Curator, David A. Fleishman M.D.

The On-Line Museum and Encyclopedia of Vision Aids. Over 6,150 images to view April 6, 2006 Wall Street Journal featured antiquespectacles.com on the front page.

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INTRODUCTION

The Madame Heymann Collection of Optical Objects is no longer missing. Always considered the Holy Grail in the world of those who collect optical objects, this pre-eminent collection included (especially) early hand-carved wooden cases and their associated original eyeglasses. This discovery occurred mostly during 2007-2008 while research was being done with the curators of several smaller French museums. The result is that the vast majority of Heymann’s fabulous multi-million dollar collection has now been uncovered.

It is so exciting to present this for the first time along with the history of the many great objects she assembled. The viewing public has not seen any of these objects since before 1925. Everyone’s combined efforts here were significant and what has been missing for almost 85 years will now be shared and certainly appreciated once again. The reader should understand that Madame Heymann was the author of the greatest book on the history of eyeglasses and she is the only female on our Honor Roll of Distinguished Persons.

This proves once again that research can be fun and stimulating and quite often it is rewarding too.

BACKGROUND LEADING UP TO 1911

Madame Alfred Heymann was born Alice Babette Schloss on August 15, 1844 but very little else is known about her early life She lived at 20, Avenue de L’Opera with her husband Abraham (Alfred) a fruit trader who often brought home exotic fruits. Their friends around Paris (end of 18th - beginning of 19th c.) were mostly aristocrats, musicians, and writers.

By the end of the 19th and the beginning of the 20th centuries she was already devoting much of her time to the task of searching for unusual eyeglasses and cases. She traveled a lot and also studied a lot. She became a truly passionate collector who organized a sizeable group of the most attractive objects she could find. She was able to “sniff out” lots of uncommon things and thereby located a few hundred optical treasures.

Madame Heymann believed that the artisan who first created eyeglasses around the year 1286 was as important as Christopher Columbus. In addition she considered many of her best eyeglasses cases from the 17th and 18th century to be “little masterpieces”. Her collection also consisted of a large group of ornate spyglasses, including several unusual forms. Madame Heymann also appreciated the knowledge that tubes without lenses for viewing had been used as early as the year 1000. Then once high quality optical lenses were added beginning six hundred years later to create various sized telescopes she looked upon that as an “admirable invention”.

By the turn of the 20th century some of her wonderful objects became part of an exhibition associated with the Carnavalet Museum in Paris. That exhibition of Les Lorgnettes curated by Jean Robiquet (1874-1962) did not actually take place at the museum itself but instead was part of the much larger 1900 Universal and International Exhibition of Paris. Jean Robiquet started working at the Carnavalet in 1897 and he soon became the museum’s curator. He later rose to the position of Director of that museum between 1919 and 1934. Robiquet was the person who authored and created the brochure for that display of Heymann objects in 1900.

The title page reads as follows: Musee Retrospectif de LÉxposition Universelle et Internationale de Paris en 1900 Les Lorgnettes par Jean Robiquet Conservateur-adjoint du Musee Carnavalet; Extract du Rapport des Musées Centennaux Classe 86, Accessoires du Costume. (Saint-Cloud Imprimerie de Belin frères)

The brochures from 1900 are very rare indeed and only four copies are currently known to exist. One resides in a private collection in The Netherlands, another is in an Italian collection, and the third is part of a German collection; the fourth is in the Bibliothèque de France (in Paris).. Each copy has nineteen pages including a couple fully-illustrated pages. Several pages are somewhat similar to the larger illustrations which appear in Heymann’s famous 1911 book. Of mention also, a postcard from Madame Heymann was discovered inside one of the copies of this exceedingly rare 1900 brochure. This postcard itself with its handwritten message may be unique.

THE RENOWNED 1911 BOOK

In 1911 Madame Alfred Heymann published Lunettes et Lorgnettes de Jadis, [Paris, J. Leroy]. This rare book was based on many of the great objects in her own collection. Her purpose was to point out particularities and to help those who might want to study the history of “these little things”. She wanted to please those who were attracted to historical objects of the past. Another goal was to present a study of anachronisms.

An exhibition was held at the Musée de Cluny, officially known as Musée National du Moyen Âge, and it is thought that together with the publishing of this book both events occurred around 1911-12. Only 300 copies of this book were ever printed and any original example in fine condition remains quite desirable. The publisher sold them enclosed in a cardboard slipcover. Books with this original slipcover still present and intact are very scarce indeed.

Paul Aangnendt from the Netherlands is a highly respected and long time member of the OAICC who did a search of this rare book at museums worldwide and in the hands of private collectors. Only about 50 examples (just over 15% of the original copies) have actually been identified but likely more of them exist. Here are the numbered ones that have been traced so far: 8-17-22-35-43-47-58-62-66-68-69-72-81-87-88-93-97-115-118-123-141-149-151-153- (or 156 or 158 difficult to read)-164-168-176-181-183-184-187-190-191-196-201-214-220- (or 229 difficult to read)-224-238-254-262-265-271-284-285-286-294-300. Copy 35 was sold in Oct. 2005 but it is not known to whom; copy 43 was offered for sale in February 2009; copy 181 was offered for sale by Perret in Geneva in Oct. 2006. Paul is still researching this subject so people are invited to contact him directly when they have an example not mentioned above. Here is Paul Aangenendt’s email address to use fond.ca@wxs.nl.

As you can realize all of the copies are numbered from 1 to 300 however one example does exist in a prominent German collection which is different from the rest. Rather than a numbered copy, instead the name of a specific person is printed in that place. This copy states “Exemplaire Imprime Pour Mademoiselle Paule Bayle”. We have to believe that this lady was a very good friend of Madame Heymann because in this instance this copy was given like a personal gift to this named individual.

The book is set up as follows:

TABLE OF CONTENTS
Preface		V
Introduction		xi
FIRST PART ----- GLASSES ----Lunettes
Chapter 1	The Loupe ----Glasses	1
Chapter 2	The Cases for Eyeglasses	25
Chapter 3	The Anachronisms	33
Chapter 4	The Role of Glasses in Emblems (Symbols – Crests)	41
Chapter 5	The Opticians	51
SECOND PART ------ GLASSES HELD IN ONE HAND ----Lorgnettes
Chapter 1	The Origin of the Lorgnette	1
Chapter 2	The Lorgnette of the 18th century, Its Role in the Theater	11
Chapter 3	The Lorgnette of the 18th century, Its Form, Its Decoration	21
Chapter 4	The Lorgnette of the 19th century	31
Chapter 5	Literary Productions (novels, fables, etc.) having something to do with optics (1493-1898)	49
Chapter 6	Several Names of Opticians until the year 1800	51
Chapter 7	Some Licenses on Patents (beginning 1791)	53

This book is a very scarce survey on the history of eyewear. There are about 155 pages is all with 25 plates of which four are full-page color gravures. There are over 200 additional smaller illustrations if all of them are counted. More than half of these illustrations are pictures of paintings and prints rather than actual optical aids. Most of them are ascribed to a particular museum or other site. Pictures were apparently well-selected because Madame Heymann wanted them to be “instructive” for anyone who handled the book.

The book is quite well-written but is presented entirely in French. The six-page Preface at the beginning was written by Georges LaFenestre (1837-1919) who was Curator at the Louvre; member of L’Institut de France with high authority; renowned professor of art history; art critic and also poet. The end of the book includes pages of references, lists of optician’s names, eyeglass patents, and indexes.

In conclusion Heymann’s book makes her collection famous while at the same time the collection has made her book famous too.

* * My review and evaluation of all the pages has initiated several leads to other collections since not everything illustrated is from the Heymann Collection. Rare and unusual objects from other museums have led to the discovery of collections of artwork and objects which are of interest to this website. Therefore Heymann’s book has been an extremely valuable resource for www.antiquespectacles.com. Mrs. Heymann therefore deserves our sincerest thanks and credit for providing images and information about other historic optical objects.

AFTER THE BOOK

Within a year of the book’s publishing and the exhibition an illustrated article appeared in the L’Art Decoratif magazine (Volume 28: July – Dec. 1912). The eight pages were written by Maurice Testard.

The American Encyclopedia and Dictionary of Ophthalmology, edited by Casey A. Wood, MD and published in 1915 by the Cleveland Press, had one particular section “History of Eyeglasses and Spectacles”. This included information about the Edward Bull Collection and on page 4908 there was a photo with about fifty “eyeglass cases” from the Madame Heymann Collection. No one knows who took that black and white poorly-focused photo and also where it was taken. But that single picture has stimulated lots of interested people to search and wonder. It has been the source of much frustration because this represented a huge assemblance of fantastic early carved (mostly wooden) eyeglass cases. In addition a nice group of unusual little magnifiers are seen all in a single row.

Then in May of 1919 a one page article with illustrations appeared in the monthly French magazine Femina.

Finally a December 1931 two-page article could be seen in the weekly French newspaper Le Patriote Illustre. From this one learns that the Heymann Collection had been bequeathed to the Musée de Cluny.

THE DISCOVERY OF HER COLLECTION IN 2008

Dr. Charles Letocha is a renowned ophthalmologist from York, Pa who has studied optical history for a few decades. With his research a German journal from the 1960s surfaced and it lists eleven countries with the locations of some significant optical collections. Charles shared that list with me in 2006. While I was already aware of most of the entries, several new names appeared. Specifically for “Frankreich” (France) there were two new leads for me to pursue with this research. So I proceeded to contact the Musée des Arts Décoratifs first and soon afterwards the Musée Carnavalet. I guess the rest of the story is about to become history.

(1) Musée des Arts Décoratifs: On June 13, 2006 contact was made with curator Jean-Luc Olivié at the Musée des Arts Décoratifs. In the initial email I wrote, “I understand that you have objects from the collection of Madame Heymann. Your museum was listed in an article “Versuch einer ersten Zusammenstellung von Brillensammlungen" in Europa and Ubersee by Dr. Horst Alexander William. This was in the German literature about the year 1969 and part of the article is attached. Heymann’s collection was featured in her famous book Lunettes et Lorgnettes de Jadis, J. Leroy, Paris 1911. Her eyeglass case collection was later described in the early 1920’s as the finest in the world.”

From Jean-Luc I soon learned that there were twenty or so items from the 18th -19th century which had been donated in 1925 by Abraham (Alfred) Heymann, widower of Alice Babette Schloss (Madame Alfred Heymann's maiden name) who died in Paris on April 1, 1925. Some of these objects were illustrated in her book as plates V and VII, the colored ones from the preface of the 1911 book and part of her collection had been on view at the museum.

Two weeks later I was referred to the museum’s Director. So I emailed a similar comprehensive letter to Madame Béatrice Salmon. I was then sent on to the Public Service Department and then routed to the Director of Communication. Eventually I learned that everything was in storage. Finally I spoke with Rachel Brishoual, Responsable de la Photothèque. She kindly responded in June of 2008 and even emailed me thumbnails of over seventy-five objects there at the museum. However I was not given permission to place any of those images on the website. I was also encouraged to make contact with another curator Mrs. Anne Forray-Carlier. She eventually agreed to permit my very good collector/friend Alexis Vanlathem to drive there from his home in Lens, Belgium for an appointment on July 6, 2008. Alexis would represent this website and also me. Alexis was fortunately permitted to take digital photos of all the objects in storage but those images were deemed “for private use only”. Fortunately his photos were permitted to be shared with me because of all this research. During his visit an extremely rare “enamel and gold perfume bottle with spyglass and watch with key, in its original case” was also noticed in one of the glass cabinets on public display (one of only two that I know of in the entire world). In addition there were a couple of optical fans but again the photos Alexis took were to be “for private use only”. The description of his adventures is now available. Alexis’s fascinating story captures his entire experience at this museum and it will also be published in an upcoming OAICC Newsletter.

It was then explained to me that if photos were to be included on this website a “professional” photographer had to be hired. I declined this because our website is not a commercial business and it is totally educational with no real funds of its own. 

From the photos I have seen I can now provide the following description for the reader. More than seventy Heymann objects seem to exist at that museum in Paris. This group includes two optical fans, four necessaire lorgnettes (similar to compendium), three optical charms and five other optical trinkets. The majority of the artifacts are ornate spyglass lorgnettes, four incredible ones made of ivory, several made of painted porcelain, several bejeweled, and several that are nicely varnished. They are all quite beautiful and attractive. There is an unusual accordion-style lorgnette, circa 1825-27. There is at least one jealousy glass, one lorgnette with a watch and finally one very extraordinary tobacco container. Some of the museum’s very best objects can be seen in Plates IV, V, and VII. In addition many of them are scattered throughout the other pages of the second section of Heymann’s illustrated book.

In late October of 2009 a letter was emailed again to all of the authorities at this museum, requesting permission once again for the photos taken by Alexis Vanlathem to be included on this website. The response stated that a yearly fee would be required for those images to be seen. It is quite unfortunate that the collection of Heymann objects at this museum is not readily available to this website and all our worldwide visitors. The photos taken by Alexis are excellent and quite clear in my opinion. All the other museums have allowed us to use their beautiful photos of Heymann objects, without any hesitation at all. Oh, well.

(2) Musée Carnavalet: Heymann’s book itself has small notations below many of the object illustrations including the name Musée Carnavalet. So I spoke with curator Roselyne Hurel on June 20, 2006 and eventually learned of a collection of small opera glasses (about 20 lorgnettes), some back to the 18th century. Later Roselyne kindly sent images of a few objects which had been donated to the museum by Heymann back near the turn of the century. Four beautiful images were shared initially and I placed a few onto the website. Then I was able to help arrange for Alexis Van Lathem to travel to this museum also. He kindly offered to go there for this website project and work with Roselyne. She cooperated totally and an appointment was set up for July 17, 2008 so that digital photos could be taken. As you can see they are wonderful and they comprise one entire slideshow above. We have since learned that one other small drawer exists with a group of magnifiers and scissors-glasses. Hopefully a few additional pictures will be forthcoming in the future. Several of the most exquisite magnifiers illustrated in her book remain undiscovered, so perhaps they reside in that drawer. Alexis and I certainly hope so. The description of his adventures is now available. Alexis’s fascinating story captures his entire experience at this museum and it will also be published in an upcoming OAICC Newsletter.

(3) Musée National de la Renaissance: On September 6, 2007 I first contacted Michaël Caucat, Responsable du service des publics et de la communication. This was the Musée National de la Renaissance located in the Château d'Ecouen. In the course of a few short conversations with him and with curator Michèle Bimbenet-Privat I learned that they had a collection of objects all put away in storage. I emailed, “I understand that in you have a collection and one of your finest objects is E.Cl.21026, Bésicles et leur etui (ivory) (C) Photo RMN - ©René-Gabriel Ojéda which appears on the Réunion des Musées Nationaux website”. RMN is based out of Paris and it shows art objects at French museums. I wanted to learn more about this case as well as the other optical objects there. The ivory case had a theme of astrology carved onto its surface and at about the same time my friend Harvard curator Sara Schechner had written to me since she was searching for objects related to early sundials. So here was a rare example to excite both of us.

Eventually a few simple (unfortunately blurred) photos were taken in the storage area and I quickly realized this was only the 'tip of the iceberg' to a much more fantastic collection. So I tried hard to coordinate a courteous meeting between my very good collector/friend Jean Marie Devriendt from Belgium and curator Michèle Bimbenet-Privat. Jean Marie kindly offered to go to Ecouen for me and the description of his adventures is now available. Jean-Marie’s fascinating story captures his entire experience in Ecouen and it will also be published in an upcoming OAICC Newsletter. His devoted effort working side by side with Michele were beyond incredible as you shall see in the two resulting slideshows and also the key chart above. We learned that Michele has the wonderful (and also very envious) responsibility of all those inventory objects from E. Cl. #21022 - #21095. And the great majority of those extraordinary cases also have eyeglasses inside, some even two pair !!.

(4) Musée de Cluny: I realized that a 17th century carved eyeglass case appears on page 30 of Part One of Madame Heymann’s book with the name Musée de Cluny below. So on February 20, 2008 I called and spoke with Chief Curator Sophie Lagabrielle. Sadly I quickly learned that they 'don’t have that case'. However, Heymann objects had been exhibited there at the museum possibly in 1931 (which was after she had died!). Further research soon revealed that 'Mr Alfred Heyman had bequeathed to the Museum of Cluny in 1925 a part of his collection of bésicles (n° inventory Cl. 21022 to Cl. 21095)'. The body of these objects are of the 'cans' or 'holsters to besicles' (eyeglass cases made of various materials: wood, leather, ivory, tin, copper, mother of pearl,. ..), dated back to the XVIIe and XVIIIe centuries: these were deposited to the museum of the Renaissance of Ecouen around 1988. What remains at the Museum of Cluny is a méreau (or médaille) corporate body of the opticians dated back to the XVIIe or XVIIe s. (inv. Cl. 21095).'

Since this one object was so extremely important I conferred with world authority Dr. Jay Galst of New York. We decided that it would be best to have this object professionally photographed by RMN so all the details, both front and back, could be displayed on the website and also in Jay’s soon to be published book with co-author Peter van Alfen, PhD. Ophthalmologia In Nummis will be a comprehensive catalogue of any coin, token or medal related to ophthalmology. RMN was contacted and the two photos were purchased (at even reduced rates) for our mutual educational projects.

(5) Museo dell'Occhiale: All of the illustrations denoting objects not in her collection are attributed to some other museum or prominent private collection. Nearly a dozen great objects which appear in her book and which were originally in her collection are now in the optical museum in Pieve di Cadore, Italy. The Museo dell'Ochiale Collection in that Italian city is probably the greatest museum collection of all, based on what I have seen. Some of the finest objects are so unusual and so rare that one has to assume that they were one of a kind, not made in pairs. It is believed that these Heymann objects during the early 20th century somehow went to the Bodart Collection of Brussels and thus went on to the museum in Pieve di Cadore. As mentioned before this pathway will be researched further.

So in conclusion: We have so far learned a great deal about the Madame Heymann Collection. It seems to be composed of at least:

1. About 150 of the finest objects are now in the chateau in Ecouen (Musée National de la Renaissance). These used to reside in the Musée de Cluny so in the inventory they started as Cl. 210xx but then became E. Cl. 210xx.
2. About 75 objects are at the Musée des Arts Décoratifs.
3. Over 30 objects exist at the Musée Carnavalet, plus the contents of that DRAWER.
4. One object is at the Musée de Cluny (a world class 16th century jeton). This is where the major portion of the collection actually began its journey after Heymann passed away in 1925.
5. About ten very nice objects are now at the Museo dell'Occhiale in Pieve di Cadore, Italy.

But where are those two dozen optical fans that were mentioned in her 1900 exhibition catalog at the Musée Carnavalet? Two have been found at Musée des Arts Décoratifs so are the others there too? Where are the best magnifiers, the ones from her book, on page 3 and page 21 (two examples), also the ones which appear in the photo from the 1915 Encyclopedia? Where are some of the absolute most exquisite 18th century lorgnettes that are illustrated on Plate V? Are they possibly also at the Musée des Arts Décoratifs?

Does the family (her descendents) still have any of the optical fans or any of these little spyglasses or even all the missing tobacco containers with optical devices ? We believe that Madame Alfred Heymann had one daughter and also two sons. One daughter-in-law by the name of Marianne Heymann-de Flahaut was very distinguished and she lived in Paris in 1959, at 8 Avenue de Bertie-Albrecht. But this is more than 50 years ago so quite possibly no one lives there anymore. Maybe someone in Paris can eventually research the name Heymann in the files there at one of the government agencies? Maybe the original obituary of Madame Heymann or Dr. Alfred Heymann can be located.

Are some unappreciated objects buried in storage at some other small museum(s) around Paris? Finally what else was in her collection that does not even appear in her book? We may never ever know the answer to this very key question? But it is fun to wonder and even speculate.

All the possibilities noted above may exist so further research is required and I hope other leads arise in the future. Thank you.

STILL MISSING - APPARENTLY

Small portions of the Heymann Collection still appear to be missing. This includes about two dozen optical fans, many unusual spyglasses (lorgnettes) as seen on the colored plates in her book, and also about a dozen tobacco containers with spyglasses. Hopefully these are in storage at one of the other art museums in the vicinity of Paris. Several wonderful magnifiers which appear in her book have also not yet been located but they may be in that small drawer at the Musée Carnavalet. I also think more objects are hidden at the Louvre Museum.

We all encourage the Musée des Arts Décoratifs to consider joining our educational efforts by sharing their Heymann objects without attaching significant yearly fees. Heymann herself probably gave the objects to the museum with the idea that they would be made available for the public to see and appreciate. This museum has at least two of the optical fans and maybe there are more in storage. They have ornate lorgnettes from Plates IV, V, and VII so perhaps more spyglasses are hidden, undiscovered and therefore unappreciated. We have to remain hopeful.

SPECIFIC WORLD CLASS OBJECTS – CHART

Anyone who looks at the objects included in the numerous slideshows above will quickly realize their high quality and extreme caliber. Every example is desirable even for the most comprehensive museum or private optical collection. In her book Heymann described “modern eyeglass cases” (of the time) as not having the original charm or creativity of the ancestral ones which instead had meaningful detail. So imagine how excited Heymann became as she located each of these collectibles, with their magnificent artwork.

The actual eyeglass cases themselves, each and every one, represent incredible works of craftsmanship. Some of the relics are truly spectacular. These objects are so rare and artistic they stand out and deserve our appreciation. Several of the best are religious in nature, both front and back. Madame Heymann believed that these particular cases may have originally belonged to the high clergy because the cases depict scenes from the life of Christ.

News regarding the discovery of many of the missing Heymann objects has started to spread. Advanced collectors worldwide have already started to be amazed to see these historic relics, known previously only in her renowned 1911 book. And many do not even appear in that book and are therefore totally unknown until now.

For this chart I have included what I believe to be the very finest of all. The selection process has not been easy and some people may have chosen other objects. Perhaps some collectors might wish to include every single example.

These antiques deserve to be considered amongst the most outstanding optical treasures in existence….the BEST of the BEST, in my opinion. Enjoy, learn and also try to imagine what Madame Heymann must have felt as she held each one of these in her own hands perhaps 100 years ago.

SUMMARY AND CONCLUSIONS

Rest assured there has never been and there never again will be a finer collection of historic eyeglasses and eyeglass cases than what you have just seen and learned about. By far this is the #1 optical collection in history.

For me personally to be at least partially instrumental in the discovery of the Madame Heymann Optical Collection has definitely been one of the most exciting experiences of my entire life. This research remains fascinating and I have had the kind assistance of a wonderful group of individuals (collectors/historians/curators) who have become even better friends than before because this has been a team effort. Our combined time and energy has been rewarded and hopefully it will lead to further discoveries and an ever-increasing recognition of this amazing collection there in museums around Paris.

Hopefully more study will also occur regarding some of the greatest individual objects that have resurfaced, especially some of the eyeglasses and hand-carved cases in the chateau in Ecouen. Measurements of the lens powers and analysis of the early glass lenses are still required. In addition some of the frames have symbols and date marks that must be identified.

Perhaps some attractive coffee-table book will be created and published in the future to further spread the information and many of the images of these incredibly historic specimens. I also wish that someone will eventually translate the original 1911 Heymann book into English so more people around the world can enjoy all the information and illustration descriptions included in those wonderful pages. Of course the book probably featured her best objects. But one significant question remains. No one really knows how large her entire collection was at its maximum size.

Finally I hope a high level of energy and true appreciation for what has taken place here becomes the impetus behind gathering the many objects together from storage at these five museums (at least). Then a larger and much greater public display and exhibition (perhaps even with a tour around Europe) might eventually occur. This should be organized initially at some major French museum like the Musée du Louvre or the Musée d'Orsay in Paris. Eventually I believe one of the prominent London museums would be another venue for the collection of cases and eyeglasses. All these objects deserve the highest level of recognition and in my opinion visitors from around the world would greatly benefit from the sight and knowledge about the fabulous Madame Heymann Optical Collection. Thank you very much.