Reference Guide

Réunion des musées nationaux – Grand Palais Wholesale Departement – 254/256 Rue de Bercy – 75012 Paris – France

March 2014

Please contact us: revente@rmngp.fr - + 33 (0)1 40 13 41 73

Missions of the RMN

Exhibitions Publications Distribution Promotion Development Acquisitions, etc.

! Founded in 1895! Public institution operating in industrial and

commercial fields (EPIC) since 1990 ! At the service of 32 national museums

Every year, the Rmn-Grand Palais presents approximately forty highly-diversified cultural events in Paris, regionally and internationally. The Grand Palais, one of the French people's favorite monuments, is its prestigious showcase in the heart of Paris.

Exhibitions, concerts, shows, fairs, performances… the agenda is both demanding and popular, and accessible to all, promoting cultural democratization through rich and varied cultural mediation.

Alongside events, the Rmn-Grand Palais spreads culture through its publishing activities, its network of art bookstores and its photo agency, the leading French agency for art pictures. The Rmn-Grand Palais also contributes to enhancing national collections through its acquisitions on behalf of the State.

More information: www.grandpalais.fr

RMN products

A constant quest for quality both in the

content and manufacture of products

AV B C Audiovisual Jewellery Gifts

E G J L S Exhibition

Publication General Public

Publication

Children’s Publication

Review Publication

Scientific Publication

I K Q Images Chalcography Advertising

Catalogue

R TC Resin

Replicas Terra Cotta

Replicas

P Z Plaster

Replicas Bronze

Replicas

AUDIOVISUAL – The collections " FIRST TWO FIGURES: TYPE OF SUPPORT

AV600 DVD-VIDEO

Production of quality audiovisual works.

Linked to the museums’ permanent collections, temporary exhibitions and art history in general.

AV

AV 600093

DVD videos Collections

" Museums " Museum Guides " Exhibitions " Artists " Architecture " Great archaeological sites

All DVD are available NTSC all zones and can be played on all territories

JEWELLERY (1)" SECOND LETTER: TYPE OF JEWELLERY

BA RingBB BraceletBF BroochBW EarringsBP PendantsBZ NecklaceBY Cufflinks

" FIRST TWO FIGURES: MATERIAL USED

B. 00 …. Gold platedB. 10 …. Sterling SilverB. 20 …. Sterling Silver, more than 20 gramsB. 30 …. Silver giltB. 40 …. Costume jewelleryB. 50 …. Gold B. 60 …. Sterling Silver and silver gilt

B

BZ 40 0008

BA 10 0702 Lusignan ring 15th Century Musée du Louvre

Ring with an engraved decoration on both sides. Exterior: alternating bunches of thistles and pansies

Sterling Silver and amethyst BB 60 0184 Gallic bracelet 4th Century B.C. Musée des Antiquités nationales, St Germain en Laye

This kind of bracelet was common in the Champagne region during the time of the Celts

Sterling Silver and silver gilt BF 40 0260 Chinese horse brooch Musée des arts asiatiques - Guimet

During the period of the Later Han Dynasty, horses tended to be seen as a sign of belonging to the ruling class

Gilded brass BW 00 0141 Little Korean earrings Musée des arts asiatiques - Guimet

Consisting of a hollow gold ring in beaten gold from which these decorative elements hang in the form of leaves

Gold plated BP 50 0009 Poplar leaf Sumer, circa 2500 BC Musée du Louvre

Gold poplar leaves were worn as tiaras by women at the court of the Sumer sovereigns

Gold

BZ 40 0003 Necklace: Jeune femme se poudrant Musée d’Orsay

Jewel based on a painting by Berthe Morisot (1841–1895)

Metal and glass beads

BY 40 0022 Cufflinks Une loge aux Italiens Musée d’Orsay

Based on the ring taken from the painting of the same name by Eva Gonzalès

Gilded pewter and mother-of-pearl

JEWELLERY (2)– The sources of inspiration

The quality and authenticity of all Réunion des Musées Nationaux jewellery is guaranteed by the

hallmark.

B

BZ 40 0086

Copies

Reproductions of jewels kept in the museums. The casting technique recreates the original work; only the materials used may change.

Authentic look of a reproduction of the original.

Example: Susa ring

Jewellery inspired by paintings

Jewellery inspired by the paintings of the Musée d’Orsay.

“Rediscovery” size of certain masterpieces of the Musée d’Orsay.

Example: Pearl pendant from Edouard Manet’s Olympia

Derived jewellery

Items inspired by museum objects and adapted to contemporary fashion.

Reconciliation of an historical article and the latest trends in fashion.

Ex : BW400414, BZ400090, BB400275, BZ400088,BP400075 :

Jewellery: Poplar leaves and Leaves, ring and lapis lazuli

pearls (Louvre, Oriental Antiquities)

JEWELS (3) – Materials and cleaning

PRECIOUS METALS: GOLD AND GILT SILVER

The quality and authenticity of all Réunion des Musées Nationaux jewellery is guaranteed by the

hallmark.

B

BP 30 0025

Gold

Different alloys whose colour depends on the metals associated for greater rigidity. Or rose

750

50

200 Fine gold

Fine silver

Copper

Nickel

Yellow gold Pink gold Grey gold Green gold Red gold

Or jaune

750

125125

Or rose

750

50

200 Or fin

Argent fin

Cuivre

Nickel

Or gris

750

250

1

2

Or vert

750

250

1

2

Or rouge

750

250

3 official finenesses in France, engraved by the manufacturer in thousandths on the jewel:

- Fineness 1: 22 carats – 920/1000 gold- Fineness 2: 20 carats – 840/1000 gold- Fineness 3: 18 carats – 750/1000 gold

HallmarkEagle’s head incorporated in a geometrical figure, accompanied by thefigure 1, 2 or 3 depending on the fineness of the article

! Immerse the gold jewel in soapy water to restore all its brilliance! Rinse in clear water! Shine with a soft, non-fluffy cloth

Gilt silver

Silver jewel covered with a gold coating of legal fineness Minimum thickness of the gold coating: 5 microns

Hallmark Minerva’s head.

! Rub with a cloth soaked in olive oil! Shine with a soft, non-fluffy cloth

JEWELS (4)– Materials and cleaning

PRECIOUS METALS: STERLING SILVER

The quality and authenticity of all Réunion des Musées Nationaux jewellery is guaranteed by the

hallmark.

B

BB 20 0111

Sterling Silver 2 legal finenesses

- Fineness 1: 950/1000 (copper 50/1000) - Fineness 2: 800/1000

Hallmark Minerva’s head, accompanied by the figure 1 or 2 depending on the fineness of the article

If silver jewellery is not regularly worn, it should be protected from the light by wrapping it in a newspaper or black felt. Oxidised jewels: Use blue shammy leather or polishing cloth, dipped in Céfé or Delu silver cleaning solution. Attention! Never bring the silver into contact with elastic or other materials made with sulphur – the silver will be indelibly stained.

JEWELS (5)– Materials and cleaning

COSTUME JEWELLERY

The quality and authenticity of all Réunion des Musées Nationaux jewellery is guaranteed by the

hallmark.

B

BF40 0119

Gold plated A metal jewel (bronze or brass base) passed in a gold bath (24 carats, 3 microns) Hallmark Manufacturer’s hallmark (state not guaranteed)

! Bathe the gold jewel in soapy water to restore all its brilliance ! Rinse in clear water ! Shine with a soft, non-fluffy cloth

Gilt or silver-plated jewellery Bronze base passed in a gold (24 carats) or silver bath Thickness: 0.3 microns (gold); 3 microns (silver) Hallmark Manufacturer’s hallmark (not obligatory)

! Rub lightly with a cloth dipped in ammoniac ! Rinse in water ! Wipe with a soft cloth

With the exception of gold and silver, no metal is completely stable. Other types of jewellery can be damaged by the acidity of the skin and the use of alcohol (perfume, eau de toilette, hairspray, cosmetics). The risks of allergy have diminished considerably now that nickel has been replaced by palladium.

GIF GIFTS (1) – Nomenclature

CATEGORY A Tableware B Home Decoration H Textiles & clothing Accessories J F For Children U Souvenir product lines Z Textile Decoration

!Tableware

CA00 0 Cristal!CA10 10 Glass!CA20 20 Porcelain!!CA30 30 Earthenware!CA40 40 Wood!CA50 50 Metal!alloys!(for!food)!CA60 60 Synthetic!materials!CA70 70 Textile!CA80 80 Miscellaneous!!CA90 90 Foodstuffs

!Home Decoration CB00 0 Cristal!CB10 10 Glass!CB20 20 Porcelain!!CB30 30 Earthenware!CB40 40 Wood!CB50 50 Metal!alloys!(bronze!pewter!zamac!etc...)!CB60 60 Synthetic!materials!CB70 70 Leather!CB80 80 Miscellaneous!CB90 90 Scents (candles, perfumes, incense, soaps ...)!

!Textile & clothing Accessories CH00 0 Cotton!CH10 10 Silk!!CH20 20 Wool!!!CH30 30 Linen!!CH40 40 Cotton!&!silk!CH50 50 Woll!&!silk!CH60 60 Synthetic!materials!!CH70 70 Velvet!CH80 80 Miscellaneous!!(Umbrella)!CH90 90 Accessories (bag, wallet, purse)

!For Children CJ00 0 Board!Games!CJ10 10 Scientific and technical Games!CJ20 20 Construction!Games!CJ30 30 Imitation!Games!CJ40 40 Creative!Games!CJ50 50 Writing!CJ60 60 Music!CJ70 70 Small toys recreation / anniversary / pocket money!CJ80 80 Miscellaneous!!!CJ90 90 Jigsaw!Puzzles!

!Souvenir Product Lines CU00 0 CU10 10 Textile!CU20 20 Resin!CU30 30 Ceramic!CU40 40 Wood!CU50 50 Metal!alloys!(bronze!pewter!zamac!etc...)!CU60 60 Synthetic!materials!!CU70 70 Leather!CU80 80 Miscellaneous!!(Umbrella)!CU90 90 !!

!Textile decoration CZ00 0 Cotton!CZ10 10 Silk!!CZ20 20 Wool!!!CZ30 30 Linen!!CZ40 40 !!CZ50 50 Leather!CZ60 60 Synthetic!materials!!CZ70 70 Velvet!CZ80 80 Miscellaneous!!CZ90 90 Tapestry!

GIFTS (2) – Materials and cleaning

EARTHENWARE AND PORCELAIN

The quality of Réunion des Musées Nationaux gifts is

guaranteed by the hallmark.

Earthenware

! Clay base ! Firing: between 700 and 1,200°C ! Porous: for improved integration

Porcelain ! “Noble” material ! Kaolin base ! Firing: 1,300°C ! Non-porous ! Translucent with minimum thickness ! Does not chip: improved food safety

Designs " Hand painted " Chromo

Transfer placed on the object and then fired again Some colours, such as red and gold, need to be fired at a particular temperature and the objects treated twice.

With the exception of hand-painted objects, all RMN tableware is dishwasher compatible

GIFTS (3) – Materials and cleaning

OTHER MATERIALS

The quality of Réunion des Musées Nationaux gifts is guaranteed by the

hallmark.

C

CU500060

Bronze

" Alloy of pewter and copper " Faithful reproduction of the item kept in the museum " Prestige gifts and articles of value that can be handed down in

the same way as furniture or paintings as part of family property

! Rub with warm ammoniated water ! Leave to dry ! Polish with a soft cloth

Pewter

" Pewter is always used in the form of an alloy " Pewterware to be used as crockery consists of 90% pewter

minimum " All RMN pewterware is suitable for food purposes without risk

! Wash with soapy water and a soft brush ! Rinse, wipe and polish ! For a good polish: rub with warm beer

Leather

" Top quality leather " Special treatment to guarantee supple, tough leather " Exclusive use of vegetable colours (quality, environment-friendly)

Light leather quickly acquires a patina in the sun, so keep away from sunlight in order to preserve the original colour. In case of stains: ! Mix two soupspoons of ammoniac with a litre of soapy water ! Apply the mixture firmly on the stains with a clean cloth ! Clean with a soft cloth smeared with pure lanoline

GIFTS (4)– For children

The quality of Réunion des Musées Nationaux gifts is guaranteed by the

hallmark.

C

GAMES

DRAWING

MATERIALS

CUDDLY TOYS

TEXTILES (1)- Nomenclatures and general information

" First two letters: Type of product

CH Textile & clothing Accessories CU Textile (Souvenir products Lines) CZ Textile decoration

" First two figures: Textile material and category

CH00 Cotton CH10 Silk CH20 Wool CH30 Linen CH40 Cotton & Silk CH50 Wool & Silk CH60 Synthetic materials CH70 Velvet CH80 Miscellaneous (Umbrella) CH90 Accessories (bags, pouches, ...) CU10 Textile (T-Shirt Souvenir product Lines…) CZ00 Cotton CZ10 Silk CZ20 Wool CZ30 Linen CZ40 CZ50 Leather CZ60 Synthetic materials CZ70 Velvet CZ80 Miscellaneous CZ90 Tapestry

CH CU-CZ

Textile

Fibres " Natural fibres Directly spinnable and of various origins - animal: wool, silk - vegetable: cotton, flax - minerals: certain metals

" Chemical fibres Products suitable for spinning after chemical transformation: - artificial fibres (e.g. viscose) - synthetic fibres (e.g. polyester)

Weaving Quality of a fabric determined by: - the quality of the yarns used (material, thickness, tension, twisting) - yarn intertwining mode (type of weave, number of yarns per cm)

Special processes: " Jacquard Weaving technique which uses different colours to produce patterns on a fabric (no printing). " Non-woven Fabrics obtained directly by putting fibres together and then binding them under pressure, heat or adhesive.

Formats The most common formats: - Foulard or square: 90 x 90cm - Stole: 40 x 140cm or 60 x 160cm (rectangular format, scarf-type) - Shawl: 140 x 140cm (“enveloping”, square or rectangular format, often associated

with wool and winter)

TEXTILES (2)- Materials and cleaning

FOULARDS, STOLES AND TIES

The quality and authenticity of all Réunion des Musées Nationaux textiles is

guaranteed by the

hallmark.

The RMN uses the noblest materials – silk and linen – and time-honoured skills and expertise.

CH Textile

Silk Various 100% silk weaves to obtain the following fabrics: " Twill (Example: CH 10 0023 foulard Les Nymphéas / CH 10 0307 tie Iris Van Gogh) “Diagonal” weaving: luminous, with a certain relief Particularly used for squares 90 x 90cm and ties. " Muslin (Example: CH100327 stole Monogram Marie-Antoinette) Light, floaty, smooth fabric " Georgette crepe Sparkling, supple, elastic fabric " Satin Very smooth, glossy fabric

! Dry cleaning (washing in cold water can damage the colours) ! Gentle ironing.

Wool For products predominantly in wool: - Use of classic quality wool - Some stoles are in Pashmina: hair of feral Himalayan goats

! Cold washing with appropriate product (never allow to soak) ! Do not twist ! Place flat on a terry towel and dry in the open air ! Gentle steam ironing or with a damp cloth

TEXTILES (3)- Manufacture

SCARVES, STOLES AND TIES

Our foulards, stoles and ties are exclusively manufactured in Europe: the Lyon region of France or the Lake Como region of Italy.

Two regions where the silk industry and traditions are thriving.

CH Textile

CH100393

Manufacturing stages " Adjusting the lay-out " Engraving the print tool

2 types of print tool: ! Flat bed printing: printing a pattern with precise markings (example: CH 10 0158 Foulard

aux canards) ! Rotary screen printing: Repeated pattern (example: CH 10 0038 Stole Vuillard) One frame = one colour. The greater the number of colours on a foulard, the more complicated the manufacturing process (example: CH 10 0146 foulard "Composition de Van Gogh", 18 colours ! 18 frames).

" Printing the fabric / Fixing the colours / Cut " Finishes

! Bourdon cord (example: CH 10 0301 stole Grand Broché de la Reine) Gives a three-dimensional effect to the fabric

! Flat hem (example: CH 10 0270 stole Mandoline et guitare Picasso) Consists of folding and then sewing the fabric

! Rolled hem Consists of rolling and then sewing the edge of the fabric; can be carried out manually or by machine (difference in rendering and price)

! Fringing Consists of creating a fringe by stretching the horizontal threads on the length of the fabric. Suitable for heavy fabrics, e.g. wool.

" Quality control

TEXTILES (4)- T-shirts

MATERIALS, CLEANING AND MANUFACTURE

Attention!

The T-shirts in the “Tourist” range do not carry the RMN

trademark

CU Textile

Material

! Combed cotton (fibres treated for improved look) ! Superior quality grammage (150 to 220 gr/sq. m) depending on

range (standard for a basic product: 120gr/sq. m)

! Plain or mottled colours

Models ! Meticulous finish ! The RMN produces unisex T-shirts, T-shirts for women and

children ! All T-shirts for adults in the “Tourist” range are available in

S (small), M (medium), L (large) and XL (extra-large)

Printing Technique used: silkscreen printing Marking is carried out with one or more frames, one per colour.

! Machine washing, max. 40° C ! Reverse ironing

The RMN takes care to ensure that the colours and patterns of the original works are faithfully reproduced. Silkscreen printing gives a much better print quality and performance than the transfer technique.

PUBLISHING (1) – Nomenclatures and general information

" SECOND LETTER: TYPE OF PRODUIT

.A .. …. Album

.C .. …. Catalogues / Culturel

.E .. …. Exhibiition

.G .. …. Guide

.J .. …. Little Journal

.K .. …. Coedition

.M .. …. Magazine / Mini guide

.P .. …. Small guide

.T .. …. Activities

.Z .. …. Miscellaneous " FIRST TWO FIGURES: PLACES OR LANGUAGES

! Exhibition works

.. 10 …. Grand Palais

.. 20 …. Louvre

.. 30 …. Orsay

.. 40 ….

.. 50 …. Picasso

.. 60 …. Arts et Traditions Populaires (ATP)

.. 70 …. Other museums

! Guide Books, Albums, Journals

.. 00 …. French

.. 10 …. French

.. 20 …. English

.. 30 …. Japanese

.. 40 …. German

.. 50 …. Italian

.. 60 …. Spanish

.. 70 …. Dutch

.. 80 …. Arabic

E Exhibition

G General Public

J Children

L Review

Q

S Scientific

EC 10 5699

GG 20 4764 The RMN and publishing The Réunion des Musées Nationaux - The quality of its productions makes the RMN a reference among art publishers - 120 new publications per year - Distribution: Interforum Constant concern for quality reinforced by close ties with art specialists, museums and curators.

PUBLISHING (2) – Collections

EXHIBITIONS, GENERAL PUBLIC AND CHILDREN

The quality of all Réunion des Musées Nationaux publications is guaranteed by the

trademark

E G J

Exhibition

EK 19 5687

Catalogues ! In-depth study of the works presented

during the exhibition ! Numerous illustrations ! Paperback edition

EJ 00 0364

Little Journal

! Survey of a selection of works presented at the exhibition

! Stapled journal General Public

GA 10 4863

Album ! Keeps abreast of news in the museum

world ! Deals with a particular work or object of the

collections ! Colour and black& white illustrations ! Paperback edition

GG 10 4899

Guide Books / Mini-guides

! Museum plan(s) ! Explanations of principal works ! Paperback edition

Children

JA 10 5655

Children’s publications ! Discovery of art for children ! In close cooperation with the museums ! Colour illustrations

Coeditions ! Joint publications with other cultural

institutions or private publishers ! Discovery of art for children

! Colour illustrations

JK 2 5192

PUBLISHING (3)– Collections

REVIEWS, SCIENTIFIC PUBLICATIONS

The quality of all Réunion des Musées Nationaux publications is guaranteed by the

trademark

L

S Reviews

LL 00 0603

! Specific to certain museums or institutions ! The reviews deal with museum news: acquisitions,

exhibitions, restorations ! Three publications:

- La Revue du Louvre et des Musées de France - 48/14, la Revue du musée d’Orsay - Technè (review of the Restoration Research Centre of

the Musées de France) Scientific Publications

SN 00 3918

! These publications cover all the collections ! In-depth analysis or inventories of collections ! Numerous specialised topics and subjects addressed ! Expert and curators’ opinions

SR 00 4963 LL 00 0001

IMAGE (1) – Nomenclature

" SECOND LETTER: TYPE OF PRODUCT

IA PosterIB BookletIC Signle cardID BrochureIE FrameIJ GameIK Postcard, coeditionIM BookmarkIP StationeryIR ReproductionIS AccessoriesIT StampsIV Double card

I

IP 50 0076

" FIRST TWO FIGURES: MATERIAL AND FORMAT

IP 14 0016

IO 10 0005

Posters

IA 20 50 x 70IA 50 100 x 140IA 72 Outsize format < 50 x 70IA 73 Outsize format < 60 x 80

Cards IC 00 Papier Job 10,5 x 15IC 20 Papier Rivoli 10,5 x 15IC 30 Glossy 10,5 x 15IC 40 Square 13,5 x 13,5IC 42 Square Papier Rives 13,5 x 13,5IC 43 Square vernie 13,5 x 13,5IC 60 Panoramic 10,5 x 21,5IC 70 Folding 10,5 x 43

Images to frame IE 50 Passe-partout 25 x 20IE 60 Passe-partout 30 x 20IE 70 Passe-partout 24 x 24

IP 10 Notebook with elastic bandIP 13 White notebookIP 20 Post-itIP 30 Book of double cardsIP 31 Book of square double cardsIP 40 Diary

Reproductions IR 12 24 x 30IR 20 40 x 50IR 30 60 x 80IR 40 Inner frame 30 x 40

Misceallanenous IS 10 StampsIS 20 Magnets

Double cards

IV 11 Square 13,5 x 13,5IV 12 Graphic Arts 16,8 x 11,5IV 13 Rectangular 16,8 x 11,5IV 14 Animated double card

The RMN and images The Réunion des musées nationaux - One of the leading publishers of art images in the world - One of the principal producers of postcards in France: over 3000 different

subjects. Constant concern for quality and faithful reproductions of the originals, reinforced by close ties with the museums.

IMAGE (2) – Products

The quality and authenticity of all the Réunion des Musées Nationaux images is guaranteed by the

trademark.

I

IJ 10 0058

The Réunion des Musées Nationaux offers a wide range of products bringing art into the office and everyday life.

- Calendars - Diaries - Notebooks - Puzzles - Postcards - …

Posters " Wide variety of subjects

The RMN brings the world of museums into your home thanks to its posters reproducing the works of 33 national museums and numerous regional museums.

" Wide variety of formats From the smallest (24 x 30 cm) to the largest (100 x 150 cm)

Whether paintings or drawings, these posters will lead you from India to Japan, from Italy to France, from antiquity to the present day, from classical art to Impressionism, and from modern to contemporary art.

Passe-partout

The passe-partout is a thick cardboard border used for surrounding reproductions. It draws attention to the value of the work and is particularly suitable when you want to put it under glass and frame it.

REPLICAS (1) – Workshop

All the replicas sold bear the RMN stamp

and have a certificate of origin and guarantee of quality.

TC P

Z R The Replicas’ Workshop of the RMN The Replicas’ workshop was founded in 1794, just two years after the Louvre itself. Its original mission, as befits a brainchild of the Lumières, was to provide museums

and art schools with good reproductions of antique sculptures. The workshop has been part of the Réunion des Musées Nationaux (RMN) since 1895. Nowadays it caters for a much wider public and everyone can now acquire a replica of good quality. The workshop’s collection of moulds is not restricted to works

in the Louvre. It has a large number taken from collections in other French or foreign museums. The 5000 items in its catalogue give a representative picture of the history of world sculpture from its origins to modern times. The workshop is in fact a museum in its own right, for the vicissitudes of history are such that we can sometimes learn a lot about the original state of an article from its mould. In some cases, too, the works themselves have long since vanished or been destroyed and the mould is all that remains. Jean-René Gaborit, Curator-in-Chief of the Sculptures Department, is fond of quoting this remark by a learned scholar of the early 19th century: "The plaster emerging from the mould formed on the statue or bas-relief retains all the forms of the original and transmits all its beauty". There can be no better description of Moulding Studio's vocation. The Studio's expertise is acclaimed throughout the world and is at the disposal of private individuals and institutions alike. The imprint is always taken from the original or - a sign of the times – created by digitisation. The model is then used to make a plaster, bronze, resin or terra-cotta reproduction.

REPLICAS (2)- Resin " SECOND LETTER: PLACE OF ORIGIN

RB Greece, Etruria, RomeRE EgyptRF FranceRG Gallo-RomanRI ItalyRK Asia, Far EastRN Northern SchoolRR Africa

R

RB 00 2022

Resin Resin is used in more recent mouldings. It makes it possible to reproduce small, fragile works using materials that are less onerous than bronze.

The resins are usually in a liquid form which will be hardened by the introduction of a catalyst. Their resistance qualities may be reinforced by the use of "charges" such as metal powder or by fibre glass which gives large, hollow but very tough mouldings (laminate technique). Tough and very accurate reproductions can be obtained by adding metal powders or marble powder, and by using pigments for colouring purposes.

REPLICAS (3)- Plaster " DEUXIEME LETTRE : PROVENANCE DE L’ORIGINAL

PB Greece, Etruria, RomePE EgyptPF FrancePG Gallo-RomanPI ItalyPK Asia, Far EastPN Northern SchoolPR Africa

P

PF 00 5835 Plaster Crushed gypsum fired to about 150° C and then refined. Already used in the Near-East as early as the Neolithic era.

The plaster power is gradually added to the water. It is mixed before it starts to set, and care is taken to release the air bubbles so as to ensure homogeneity. It is malleable and perfectly fits the shape of the mould. Thanks to the use of "wads" (a mixture of plaster and vegetable fibres) the moulding is shock-resistant. The plaster's capillary action gives an excellent grip of the patina with its pigments and provides an infinite variety of colours.

Plaster was used by the Egyptians, the Greeks and the Romans, particularly for moulding the face and parts of the body. The first examples of the use of this material in France are the sarcophagi made entirely in plaster in moulds with sculpted panels during the Merovingian period. Plaster became once more fashionable during the Renaissance, thanks in particular to the sculptor Verrochio (1435-1488) and has remained in common use up to the present day.

Plaster is THE material for moulding. It gives the most accurate details and can be afforded by everyone. It can also be restored very easily. It goes without saying that it should not be exhibited outdoor or in very humid conditions.

REPLICAS (4)– Terra Cotta

Attention !

There are fewer references for Terra-Cotta than for the other materials.

Apart from the TC reference, the rest of the nomenclature has no particular significance.

TC

TC 00 7951

Terra-cotta Clay fired to a temperature of over 600° C. Terra-cotta is a kind of ceramic (earthenware, porcelain and terra-cotta). Different techniques can be used for terra-cotta moulding, the oldest and most widespread being the stamping process. The soft clay is pressed against the walls of the mould and thus prints all the hollows. In the case of complex sculptures, more than one stamping process may be used.

Above a certain thickness or volume, the sculpture must be hollow and have at least one aperture through which the air can escape during firing. The clay must dry and then bake uniformly and without containing any sealed air bubble or pocket which would cause an explosion.

The colour of terra-cotta can vary depending on the colour of the earth chosen and the baking process. The different shades obtained are complemented by the patina applied.

The RMN terra-cotta mouldings are meticulously-made creations resulting from precision craftsmanship with regard to both forms and patina. As such they reproduce all the visual and tactile sensations of the originals.

Replicas (5)- Bronze " SECOND LETTER: PLACE OF ORIGIN

ZA Oriental AntiquitiesZB Greece, Etruria, Rome ZE Egypt ZF FranceZG Gallo-RomanZI Italy ZK Asia, Far EastZN Northern SchoolZR Africa

Z

ZF 00 5725

Bronze An alloy of copper and tin. Emerged in the 11th millennium BC. An imprint is taken from the original in the museum and a reproduction in volume is made. This reproduction is used for manufacturing a mould. The most frequently used technique is the lost wax casting process: Once the imprint is completed, a cast is taken of it, consisting of a thin coating of wax and a core made of refractory material. A new mould in refractory material is elaborated on this cast with the result that the wax is sandwiched between two layers of refractory material at around 1100° C. The bronze is poured in a single casting and now takes up the space previously occupied by the wax between the mould and the core. The object in question is now released and this is where the craftsman's skill comes into play. Through a painstaking process of trimming and chiselling on this rough cast work, he in his turn will produce a work of art that remains faithful to the original. It now remains to produce the patina - the result of a judiciously measured chemical reaction between the metal and various acids. A bronze statue makes a gift of great distinction and may be handed down from generation to generation in the same way as a painting or an article of furniture.

CHALCOGRAPHY (1) - Nomenclature

" Second letter: type of product KC Watercolour-enhanced print / Only available on special request KM General collection, black and white or printed directly in colour / A selection of 40 prints is available on stocks. Apart from this selection, Chalcography B&W will be available on special request

K Chalcography

General collection: KM range ! Over 12,500 references ! Printed in black and white or directly in colour (e.g. red

chalk, red ochre ink instead of a black ink).

KM 00 9433 / Trois amours avec les attributs des arts. After François Boucher Red chalk drawing: engraved in the 19th century by Auguste Péquégnot (1819-1878).

Watercolour-enhanced prints: KC range ! About 690 references

! Printed in black and white and watercolour-enhanced, individually and manually

! All KC references also exist in black and white version (KM)

KC 00 2814 / Particular view of Paris, from Notre-Dame towards the Pont de la Tournelle Villes, châteaux et maisons royales. 121 plates by J. Rigaud (1681-1753); acquired in1849. The most popular subjects

- Sanguines (red chalk drawings) - Views of Paris - Reproductions of paintings and other works

At the Chalcographie du Louvre you can buy copperplate prints of the Museum’s copper and brass collections, beautifully produced in the traditional manner. Each print involves a long and complex process (inking, wiping, pressing, etc.) and results in a single article. There is a very wide choice of prints covering a variety of subjects: views of Paris, views of châteaux, botanical subjects, architecture, drawings, paintings, landscapes, portraits, contemporary art, etc. The engraved plates of the collection possess a genuine historical and artistic value. They are authentic works of art made available to the public. Marketing RMN

CHALCOGRAPHY (2) – History

All Réunion des Musées Nationaux prints bear the

stamp. This stamp guarantees their origin and certifies that they have been printed on the copperplate presses of the Chalcographie du Louvre workshop

from the collection’s engraved plates.

K Chalcographie

Chalcography

• Process consisting of engraving on a metal support (usually copper). • Place where plates engraved in this way are kept and where new prints are

made on the plates. The Chalcographie du Louvre

! Founded in 1797 by the reunion of several copper

collections existing under the ancien régime (“Cabinet du Roi”, Royal Academy of Painting and Sculpture, etc.)

! Conservatoire National (collection of the Louvre’s Graphic Arts Department). The printing and sale of the prints was entrusted to the RMN on its creation in 1895

! Collection of more than 13,000 engraved plates

“Carrousel Courses de têtes et de bagues” made in 1662 by Louis XIV and prominent members of his Court. François Chauveau – Print and etching; watercolour-enhanced proof Additions to the collections The Chalcographie du Louvre has from the very beginning added to its collections, and continues to do so today with:

! The acquisition of old plates ! Works commissioned from contemporary artists

In the years since 1990, the old tradition of public commissions has been revived and the Chalcographie du Louvre now encourages and contributes to contemporary creation

La Robe de la fiancée Balthasar Burckhard – Traditional heliogravure

CHALCOGRAPHY (3) – A craft

All Réunion des Musées Nationaux prints bear the

stamp. This stamp guarantees their origin and certifies that they have been printed on the copperplate presses of the Chalcographie du Louvre workshop

from the collection’s engraved plates.

K Chalcographie

Manufacturing phases

! The principle involved is the opposite to that of wood engraving (where the protruding parts carry the ink and deposit it on the paper). With copperplate engraving, the ink is contained in the hollow parts.

! The print must bring out everything which has cut into the surface of the copper.

! Multiple identical prints can be obtained from the same plate by re-inking each proof.

" Inking The previously heated copperplate is covered with ink. " Wiping The surplus ink is removed from the copper surface using a cloth known as a “tarlatan” or “mousseline”. The operation is finished with the palm of the hand. " Pressing The print is made under pressure. The copper is positioned on the press plate and the moistened paper on the copper. A thick and supple layer of felt is then deposited on the paper to be printed. The ink is transmitted from plate to paper by means of a pressure of several tons.

" Drying The wet proofs are place between sheets of blotting paper separated by cardboard. Weights are placed on the cardboard so as to ensure that drying takes place under pressure. " Correction and stamping Once the proofs are dry, any impurities in the paper must be corrected and the surface of the sheet checked. The printer then pencils in the stock number of the work in the collection.