Samson of Paris

I first learned about the famous firm of Samson  de Paris when I was only 12 years old. I knew that there was a firm in Paris and its sole activity was to copy every well known and much sought after items of  porcelain, enamel, ormolu, bronzes and French clocks. They also made superb copies of the finest period Chinese  & Japanese porcelain and were extremely well known through out the collecting world. In fact you could say that there was no fine porcelain or enamels that they did not copy.

As originals were becoming more scarce even collectors were interested in their copies.  Samson of Paris did not receive the true value of the original but as the workmanship was of fine quality, collectors were happy to pay quite a lot of money for their goods

In the 1930’s antique collecting was not as popular as it is now. The top dealers resented the fact that skilled craftsmen were copying the recognised works of art, fooling many 'experts' (particularly new collectors) who would claim that they had purchased a fine antique at a price well below the price they would have had to pay had they found their 'treasure' with a recognised established dealer.

Many collectors purchased goods made by Samson, thinking that they were original antiques!

The family of Samson were very proud of their reputation, history and undoubted skill  and their wares were sold all over the world. In fact the family were so proud so of the goods that they produced that they turned a large warehouse next to their workshop in Paris into a museum. For every piece that they ever produced, they made a duplicate one for their museum. Usually the selected items were made with extra skill and care and were not offered for sale.

Only close friends, and valued customers were permitted to visit this private collection.

A young man came into my shop and introduced himself to me as the grandson of Samson. He told me that his great grandfather had started the business in the late 19^th Century and that after a break during the war he and his brother would continue to make copies of porcelain and enamels as his forebears did many years ago.

Although I was really only interested in genuine items of fine art, there was a market in fine reproductions - especially as the price is considerable lower. Consequently, I made an appointment to visit his workshop in Paris.  However my main motivation was my curiosity to see this very historic establishment.

Arriving in Paris a few weeks later, I sought out the address he had given to me. They were located in a very central position just off the Place de la Republique and  quite near the Grand Boulevard.

Knocking on the door of a large gate leading on to the work yard, I was greeted by young  Pierre who showed me around his kilns and explained the procedures of making fine porcelain. He showed me the specially imported clay and the various casts they were working on. It was a highly skilled operation.

As much as I admired his endeavours, I only made a few token purchases, as I was really interested in period antiques. But as I was in the presence of a world recognised establishment, I did buy some pieces for my own interest. in fact the quality of the Meissen copies I purchased was so well constructed, I decided to keep it for my collection of fakes.

The young man then invited me to  visit the Samson Museum.

Feeling highly honoured at being allowed to visit the private museum, I was led into the huge warehouse where at least a thousand superb examples of every known porcelain, bronze, enamel, paintings, chandeliers, clocks with 'Sevres' style porcelain, in fact every known and highly desired works of art had been skilfully copied to the extent that few antique dealers would be able to recognise them as fakes.  I saw some of the finest copies of ‘Famille Rose’ plaques, vases, some 3ft high. Of course, most of the exhibits were over 80 years old.

To say I was impressed, is a great understatement. I could not calculate the value of that collection other than to say that it was priceless. When I suggested  that I would love to purchase any of the exhibits, Pierre told me that none was for sale and would remain with his family always.

As I was interested only in 18^th and 19^th century antiques, I did not return to the Samson establishment until eight years later. Whilst I was in Paris on a buying trip I decided to get in touch once more with Messrs Samson, just to give them my regards.  Arriving at the gate at the entrance of their business, I saw a large poster telling me that Samson of Paris had been sold and was no longer functioning. It also gave an address in the suburbs of Paris of the company that purchased it.

I immediately ordered a taxi to take me to that address, which was 30 miles away. At about four o'clock in the afternoon I arrived at the premises. To my surprise it was a very modern earthworks, making crude ugly flower pots of various sizes and the owner  looking like a poor peasant, playing with concrete making up another one of his hideous flower pots.

I introduced myself  (I speak reasonably fair schoolboy French) and told him I was an English antiques dealer, and knew the Samson family well and how surprised I was to find that the business had been sold. He did not elaborate except to say that the business had been for sale, and that he had purchased it.

I then asked him about the museum and he pointed at a large shed in his huge field and told me he wanted to get rid of all the Samson items. He obviously had little love for works of art.  I asked to look over whatever he had left and he nodded his head in assent.   

It was distressing to see all those lovely works of art heaped together, dirty and dishevelled as if they were a load of junk.  I returned to the 'peasant' and told him I was interested in the purchase of the whole collection. He then informed me that he had telephoned Sotherby in London last week and they would be coming to France in the to collect all the items.

I tried to purchase a few pieces, but he told me that Sotheby had asked him to keep the collection intact. He informed me that if I had arrived a week earlier, we could have done business!

So sadly I left empty handed. I heard later that Sotheby had made a special auction and they had made really good prices. So while my instinct had been correct, my the timing was just out.

What really distressed me was that wonderful museum and its collection had been destroyed.

From: http://www.antiquestories.co.uk