Alban Chambon

ALBAN CHAMBON (France, 1847- Brussels, 1928).
Pair of monumental vases, c. 1900.
Bronze.
Present signatures of Compagnie des Bronzes de Bruxelles.
Measurements: 161 x 90 cm (vases, x2); 24 cm (height of the bases).
These exceptional pieces, conceived by the designer and scenographer Alban Chambon, are a remarkable example of the historicist eclecticism that characterized the decorative arts at the end of the 19th century. They are a pair of monumental vases of Japanese inspiration, combining exuberant floral motifs, figures of wading birds, a traditional symbol of longevity and wisdom in oriental art, as well as representations of geisha, delicately arranged in scenes that evoke an idealized Japan, very much in tune with the fashion for japonisme that fascinated Europe after the commercial opening of the archipelago in the second half of the 19th century.
The surfaces of the vases are richly decorated using a technique that alternates meticulously worked reliefs with polychrome and gilding, giving them a sculptural presence of strong visual impact. Structurally, each vase rests on an imposing base, adorned with four dragons that emerge with serpentine dynamism from the corners, suggesting a fantastic and symbolic dimension that refers to both Eastern mythologies and Western theatrical imagery. The handles, conceived in the shape of seahorses, complete this hybrid universe, where exoticism is combined with the baroque fantasy typical of the stage decorators of the time. The overall design is reminiscent of the productions of the renowned Viardot house in Paris, famous for its furniture and decorative objects in oriental style.
One of these vases remained in Chambon's own family for generations, a testament to its personal and artistic value. The other was part of the decoration of the now defunct Parkschouwburg Theater in Amsterdam, a building conceived between 1882 and 1883 by Albert Dumont and Chambon himself, before its demolition between 1911 and 1912. This insertion in the theatrical field is not accidental: Chambon, in addition to being an ornamental designer, was one of the most influential figures in the scenic architecture of his time. Among his most notable works are the Beurstheater in Brussels, as well as several theaters in England. He also participated in the renovation of thermal centers such as the Casino-Kursaal in Ostend and the Casino de Spa, projects that consecrated him as a precursor of an architectural language that anticipates, in many aspects, the formal freedom of Art Nouveau.
Of Italian origin, although born in Burgundy, Alban Chambon came from a modest family, but from an early age he evidenced an artistic vocation that led him to train in Paris. At the age of fifteen he began working in ornamental workshops, while taking evening drawing classes, which allowed him to acquire a solid technical training. In 1868 he moved to Brussels, possibly influenced by his compatriot Georges Houtstont, who had founded a prestigious decorative sculpture workshop there. In 1870, Chambon set up his own polymorphic workshop, specializing in decoration, sculpture, stucco and papier-mâché work, and soon after began to develop architectural projects as well. He was initiated into Freemasonry on September 17, 1873, a relevant fact given the frequent esoteric symbolism present in his work.
Among his main works are the Théâtre de la Bourse in Brussels (1885), destroyed by fire five years later; the decoration of the Hôtel Métropole in 1893, also in Brussels; the unique Maison Les Chats (1901) in Schaerbeek; the house-workshop of the artist Géo Bernier in Ixelles (1902); and the extension of the headquarters of the General Savings and Pension Fund between 1910 and 1918.