramics, collaborating with the finest sculptors of their time to create significant decorative works. Among these is our garden bench designed by the sculptor Paul-François Berthoud (1870–1939), which was exhibited at the 1904 Salon d’Automne. Although he is little known today and celebrated primarily for his busts, there is no doubt that Berthoud was inspired by Janin and Guérineau’s enthusiasm to create this extraordinary architectural work. This unique piece bears witness to the convergence of