Ref.17878
A. TEBARQUE - Pair of women portraits made out of glazed stoneware

This pair of medallions was made by A. Tebarque around 1880-1890 out of faience enameled in relief. Featuring two female portraits, the painter perfectly mastered the enamels and brushstrokes, and used an abundance of colour. Tebarque also made the women very realistic. On one side, a woman with ashy blonde colour hair; blue eyes, seems to be dressed in a white dress with a lace neckline, whilst a deep dark blue coat is wrapped around her shoulders against the sky blue background of the medallions. On the other side, the second woman, brown, dark eyes, is dressed in the same style, a yellow pastel dress with a lace neckline and a large brown coat. Like a game of colours, Tebarque matched the colours of his characters' eyes with the colours of their adornments. The two women have realistic flowers made out of metallic enamel in their hair. The background of the two medallions, a sky blue colour, is decorated with floral apple tree branches carved in relief.

Ref.18204
CREIL-MONTEREAU Manufacture - Beautiful antique planter with faux cloisonné flowers decor and base made out of gilded bronze and patinated bronze with elephant heads decor

This beautiful planter was made out of enameled faience by the famous Creil-Montereau Manufacture in the Oise Department of France, ca. 1880. The feet shaped like elephant heads and the base imitating the texture of bamboo with gilt bronze show the influence of Oriental art on French artists during the second half of the 19th century. The planter’s body features a magnificent decoration of peonies and fans on a Turquoise-blue background. The painter imitated the cloisonné enamels technique by painting on gold-colored cracks. The factory’s stamp proves the origin of this object and the floral décor resembles the Flora motif that was one of the Creil manufacture’s most successful creations, exhibited at the World’s Fair of 1855 in Paris.

Ref.03345
Théodore DECK (1823-1891) and Joseph Gustave CHERET (1838-1894) - Large vase with decoration of nymphs and cherubs

A Napoleon III style , large, rounded vase with a straight neck and raised decoration of mannerist-inspired naiads and cherubs dancing, encircled by continuous garlands of orange-colored flowers, and flanked by two protruding handles sculpted into heads of grotesques. This enameled ceramic vase features a beautiful mauve varnish that fades into an off-white cream color in the center, as well as barbotine, a creamy mixture of kaolin clay used to ornament pottery, particularly in the late-1800's. Signed “TH. DECK” under the foot and “J. Chéret” on the body, beneath the barbotine figures. Deck and Chéret Collaboration: Théodore Deck and Joseph Chéret worked together several times, particularly to create vases, pot holders, different types of cups, and faience centerpieces. Most of the time, the barbotine figures and ornaments sculpted by Chéret adorn the vase or cup created by Deck. In 1887, they worked together at the manufacture nationale de Sèvres, one of the principal European porcelain factories. Deck was the director of the factory, and Chéret the director of artistic works.

Ref.10857
Manufacture KELLER & GUERIN in Luneville - pair of vases decorated with storks in flight in a lake landscape

Pair of enameled ceramic vases with polychrome decoration of storks in flight in a lacustrine landscape, partly decorated with gilding. Handwritten mark "K.G. Luneville France" and hollow mark "Luneville" under the base. Made in the late 19th century, this beautiful pair of vases bears the mark of the pottery Keller and Guerin in Lunéville. The decoration of storks in flight in a lakeside landscape, punctuated by tree trunks, is reminiscent of Japanese iconography and its taste for animal figurations. The book by Annabelle Héry, "La Faïencerie de Lunéville, 1786-1923, Les Keller & Guérin" (Editions Messene, 1999) publishes on page 110 a cahcepot with a very similar decoration, also with storks.

Ref.11376
A bed inspired by the Far East, decorated with a tuk-tuk

Sycamore bed molded and sculpted in the taste of Gabriel Viardot. Headboard carved with flowers and adorned with panels with mother-of-pearl inlays with flower and foliage motifs. Roof with four uprights, one of which is rolled up by a flowered branch. Carved footboard decorated with flowered branches and adorned with a mother-of-pearl marquetry panel decorated with a Chinese woman in traditional dress carried by a tuk-tuk.

Ref.11315
Cabinet with shelves inspired by the Far East

Cabinet with shelves in the Japanese style, inlaid with ivory, bone and mother-of-pearl, decorated with decorative openwork motifs enhanced with gilded bronze plaques. Opening with three doors, engraved with dragon, samurai, floral motif and three drawers. Many asymmetrical shelves. On the upper part, two carved dragons and a cornice.

Ref.15278
Robert LALLEMANT, "High Jump" Vase, 1930

This vase was made in 1930 by Robert Lallemant on the occasion of the Grand Prix of the Stade Français. The ceramicist and decorator Robert Lallemant (Pau, 1902-Davos, 1954) attended the École des Beaux-Arts in Dijon before becoming interested in ceramics between 1921 and 1923. In 1926, his father, Théophile Lallemant, bought him a small ceramics factory in Paris; he managed the business until his death in 1928, which explains the presence of his initial in the signature on our vase, under its base: “T. R. Lallemant”. Robert Lallemant quickly invented a modern and original ceramic style, which he produced in small series. His work was well-received by critics at the Salons des Artistes Décorateurs and the Salons d’Automne in 1926, 1927, and 1928. He was among the founders of the Union des Artistes Modernes (UAM) in 1929. A few years later, he gradually lost interest in ceramics to produce furniture, and then got involved in his father-in-law’s public works business. In 1939, he joined the French Navy, and in 1945 and 1946, he went to Indochina, where he showcased his talents as a photographer. Among other popular themes in the 1920s and 1930s, Lallemant particularly focused on sports, producing several vases on this subject; he was a sportsman himself. Our vase reflects the influence of Art Deco on his work, notably with the stepped shoulders that frame it and its geometric shapes. At the center, an athlete is dynamically depicted in a high jump event. The decoration is characterized by a certain simplification of shapes and colors, aligning with contemporary painting trends. The glaze is brilliant and of high quality. The inscription at the base of the decoration indicates that this vase was commissioned to serve as a trophy for the winner of the high jump event at the 1930 Grand Prix of the Stade Français. Other vases of the same model, without this inscription, were also created by the same artist; the decoration of one of them represents a pole vault event in a style very similar to that of our “High Jump” vase. A photograph from the artist’s archives shows the importance of the sports theme in his work; it depicts a vase of the same shape as ours, decorated with cross-country runners. This photograph also shows that the same decoration could be adapted to different vase shapes.