Meyer, Alfred

 

 

Impressionism: partaker of the first ‘impressionist’ exposition

Alfred Meyer

(1832-1904)

a classic enamelist inclined to independence

 

Alfred Meyer was merely an enamellist:
Alfred Meyer only joined the 1st ‘impressionist’ exposition in 1874. He showed 6 art-works he had exhibited before at the Salon, where he exhibited almost yearly. Meyer mainly made and exhibited (painted) enamels. Beside that he did some watercolours and pottery. He also taught and published about the art of enamel. His themes and way of painting was rather classical. Still, Meyer adhered to the idea of independent societies of artists. He therefore co-founded the Société anonyme des artistes peintres, sculpteurs, graveurs, etc in 1873 and ‘L’Union‘ in 1875. In 1892 he joined the independent Salon de la Société National des Beaux-arts. But further more he was no Impressionist. See pictures for an impression of his work.

Meyer (Alfred) only joined the 1st ‘impressionist’ exposition in 1874:
At the 1st ‘impressionist’ exposition Alfred Meyer showed 6 works (catalogue numbers 87-91bis), including 5 enamels and 1 drawing; 4 works rendered figures; 2 works were made after art-works of Raphaël (R2,p121). 5 of these works he had (probably) exhibited before at the Salon from 1869-72. So maybe for Meyer exhibiting at the ‘impressionist’ exposition was an opportunity of giving a small overview of his recent work and of selling works that were still in his own possession. The fact that Meyer exhibited only the drawing of the enamel ‘Idylle’, probably meant that he regarded exhibiting at the Salon (at which he exhibited around the same time the enamel itself) as more important than exhibiting at the ‘impressionist’ exposition (iR1). There was only one review of Burty writing ’the superb enamels of M. Alfred Meyer’ (R87,p262). This was also the first and last time that he did exhibit at the ‘impressionist’ expositions. See link for an account.

 

Alfred Meyer regional exhibitions and at the Salon:
In his early years Alfred Meyer exhibited at some regional exhibitions, namely in Toulouse (1862) and Lille (1866).
Meyer made his debut at the Salon in 1864. (Some wrongly mention 1863; iR4). He yearly exhibited at the Salon (and its successor the Société des Artistes Français) from 1864 until 1891. He did so almost yearly except in 1873 +1879 +1887 +1889 +1890. (Note: Meyer was not in the catalogue of the Salon-des-Refusés of 1873.)  In 1866 he won a medal for painting on email (iR40;R259;iR1;iR69;R3;aR1;R16;R87;R88). In 1868 / 69 / 70 / 74 / 75 / 82 / 83 he exhibited ‘exempté’ and 1884-1888 ‘hors concours’. Mostly this means that Meyer more often received medals, but the ‘Explication’ only mentions the 1866 medal (R337).
Alfred(-Bernard) Meyer exhibited at the more independant Salon de la Société nationale des Beaux-Arts from 1892-1901. From 1893-96 Meyer was called Associé and from 1897-1901 Sociétaire. (iR1).
Almost all the works he exhibited were enamels and/or art-objects. In 1875 he exhibited also a watercolour. Several of his works were copies of his teacher Lévy, of Raphaël and of other classical painters. Many of his works depicted classical themes and portraits. Some of his works were applied art. See account.

 

Alfred Meyer was a founder of ‘L’Union’:
Meyer is mentioned by Moffett as co-founder of the Société anonyme des artistes peintres, sculpteurs, graveurs, etc (R2,p105). Due to financial debts it was terminated in 1874/12/17 (R5,p85). In August 1875 Meyer, Pissarro and others founded an alternative group under the name ‘l’Union‘. It was structured more as a trades union, than a company. Meyer and Pissarro both were socialists. Meyer was the secretary of the group. BéliardCézanne, Guillaumin and Latouche also did join. Meyer meanwhile did oppose the ‘impressionist’ expositions and especially Monet. In a letter (1876/07/02) to Pissarro, Cézanne maked clear that he preferred the ‘impressionist’ expositions. Cézanne warned Pissarro against Meyer, that he jealously tried to undermine the Impressionists with this rival group. Meyer was a key figure in organizing the first exhibition of L’Union, which opened 1877/02/15 at the Grand Hôtel, boulevard des Capucines, near the Paris Opera. But most of the ‘impressionist’ painters who had joined the group, withdrew beforehand, including Pissarro, Cézanne, Guillaumin. The exhibition did not attract much attention. (aR1;R5,p91+100;R4,p151+6;R1,p362/3+375/6+390)

 

Alfred Meyer as an artist:
Alfred Meyer was a highly accomplished painter in enamel, usually on copper but also on porcelain (aR1). He is summed up as a painter, enameller and potter, but he merely was an enameller (iR69;iR4). He also was a stained (glass) painter; works are to be seen in the Musée des Arts décoratifs in Paris and in the Musée Crazatier in Puy (iR16;M6;M178?).
Alfred Meyer was a student of François Édouard Picot and after that of Émile Lévy (iR4;iR1;R9; iR69;R3;R16;R87;R259). At the Salon of 1864-66 Lévy was not mentioned as his teacher (iR1). Lévy himself was a pupil of Picot (iR3).
Meyer his style is often very classical (in his paintings) and has no relationship to the impressionist style (iR4;R16). He also made paintings in the troubadour genre with deep colours (R9). He was original in his decorative arts (iR4).
Denvir also calls him an entrepreneur and a parttime dealer (R5,p91+100). I didn’t find this confirmed in other sources.
In 1866 Meyer made a Cardinal ring with a miniature enamel painting of St. Peter (aR7).

 

Alfred Meyer working in Sèvres and elswhere:
From 1857 (or 1858) till 1871 Meyer worked at the porcelain factory (manufacture national or impérial) in Sèvres (aR11;aR9;iR4;aR2;iR69;iR4;R3;R87;R88). From 1863 till 1871 he was designer (R87;R88). Around 1862 one of his pupils was Claudius(-Marcel) Popelin (aR12;iR70). Félix Bracquemond also did work at this factory in 1871 for some months. At the Salon of 1864 (no.2354) Meyer exhibited an enamel portrait of Louis Robert, who was the leader of the painters over there. Félix Bracquemond also made an etch of him (see 1IE-1874-24-1). He would also make an etch of Meyer-Heine in 1872, who was chef of the enamellors (see 1IE-1874-24-2); I wonder if he was related to Alfred Meyer and if they worked together. From around 1864 till around 1870 Alfred Meyer would  live at the Grande-Rue, 76 in Sèvres (iR1). The Sèvres museum City of Ceramiques must have works of Alfred Meyer (R87;R88;aR10). In the 1895 publication Meyer is still called ‘artiste peintre de la manufacture nationale de Sèvres’ (aR12).
After 1871 Meyer would work in the houses of Vever and Falize as well as independently (aR1).

 

Alfred Meyer in publications:

In a review on the Salon of 1866 (p23) Edmond About (1828-1885) called Alfred Meyer a promising young man. His small portrait of Duchesse de Ferrare is praised for it’s brilliant colours and for the finesse of it’s head. The portrait of Julius César is criticised for it’s grimace and deformation. (iR40,bpt6k58190497).

On page 352 of the Grand Dictionaire Universel Alfred Meyer is mentioned as one of the enamellists in line of the Limoges tradition. Source: Pierre Larousse (1817-1875): Grand Dictionaire Universel. Tome 17, 2e supplement. Paris, 1866-1877. (iR40,bpt6k39804b). Note: There also is a V. Meyer mentioned experimenting with chemical processeses.

In ‘Le journal Le Vélocipède illustré’ there was an article of B. de Mezin called ‘Promenades en long et en large au Salon de 1870’. He admires an enamel portrait of Raphaël made by Alfred Meyer and calls it a masterpiece. His 8 small marvelous enamels makes you forget the old Limoges. He mentions that ‘Alfred Meyer de Sèvres’ does all the baking himself. (iR40,bd6t5387275c).

In his ‘Le Salon de 1874’ Nestor Paturot (page 267) calls ‘Idylle’ of Alfred Meyer graceful and fresh. He calls Meyer an artist of good strain, who paints on enamel with an unspeakable charm (iR40,bpt6k466000p).

The name of Alfred Meyer in mentioned in the Bulletin de l’Union centrale (revue mensuelle des beaux-arts appliqués à l’industrie 1874-1880) (iR40). At page 97 in the 1874/08/01 he is called a a painter and enameller of undeniable talent. It is mentioned that he received an award at the Salon, but he was not nominated by L’Union centrale for an award. At page 252 in the 1876/08/01 edition Alfred Meyer is extensively mentioned. This time he is nominated for a silver medal. He is praised for his most valiant contribution to the renaissance of the painters’ email and of lost procedures. His large work ‘La Cigale et la Fourmi’ is praised as a good example of the final unity of the qualities of the painter and the enamelist. His serie of small monochrome figures is praised for its clarity and delicasy. Mentioned is that by combining mineral substances Meyer composed a special palet. He designed his own compositions. In the reviews of the Salon he was always warmly welcomed.

The name of Alfred Meyer sometimes is mentioned in ‘La Justice‘. In the 1880/06/13 edition it is written that the State did acquire ‘François Miron et Pierre Ramus; panneau décoratif, émail’ of Alfred Meyer, which he had exhibited as SdAF-1880-5393 (iR40,bpt6k7693958). In the 1883/02/18 edition there is a benefit mentioned for the casualties of the flood in Elsace-Lorrain. Alfred Meyer contributed an enamel painting in the Limousin style called ‘Bacchus’. (iR40,bpt6k770375b).

In 1884 at an exposition of the Union centrale des arts décoratifs there were enamel art-works of Meyer shown. In the ‘Guide du visiteur’ on the pages 117-119 there were several remarks on Alfred Meyer. (iR40,bpt6k1192163c)

Alfred Meyer is mentioned several times in La Gazette des Beaux-Arts (iR40). In 1865 he is adviced to invent his own models instead of copying Emile Lévy. In 1883 he is called the successful rival of the most skilful masters of the Renaissance. In 1894 it is mentioned that he rediscovered the complete palette of Limoges’ former enamellers.
Most extensively Meyer is mentioned in a double article on his pupil by L. Falize called: ‘Claudius Popelin et la renaissance des émaux peints’, published 1893/05/01 and 1893/06/01 (iR40/bpt6k203136t,p.418-435 and 502-518). Alfred Meyer his father is called draughtsman for fabrics, he moved to Mulhouse in 1835 and was connected with M. Guichard, the founder of the Union centrale and M. Koechlin. Alfred Meyer is called a pupil of Laemlin and Picot and intimately connected with the Apoil family. Meyer entered the Manufacture de Sèvres in 1859, on the recommendation of M. Picot and of M. Lefuel, and started working for M. Nicole, who was then chef of the works of art. Meyer decorate porcelain and painted cavalry scenes. Meyer did copper enamel tests and composed new tones. He carefully studied the way in which old enamels were applied. He learned to prepare his own plates, to compose his own enamels and to conduct his own fire. Meyer couldn’t apply all this at the manufacture, so he produced for Pierrat, an antique dealer, for Gueyton, for Dotin, an enameller, for jewellers and even for a London goldsmith. Meyer was supported by M. Riocreux and M. Salvétat.
Claudius Popelin, who was born in 1825 and a pupil of Picot and Ary Scheffer. In 1862 Popelin had met with Regnault, who was director of the manufacture de Sèvres, Riocreux, the eminent conservator of the ceramic collections and Robert, the chef of the studio of painters. They agreed to ask Alfred Meyer to be the enamel teacher of Popelin. Popelin had learned all he wanted to know from Meyer, who also was a friend and adviser to him. They searched together to improve the application of enamal art. But already at the end of 1863 by a dispute the agreement between the two artists was broken.
Still, at the Salon of 1864 the doors had opened for this kind of art and works of 8 artists were exhibited: Claudius Popelin, Ch. Lepec, Alfred Meyer, Mme Apoil, Mlle Lescuyot, Sturm, Grisée and Topart. Alfred Darcel praised in La Gazette the enamels of Meyer, who earlier was called by Le Comte de Viel-Castel the most skilful enamellist.

The name of Alfred Meyer is mentioned many times in the Revue des arts décoratifs (iR40).
In the 1880/81 edition on page 323 in an article on the 6th exposition of L’Union Centrale, a recall of a silver medal for Alfred Meyer is mentioned. It is reviewed that ‘The jury particularly noted a very successful grisaille depicting an old woman, an extremely curious portrait of a savage, and several jewels of a very free execution and a rather rare artistic character.’ (iR40,bpt6k5567091v).
On page 511 in an article on the purchases of the musée des Arts Décoratifs, it is mentioned that a work of Alfred Meyer is purchased, namely a Christ on the cross, an grisaille painted enamel.
In the 1881/82 edition on page 7 in an article on the purchases of the musée des Arts Décoratifs, it is mentioned that a work of Alfred Meyer is purchased, being an enamel Christ in grisaille, probably the same as mentioned in the earlier edition.
In the 1882/83 edition on page 328 in a review on the Salon des Arts Décoratifs, Alfred Meyer his ‘Tête de negresse’ is described ‘There’s nothing quite as dazzling and gentle as this brown head, with its lippled lips and black hair barely covered by a hairstyle of red, yellow and green, they collide, making the straw glow in a warm, powerful harmony that delights the eye. This is a pure masterpiece. (iR40,bpt6k5718780w).
In the 1891/92 edition on page 77 in an article on enamel in a footnote Alfred Meyer is called a veteran who has produced some absolutely remarkable work.
On page 10 of the 1892/1893 edition a thermometer is decribed of Meyer as ‘enamelled nudes decorating the thermometer’. It was owned by Le vice-admiral Miot, who owned several precious works of Meyer. This thermometer is rendered on page 4 (see page 411).
Page 397 renders a letter of C. Meyer dated 1893/06/12 emphasizing the fact that it was Alfred Meyer who rediscovered the art of painting on enamel and the revival of Limousin techniques and not his pupil Claudius Popelin as some state.
In the 1894/95 edition on page 9 in a review on the Salon (de la Société National des Beaux-Arts) of 1894, Alfred Meyer his contribution is described as ‘Various pieces worthy of its past, and in particular, a graceful and brilliant hexagonal bowl, divided internally into small panels with subjects and covered, outside, with the most beautiful foliage, all gleaming with reflections of metal.’ (iR40,bpt6k5567117n).
On page 70 it is mentioned that in Maison Gustave Sandoz a vermeil thermometer with enamel of Alfred Meyer is to be seen.
In the edition of 1896 on page 230 in a review on the Salon (de la Société National des Beaux-Arts) of 1896 two portraits of Alfred Meyer are mentioned, that of Charles Darwin (no.334) and of Charles Delarue (no.333), the architecte of the Saint-Cloud church. They are described as ‘drawn in gold in the margins of the effigy / image’.
In the 1897 edition on page 344 in a review on the Salon (de la Société National des Beaux-Arts) of 1897 Alfred Meyer is mentioned as the author of an attractive binding for a book on Limousin enamel. His enamel art-works are described as ‘a nude woman painting, and a Swiss Renaissance-style clock face, where the hour passes like Fortune, carried on her wheel, crushing some and surprising others, nobles and kings alike.’ (iR40,bpt6k57228330).
In the 1899 edition on page 331 in an article on the Salon of 1899, Alfred Meyer is called the dean of the corporation, maybe referring to the manufacture de Sèvres.
In the 1901 edition on page 76 in a review on the Exposition Universelle Alfred Meyer is mentioned to have revived for 50 years the art of Limoges enamel.

In ‘Histoire de la verrerie et de l’émaillerie’ (Tours, 1886) Édouard Garnier shortly writes about Alfred Meyer (on page 550/1): ‘The flexible and varied talent is equally at ease and equally successful in executing the most important pieces or the most delicate jewellery.’ (iR40,bpt6k9615462k)

In Art et Décoration (Revue Mensuelle d’Art moderne) the name of Alfred Meyer is mentioned several times (iR40). In an article (1898/01) on ‘les arts du feu’ Émile Molinier, referring to the Salon (de la Société National des Beaux-Arts) of (probably) 1897, called the clock face exhibited by Meyer less modern (iR40,bpt6k54014902). In the 1899 edition (July – December, page 58) in an article on bookbinding at the Salons, the next review appears: “Alfred Meyer exhibits an enamelled frame in worked leather, a relief model, adorned with well-distributed and well-executed flowers”, it is not clear to which exhibition it refers. (iR40,bpt6k54014331). In the 1904 edition (Tome XV) an article on enamel (page 155) deals with the method of preparation of enamel Alfred Meyer described in his book ‘Email de Limoges’ (iR40,bpt6k6159096h).

In La Chronique des Arts of 1904/06/18 there was a memorial published on Alfred Meyer, who recently had died aged 62. Meyer is called a man of great value. He succeeded in reconstructing the palette of the old Limoges enamellers and tracing their working methods. From 1856-60 he worked at the manufacture de Sèvres, where he studied the work of Léonard Limousin and Bernard Palissy. He found out that the translucent-coloured enamels were suitable for covering pottery. 1862 he had his first pupil, Claudius Popelin. Later he became professor   at the ‘école municipale Bernard Palissy’. In 1893 in the Gazette des Beaux-Arts L. Falize had published an hommage titled ‘La Renaissance des émaux peints’. His publication of 1895 is the manual for all french enamellers. (iR40,bpt6k6202542c).

From 1904 till 1908 Henri Vever (1854-1942) published 3 volumes of his ‘La bijouterie française au XIXe siècle (1800-1900)’. Sometimes he mentions Alfred Meyer. In the first volume (1906) Meyer isn’t mentioned. In the second volume (1908, p80) he is called as one of the finest enamel artists. Alexis Falize invited him for a competion around 1860-1865. On page 302 he is mentioned as one of several enamellers. In the third volume (1908) an enamel ‘Pendant de Cou’ made by Alfred Meyer is rendered on page 373 and summed up in the table of prints on page 796 . On page 496 he again is mentioned as one of the enamellers who worked for Falize. In the index on page 789 his name is mentioned.
Source: Henri Vever: La bijouterie française au XIXème siècle. Edition Floury, Paris 1908. (pages 80, 302, 373, 496, 789, 796). (iR40 =R266)

The name of Alfred Meyer is mentioned in ‘La Gazette du Centre (journal quotidien [du soir]; organe de la défense sociale et des libertés publiques)’. In the 1909/02/10 edition in an article called ‘L’art Limousin’ P. Bonnaud extensively cites Alfred Meyer on procedures of making enamel. He calls him master enameller and professor of the Ecole Nationale de Sèvres. (iR40,bdt54297121).

In the L’Amour de l’art (revue mensuelle) of 1921/02/01 Alfred Meyer is called the true renovator of enamel (iR40,bpt6k4226018c).

 

Alfred Meyer his family:
In L’Industriel alsacien of 1857/12/17 there was legal publication preceding an auction to be held 1858/01/14. It concerned the judgement (1857/08/18) on a house 20, Rue du Bassin, Mulhouse worth 8.000fr and a garden located at ‘Grumpfad’ in Mulhouse, worth 500fr. There is an “Alfred Meyer” mentioned being a ‘painter on porcelain, living at Montmartre, 24, Rue de l’Impératrice’. I assume it deals with our Alfred Meyer.
It concerned the departure of his father Bernard Meyer, who was a draughtsman in Paris and was married with Mme Justine-Amélie Baume, who had remarried M. Emmanuel Meyer, button manufacturer, both dwell at 85, Rue de Paris, Belleville, at an estate of the late Bernard Meyer. Justine-Amélie Baume had two minor children from her first marriage: Jacques Meyer and Henriette Meyer. I assume they were a younger brother and sister of Alfred. Also mentioned are Emile Meyer, being with the cavalry and Oscar Meyer, being an employer and living in Paris, 2, Place Royale. I assume they also were younger brothers of Alfred, who was then 25 years old. (iR40,bpt6k3127836x)

 

 

 

Data about Alfred-Bernard Meyer:

  • 1832/07/22: Alfred-Bernard Meyer was born in Paris (iR69;iR60;iR1;R9;R3;R2;iR4;iR26).
    Some sources mention (the option) that Meyer was born in 1833 (iR60). He was also named Bernard-Alfred Meyer (aR2).
  • Meyer lived in Nogent-sur-Marne and later in Paris (R9).
  • 1855: In 1875 Jules Labarte (membre de l’Institut) wrote ‘Histoire des Arts Industriels au Moyen Age et à l’Époque de la Renaissance (deuxième edition; Tome troisième)’ On page 236 he remarks that Alfred Meyer joined the Exposition Universelle in 1855 and 1867. (iR40,bpt6k5820302b).
  • 1858-61: Meyer made a decorative pieces for the manufacture de Sèvres; Joconde renders the address 56, Rue du Four (iR23)
    Another source mentions this was from 1856-60 (iR40,bpt6k6202542c)
  • 1864?-1870ca.: Alfred Meyer lived at the Grande-Rue, 76 in Sèvres (iR1;R259)
  • 1867: In 1875 Jules Labarte (membre de l’Institut) wrote ‘Histoire des Arts Industriels au Moyen Age et à l’Époque de la Renaissance (deuxième edition; Tome troisième)’ On page 236 he remarks that Alfred Meyer joined the Exposition Universelle in 1855 and 1867. (iR40,bpt6k5820302b).
  • 1872: Meyer lived at the Rue de Dunkerque, 44, Paris (iR1)
  • 1874-80: Meyer lived at the Rue de Dunkerque, 57, Paris (iR1)
    Note: in the catalogue 1874 Moffett printed the original house number was corrected in 57 (R2,p121).
  • 1878: In ‘Les Beaux-Arts et les arts décoratifs; Exposition Universelle de 1878’ edited by Louis Gonse on page 325 mentioned is ‘among 100 jewelries’ a pastoral ring of Pius IX, which carries an enamel profile of Saint Pierre made by Alfred Meyer (iR40,bpt6k98215077). So, Alfred Meyer exhibited at least one art-work at the Exposition Universelle de 1878.
  • 1879: In Le Phare (1879, page 35) Ant.-Léon Plée, in an article on the Salon (of 1878), mentions some works, that stand out for their brilliance. He includes ‘une Ève’, ‘un Apollon’ and the portrait of Constance de Raugone, the heroine who fought against the troupes of Charles Quint. Seen on the back, Constance showing only her energetic profile and her blond braids falling over her garnet velvet dress with white stripes. (iR40,bpt6k1157911v)
  • 1879: At the Exposition Comtemporain, deuxième série, at the Musée des Arts Décoratifs, Palais des Tuilleries, Pavillon de Flore, there were two bracelets exhibited by L. Falize fils of which the portraits were painted by A. Meyer (iR40,bpt6k920992z).
  • 1880: At the Salon de la Sociéte des Artistes Français Louis Lépine showed (no.6485) a medallion of wood with a portrait of “Alfred Meyer” (iR40,bpt6k982239p; R337; iR40,bpt6k1133832), I assume this was our Alfred Meyer.
  • 1880: In ‘Les Arts du métal, recueil descriptif et raisonné des principaux objets ayant figuré à l’exposition de 1880 de l’Union centrale des beaux-arts’, J.-B. Giraud mentions Alfred Meyer as one of our best artists. No. 2 of ‘joallerie, orfèvrerie’ is a ‘petit flacon’. It is decribed as a ‘small bottle with odour forming a seal, in painted emily, gold frame decorated with diamonds in an original form’. (iR40,bpt6k4223311k)
  • 1880: In a review on the 8th exposition of the Union centrale des Arts Décoratifs it is noted that Alfred Meyer showed a serie of antique heads and Mediaval custumes. (iR40,bpt6k3202122m).
  • Taught at the Bernard-Palissy school in Paris (iR69;iR4;R3;R87;R88).
    Meyer taught the delicate technique of painting on enamel (iR70).
    One of his pupils was Claudius(-Marcel) Popelin (iR70;iR40)
    In the 1895 publication he was called ‘ancien professeur de l’école municipal Bernard-Palissy’ (aR12;iR40)
    Alfred Meyer in several ‘explication de Salon’ is called the teacher of Emile-Albert de Mandre, Henri-Adolphe-Paulin Fabian and Lucien-Jules Delrive (iR40; R337)
  • 1881-86?: lived at 78, boulevard de Strasbourg, Nogent-sur-Marne (iR1)
  • 1886: also lived at 62, rue de Lancry, Paris (iR1)
  • 1888: lived in Nogent-sur-Marne, rue des Hautes-Marnes (iR1)
  • 1889: in a review on the Exposition Universelle of 1889 it is written on Alfred Meyer: ‘He hasn’t got the patience to turn back and correct, but his effect bumped, grabbed, skulls, has audacity, the play of light, the bursts of colour and the harmonies make him a master: we gladly forgive him his weaknesses in drawing… One must see in his little vitrine the portraits and a beautiful plate, belonging to M. Boucheron. This artist has largely contributed to jewellers and goldsmits.’ (iR40,bpt6k3115558)
    In: Beaux-Arts et les arts décoratifs; L’art français rétrospectif (1789-1889) au Trocadéro; Exposition Universelle de 1889, edited by Louis Gonse et Alfred de Lostalot. Paris, 1890.
  • 1891-1895: lived at 9, rue Saint-Lazare (iR1)
  • 1895: published ‘L’art de l’émail de Limoges ancien et moderne, Traité pratique et scientifique’ (The art of Enamel in Limoges) (aR12=R342;aR3;iR40;R3;iR69;iR4;R9;R87;R88)
    Meyer had rediscovered the technical process that had been used by the old Limousin enamellist in the Middle Ages (iR69;iR4;R9;iR40) of staining / burn-in painting (R3), of transparant colouring (aR12;iR40). Limousin was an old region in the middle of France with Limoges as capital.
    This publication was called in 1904 ’the manual for all french enamellers’. (iR40,bpt6k6202542c)
  • 1896-99: lived at 16, rue Chappe (iR1)
  • 1900: Roger Marx in his ‘La décoration et les industries d’art; à l’Exposition Universelle de 1900’ writes that the exposition offered a unique occasion to meet those who assured the renaissance of painted enamel, Alfred Meyer being the first in line (iR40,bpt6k9685271s). So, I assume Alfred Meyer exhibited at least one enamel art-work at the Exposition Universelle of 1900. This seems to be affirmed in the 1901 edition of Revue des Art décoratifs (iR40).
  • 1901: lived at 8, rue Chappe (XVIIIe arrondissement) (iR1)
  • 1904 June: Alfred-Bernard Meyer died in Paris (iR26;iR40); many other sources mention (wrongly) he died in July (iR69;iR60;iR70;R9;R3;R2;iR4).
  • 1904/06/18:

 

Uncertain data on “Alfred Meyer”:
On the internet you can find data on “Alfred Meyer”. Often it is clear it doesn’t concern our Alfred Meyer. There is a chauffeur, a expeditor, a spy, a doctor, a banker, an astronomist, a martyr. Many living around Mulhouse. But sometimes it could refer to our Alfred Meyer. I will render these more unreliable data on “Alfred Meyer” here below.

  • 1870/71: An “Alfred Meyer” was recruited for the the 4th battalion of the Mobile of Haut-Rhin.
    Document Alfred Engel (1909) (iR40,bpt6k64723260)
  • 1872: In the Courrier des Hotels (1872/05/17) an “Alfred Meyer” is mentioned as buyer of fabrics / textiles for ladies and art. There are two addresses mentioned: 12, Paradis Poissonnière and 1, Rue des Messaheries (iR40,bpt6k6203883n)
  • 1877: In L’Avenir (journal démocratique du Gers) of 1877/10/04 there was an article on the office of the election committee of the IX arrondissement of the  Republican party. It included the name “Alfred Meyer” being one of the secretaries (iR40,bd6t53875714f). This message also appears in La Republique du Midi (1877/10/03) (iR40,bpt6k755346b)
  • 1880-81: An “Alfred Meyer” is mentioned in a list of subscribers in a ‘Bulletin du Musée historique de Mulhouse (Haut-Rhin)’ (iR40,bpt6k9643881h).
  • 1886: In Le Nemrod (1886/06/20) there is an article an a dog competition in which an “Alfred Meyer” won prices (iR40,bd6t5339779s)
  • 1898: In several editions of Le Sifflet an “Alfred Meyer” is mentioned as author in a list of publications on the Dreyfus affair (iR40,bpt6k5764934g). This publication is also mentioned in: Lettres d’un Innocent by Le Capitaine Alfred Dreyfus (Paris, 1898) (iR40,bpt6k1265850h). And in a book on the Dreyfus case (iR40,bpt6k82746b).
  • 1905: In the Revue Universitaire (Paris, 1905) there is a mention of an “Alfred Meyer” who published two articles called ‘La théorie des élections et la représentation proportionnelle’. The first article dealt with ‘système majoritaire et systèmes de répartition proportionnelle’ and the second with ‘examen critique des théories sur lesquelles repose le systhème d’Hondt’ (iR40,bd6t53841278).

 

Sources:
In books and webpages about Impressionism Alfred Meyer is hardly or not mentioned (R6;R8;R17;R18;R19;R22;R86;R94;R95;R102;iR23). There is no English Wikipedia page on him (iR3). The gallica database renders many data on Alfred Meyer, but mostly it doesn’t seem to apply to our enamellist (iR40). Searching for this name you’ll often find a German Nazi official or a Swiss politician. My main sources are Rewald (1973=R1), Moffett (1986=R2,p121), Walther (2013=R3,p680), Roe (2006=R4), Denvir (1993=R5), Schurr & Cabanne (2008,p528=R9), Spiess (1992,p212=R16), Dayez (1974=R87), Moffett (1978-81=R88,p526), the Salon database (iR1), French Wikipedia (iR4), ULAN (iR60), Bénézit (iR69) and Grove Art (iR70). In musea: Orsay (M1); . For other general references (=R) see. For other references to internet sites (=iR) see. For other additional references (=aR) see below. See links for practical hints and abbreviations and for the subscription of the paintings.

Further reading:
Allgemeines Künsterlexikon (2009;R81)
Payne, C.: Paris Furniture; The Luxury Market of the 19th Century. San-Remy-en-l’eau, 2018. (p.370) (iR15)
Maillet, A.: L’Art décoratif, “Alfred Meyer”. Paris, [s.n.], 1898, (p.49) (M1)

 

Additional references:

  1. Vanished French Impressionists 8 (an article on eclecticlight = iR35)
  2. collections.vam.ac.uk (vase)
  3. ccfr.bnf.fr (info on the publication of Meyer in 1895)
  4. books.google (preview of this book)
  5. MAD Paris (portrait made by Meyer)
  6. TEFAF catalogue 20110317 (PDF; p20+21 on Alfred Meyer’s portrait of St. Jean de la Croix)
  7. couturenotebook.com (about a ring made by Alfred Meyer)
  8. 1stdibs.com (a necklace with a enamel plaque of Alfred Meyer)
  9. en.wikipedia.org//Manufacture nationale de Sèvres (info an the Manufacture nationale de Sèvres where Meyer worked from 1858-1871; =iR3)
  10. sevresciteceramique.fr (website of the museum Sèvres City of Ceramics)
  11. fr.wikipedia.org//Manufacture nationale de Sèvres (info in French on the Manufacture nationale de Sèvres where Meyer worked from 1857-1871; =iR4)
  12. archive.org//meyer_1895 (online PDF publication of the book of Meyer on the art of enamel in 1895; =iR19=R343)
  13. madparis.fr (website of the Museum of decorative arts in Paris, that holds works of Alfred Meyer (R88;R87)
  14. musee.patrimoine.lepuyenveley.fr//Crozatier_collection (website of the Crozatier museum in Puy-en-Velay, that holds works of Alfred Meyer (R88)
  15. gallica.bnf.fr//”Alfred Meyer” (gallica renders several hits concerning “Alfred Meyer”, but most doesn’t seem to refer to our Alfred-Bernard Meyer; =iR40)
  16. tanjan.com//alfred Meyer (auction (2021/04/07) of an art-work of Meyer. Info: Alfred Meyer executed many enamels for the great jewelers of his time like Baugrand, Alphonse Fouquet, Vever and Falize. He excelled either in polychrome miniatures and very often in grisailles.)
  17. proantic.com//email Limoges (French article on enamel art in Limoges; =iR116)
  18. baronribeyre.com (auction 2014/06/27 with works of Meyer)
  19. encheres.nantes.labaule.com (sale 2020/12/05 of a work by Alfred Meyer)
  20. fabiande montjoye.com (sale of a brooch attributed to Alfred Meyer)

 

Recommanded citation: “Partaker of the first ‘impressionist’ exposition: Alfred Meyer; a classic enamelist inclined to independence. Last modified 2024/03/14.  https://www.impressionism.nl/meyer-alfred/.”