| Summary: | Copies of French royal furniture or of other eighteenth century chefs-d’oeuvre can be identified as a new type, characteristic of the last quarter of the 19th century. The Parisian firms of Henry Dasson and Beurdeley, whose workshops were devoted to gilt bronzes (including ormolu mounts) and cabinet work, can be considered the first masters of copy. As admirers and followers of the excellence pursued by eighteenth century makers, Dasson’s and Beurdeley’s reproductions can be seen as proof of their talent. Nevertheless, these copies are rarely identical to the originals as they reveal personalised details, showing an ambition of perfection. In the light of both firms’ history, one can identify the crucial factors in the development of this work, leading to recreating the bronze mounts master-patterns, essential implements in the reproduction process. It was first motivated by the taste for antiques and the strength of its market, but the fourth Marquess of Hertford also played a preponderant role in commissioning a great number of copies. With the Third Republic the production of copies flourished, thanks to the opening of the palaces to the public and the issuing of specific authorisations. However these authorisations given to the makers did not allow taking squeezes which made the copy a very difficult challenge to undertake. Nevertheless, many could be seen on the foremost Parisian makers’ stands of the 1900 Great Exhibition. Exported and transposed, these copies became models abroad, universal symbols of French furniture.
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