Blue and white enameled melt stove-dresser, circa 1880

Half moon dresser-stove in blue and white enameled melt, standing on four little curved and foliaged foot. Dresser opens with four white enameled door leaves with a neo-Renaissance openwork decor of arabesques surrounding a blue enameled putto holding a fire pot. Top of the dresser with a similar decor with a central motif of two putti holding a lighted torch.
Blue enameled base and mounts with a decor of fluted pilasters adorned with acanthus leaves and fruits.

Work realized during the 1880’s.

Being used in view of its use as a heat stove. The stove inner mechanism has been removed, no possible transformation possible in a dresser – sideboard.

Dimensions : H 88 x W 92 x D 37 cm.

Reference : LS3818251

The dresser-stove created from the 16^th century, was really improved from the half of the 18^th century and became a central object of the Industrial Revolution at the 19^th century. It offered an effective alternative to the wood heating in chimneys : with its closed fireplace, it avoids heat loss and permits an air brewing warming all the room. Its coal operation also permitted a wood saving, whose massive use during the 18^th century caused important deforestation risks in Europe.

The stove was made with melt thanks to the metal industry which progressed and became more abundant and low-priced. The French industrialist Jean-Baptiste Godin (1817-1888) was a precursor and a great inventor on stove. He filed patents which insured him temporary exclusivities such as the one, in 1851, about the enameling of melt furniture and items ! Indeed, the enameled and openwork melt of doors permitted to protect people from the hot melt burns, while letting warmth circulated and offering different decorative features and adaptable to the client taste.

The stove was a part of this evolution of domestic comfort and blended in interiors thanks to its decor and its particular aesthetic. Indeed, the stove took a part of the room decoration, such as furniture and decorative objects. As the 19^th century decorative arts and architecture, patterns followed the popular “neo” styles. The search of stylistic new was not a priority for industrial manufacturers. They inspired from past decorative patterns to offer to their customer beautiful and useful items from technical progress.

Source :
F.Marneffe, “Le poêle en fonte, un objet révolutionnaire”, plaquette d’exposition, La Fonderie – Musée bruxellois des industries et du travail, 2016