Ref.2209
Antique Regence period fireplace made out of Red of Rance marble from the 18th century

This antique Regency period fireplace was made out in a beautiful Red of Rance marble during the 18th century. The opening of the fireplace is underlined by a fine molding, reminiscent of Louis XIV style ornaments. This fireplace is decorated with molded panels and medallions. This fireplace has a very interesting detail in its decor: the junction between the legs and the frieze at the medallion, is extremely rare.

Ref.10050
Antique cast iron fireback with wedding coat of arms of Gilles Brunet, Marquis of la Palisse, and Françoise-Suzanne Bignon

Made during the 18th century, this Louis XIV style fireback with beautiful dimensions is decorated with the arms of Gilles Brunet's alliance, Marquis of the Palisse and Françoise-Suzanne Bignon, married in 1715. Supported by two greyhounds, two ecus are surmounted with a marquis crown. The ecu on the left is torn between 1 and 4, a golden crawling greyhound, featuring a crenelated border of sand, 2 and 3 argent features the head of Maure . The ecu on the right is blue on the silver cross of cavalry set on a Vert mount from which a vine adjoined to the cross escapes, all of it is framed by four silver flames. See the work of Philippe Palasi "Heraldic firebacks", p. 226 for a similar model.

Ref.2316
Prestigious antique fireplace in Scagliola as Sarrancolin Fantastico marble made after the fireplace of the Council Room at the Palace of Versailles

Prestigious antique fireplace made out of Scagliola painted in trompe-l'œil in faux Sarrancolin Fantastico marble with gilded ornaments. The large central leafy shell and the espagnolettes are characteristic of the Louis XV style . This beautiful chimney was made around 1880 after the model of the one that adorns the Council Room at the Versailles Palace. The latter was ordered by Louis XV in 1748 to replace the one commissioned by Louis XIV in 1701. The current fireplace, made out of Griotte red marble and gilt bronze, was installed in 1755. We also find the same model of fireplace, this time in white Carrara marble and gilt bronze , in the Ambassadors' Room of the Palais de l'Élysée, Presidency of the French Republic, in Paris. It is therefore an extremely prestigious mantelpiece model, realized to decorate exceptional places.

Ref.10490
Pair of applied consoles in carved walnut with putti decor, Napoleon 3 period

This pair of Napoleon III applied consoles were carved in a beautiful walnut wood. The baroque decoration uses many shapes and reliefs, which makes the light hang. On each one, a putto sits on a seat made of shells, and supports the shelf of its neck. The shells themselves stand out on coiled coats of arms, the appearance of which imitates the grain of leather. The multiple corbels thus play between the coiled leather and the shapes of the shells, in a dreamy setting.

Ref.10647
Albert DAMMOUSE and MANUFACTURE DE SEVRES - Important antique exhibition vase, "vase potiche allongée" model, with ibis on its golden wooden pedestal

This important antique vase with an ibis on its golden wooden pedestal was made by the renowned French ceramist Albert Dammouse in 1873. There is the Manufacture de Sèvres’s seal. This vase is both emblematic of the period’s decorative arts and of Albert Dammouse’s works who was known for his dexterity in the material treatment as well as his qualities as decorator. Albert Dammouse, whose father was sculptor at the Manufacture de Sèvres, joins the École nationale des Arts décoratifs in 1863 before study from 1868 Milès Solon’s lessons, also decorator at the Manufacture de Sèvres, at the School of Fine Arts. In 1871, he moved to his own workshop in the city of Sèvres, next to the Manufacture, until his death in 1926. Albert Dammouse is interested in all the ceramics, but his porcelains have made first his reputation. In 1874, at the Union centrale des Arts Décoratifs, he exhibits porcelains and gets the gold medal. He won then a gold medal at the third Paris World’s Fair in 1878 and built ovens and workshops in Sèvres in order to produce more works. Although Dammouse has his own workshop some of his works, such as our vase, are the result of collaboration between Dammouse and the Manufacture de Sèvres. This is the model "elongated ovoid porcelaine vase" invented by Jules Peyre and used by many artists with sometimes some variations such as this Chinese Vase No. 1 entitled "Pécher", made around 1860 and decorated by Marc Emmanuel Louis Solon. Renowned throughout Europe, the Sèvres factory, where this vase was decorated, remains at the end of the century renowed for its technical and artistic savoir-faire even if industrialisation was growing.Notably, thanks to the discovery, in 1768, of the first kaolin field in France by Pierre-Joseph Macquer and Robert Millot, two researchers at the Manufacture de Sèvres, hard-paste porcelain (made up of nearly 75% of kaolin), whose manufacturing secret was kept by Saxony, is finally developed in France. With this discovery, the Manufacture de Sèvres is developing, particularly from the beginning of the 19th century. The productions are characterized by their modernity and the diversity of styles. While the pedestal is representative of the 19th century richness of ornamentation and eclectic revival of historic styles, the vase is characterized by a certain lightness and purity, aesthetic appeared with Japonism. Nature is one of the favorite themes of Japanese art, and the vase is decorated with an ibis and a shrub around wich birds are flying. Indeed, Japonism, which inspires Europeans arts in the second half of the century, is one of the principal inspiration in Dammouse’s works. With the various exchanges that took place between France and Japan from 1858, the year of the signing of a commercial treaty, and the contribution of the World's Fairs, true international encounters, the West discovers the Japanese art that provides to the artists some new patterns and a new and refine aesthetic. In 1873, year of the creation of this vase, takes place the first Japanese exhibition in Paris. The art dealer Siegfried Bing opens the store "Art Nouveau", rue de Provence, around 1872 and where Dammouse will be exposed. Later, Albert Dammouse, who was inspired especially by flora, will be one of the first, concerning ceramic, to create Art Nouveau style works of art . This vase, with its decorative and sophisticated look, belongs to the trends of its time. In the same vein, Ferdinand Mérigot is at the origin of the Japanese decoration that adorns this pair of vases made in 1868 and whose model is also Chinese Vase No. 1, variant of our form. The pedestal in golden wood, inspired by Napoléon III style, is ornated with rococo bows and acanthus leaves. This very elaborate pedestal was specially created to highlight the porcelain. The vase does not have a bottom: the bottom is pierced, and thanks to a system it is possible to fit the vase to the base. Thus deprived of any practical function but destined primarily to the decor, it seems certain that this vase participated in an exhibition. Although Dammouse was one of the artistes of the great trends of his time, Roger Marx, in his Paris World's Fair’s report in 1900, wrote with relevance : « no material that he treated with a sovereign skill, no trend that made him lose the notion of composed decor », qualities by which he was renowed. « Dammouse is a skilled ceramist, but is above all an artist », wrote the critic Georges Vogt in his Paris World's Fair’s report in 1900.

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.15462
Joseph Chéret (1838 - 1894) for the Manufactory of Sèvres "Putto with greek masks" Coin tray made in faience with a blue glaze

This coin tray was made in blue glazed faience in the 19th century by the manufacture of Sèvres, after an artwork of Joseph Gustave Cheret (1838-1894). This sculpture represents a putto with two Greek comedy masks. The first one, sitting at its foot, is a woman's mask of a courtesan called 'pseudokoré'. The putto is holding the other one in his arms, it is the mask of a bearded man called 'pornoboskos'. The putto is partially covered with a drape. At his feet are severals musical instruments : a flute, some bells and a tambourine, with the signature 'Joseph Cheret Saw'. Another mark 'CH FICQUENET. - Sevres' is on the side. Cheret is an important sculptor of the 19th century. He was trained by the famous Carrier-Belleuse. This very gifted student eventually married one of the daughters of his mentor in 1868. From 1863 he regularly presented works in different Fairs and Exhibitions. We owe him the first salamander design, which he realized in collaboration with the Chaboche Company. This object is inspired by sculptures depicting putti or young satyrs having fun with Greek comedy masks. Very popular in the imperial Rome period, these images are experiencing a revival during the Renaissance and then in the 19th century during eclecticism. It is particularly representative of the 19th century taste, especially by its material: a blue glazed faience. At that time, ceramic techniques were very popular. This blue can be compared to 'Deck blue', used by Théodore Deck at the same time.

Ref.10940
BAYEUX MANUFACTURE - Four vases with polychrome and gold decoration with Chinese

These Bayeux porcelain vases feature rich decorations treated in polychrome and gold with Chinese characters, flowers and birds in medallions. The golden handles are made of bamboo branches.

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.11292
Maison des Bmbous Alfred PERRET and Ernest VIBERT (attributed to) - Japanese flat desk with mother-of-pearl and ivory decoration

This desk, inspired by the Far East, was created in the 19th century. The parchment leaf-style tray and the five drawers are engraved and inlaid with floral motifs, birds, insects and butterflies in ivory and mother-of-pearl. The belt is decorated with openwork Chinese motifs. The pedestal with spacer is sculpted and finished with claw feet. This Japanese style desk is typical of its time and of the creations by Perret and Vibert. The decorative arts of the late 19th century testifies to a renewed attraction for Far Eastern creations and divert the codes of the Japanese art to apply them to perfectly Western furniture. The Maison des Bambous by Perret and Vibert is the place to be for lovers of Japanese objects at the end of the 19th century. Alfred Perret founded, in 1879 in Paris, a house specialized in the production of bamboo and luxury basketry furniture, as well as in the importation of authentically Japanese objects for a well-off clientele. The company specializes in the early 1880s in the manufacture of lacquered and carved wood Japanese style furniture. In 1886, it is taken by the son of Alfred Perret and Ernest Vibert and becomes "Perret and Vibert". It will take the name of "La Maison des Bambous" in the early 1890s.

Ref.11651
SARREGUEMINES MANUFACTURE - Sandstone vase "Cathedral and coat of arms of Metz"

This vase, made in the late 19th century in salt sandstone called Lorraine sandstone, is signed by the manufacture of Sarreguemines. Its incised decor is enhanced with enamels. It refers to a dark period for the faience industry, the Franco-Prussian war of 1870 and especially the loss of Alsace-Lorraine. We can presume that this prussian occupation is here represented by these menacing crows. Sarreguemines, town located less than 100 km from Metz, is annexed at the same time as all Alsace-Lorraine by Prussia in 1871. The leader of the manufacture, Alexander de Geiger, then leaves Sarreguemines and retires to Paris. Two new factories are then built in Digoin and Vitry-le-François. In 1877, the cathedral of Metz undergoes important damages: to celebrate the first coming of the emperor Guillaume Ier, the authorities had decided to set fire to the city by shooting fireworks from the roofs of the cathedral. A fire breaks out destroying the entire structure ... In view of this unprecedented historical context, there is no doubt that the iconography of this vase is an allegory of the Prussian oppressor in the form of crows. A similar model with variations in shades, from the collections of the Sarreguemines Museum, is presented in the book "La Faïencerie de Sarreguemines" by Alain Benedick, published by ABM.

Ref.11674
Napoleon III style overmantel pierglass with carved decoration of a garland of fruits

Napoleon III style overmantel pierglass, 19th century, with bevelled mirror framed by a garland of partially painted fruits.

Ref.12033
Théodore DECK (1823-1891) - Round ceramic dish with oriental decoration of a vase of flowers and foliage on yellow background

Theodore DECK (1823-1891), large round slightly hollow glazed earthenware dish with oriental decoration of a vase of flowers and foliage on a yellow background. Signed on the reverse.

Ref.15033
SÈVRES Manufacture, Pair of Chameleon Vases of the Persian Bottle Model, 1874

This pair of porcelain vases of the Persian bottle model was made at the Sèvres manufactory in 1874. The “Persian bottle vase” model, created at the Sèvres manufactory in 1874 based on a Persian metal prototype, exists in several versions that vary in color and decoration. It is among the most characteristic of the manufactory’s production under the Third Republic. One can perceive the direct influence of Albert-Ernest Carrier-Belleuse (1824-1887) in the design of these vases. A sculptor and student of David d’Angers, Carrier-Belleuse exhibited at the Salon starting in 1851. He worked in all genres with remarkable inventiveness. He provided several form models to English and Limoges ceramic factories and was the director of art works at Sèvres from 1875 until his death in 1887, completely renewing forms and decorations by introducing a new range of vases that achieved great success at the 1884 Exposition of the Union Centrale des Arts Décoratifs. These two examples, forming a pair, are ovoid in shape with a long tapered neck with a quarter-round median ring. They feature an elaborate decor of Persian motifs in gold powder, with interlacing and arabesques on the body and decorated fillets on the neck. The lavender color is unique, changing depending on the light it is exposed to, from purple/grey in daylight to pale pink in artificial light. This is due to the use of the so-called “chameleon” paste invented in 1848 by the Sèvres manufactory chemist Alphonse Louis Salvetat for the 1862 Universal Exhibition. A mixture of vanadium oxide and cerium oxide allows this change of color according to its exposure to light. Exceptionally, these vases are neither signed nor bear any mark of the manufactory. However, they have an inscription that leaves no doubt as to their origin or date: “EXPOSITION DES BEAUX-ARTS. / F. BUON / INSPECTOR OF FINE ARTS / Head of the Exhibitions Service / 1874”. Frédéric Buon was already an inspector of Fine Arts in 1870-1871 and later remained an honorary inspector. Therefore, these are commemorative vases, made especially for the 1874 Fine Arts Exhibition. Similar vases to ours, although without an inscription, are referenced in a book published in 2012 by the Brian Haughton gallery, A Sense of Pleasure. A similar model, kept at the Musée des Arts et Métiers in Paris, is referenced in Second Empire and Third Republic, from Audacity to Jubilation by Brigitte Ducrot, published in 2008 in the Sèvres, a Ceramic History collection. Another pair of vases, of the same model and with the same glaze, listed by the British Antique Dealers’ Association, bears an inscription similar to the one of interest to us: “EXPOSITION DES BEAUX-ARTS / ROUSSEAU (PH) / Member of the Jury, Painting Section / 1874”. The painter Philippe Rousseau was a painter of landscapes, still-lifes, and animals, who had been awarded several medals at the Salon. In 1874, he was an accomplished and recognized painter, and thus was appointed to the painting jury for the Fine Arts Exhibition. Moreover, a different pair of vases, of a different model but bearing a similar inscription, was sold in 2023: these are Sèvres pedestal vases in blue kiln porcelain enhanced with gold, bearing the inscription “EXPOSITION DES BEAUX-ARTS. / VTE DELABORDE / OF THE INSTITUTE / Member of the Jury. Engraving Section. / 1873”. These vases are signed and dated. The Viscount Henri Delaborde (1811-1899) was first a history painter, then, when he had to give up painting, he became a renowned art historian. For a long time a curator in the Prints Department of the Imperial Library (now the National Library of France), he was naturally asked to be part of the engraving jury in 1873, an event commemorated by these vases and their inscription. These numerous examples of commemorative vases suggest that on the occasion of at least two Fine Arts Exhibitions, in 1873 and 1874, the jury members and other organizers of the event were given a vase from the Sèvres manufactory, probably as a token of appreciation for their involvement in the event. It is even possible that, since the two vases dated 1874 are of the same model, a different model was selected each year for this purpose.

Ref.15445
Gabriel VIARDOT, Japonist bed with a canopy and accompanying nightstand, second half of the 19th century

Nightstand : H. 81 cm / 31’’ 7/8 ; L. 59 cm / 23” 1/4 ; P. 38 cm / 14” 15/16 This set of a Japonist bed and nightstand was crafted by Gabriel Viardot in the second half of the 19th century. A talented wood sculptor, Gabriel Viardot opened a furniture workshop and store in Paris in 1853. In the 1870s, he decided to dedicate himself to “Chinese-Japanese style furniture”. He received prestigious awards at the Universal Exhibitions in Paris in 1878, 1889, and 1900, and won a gold medal at the International Exhibition in Antwerp in 1884. The foot of the bed features carved ornamentation in low and very low relief, inspired by Far Eastern art: on the left, a dragon moves across a geometric structure that extends beyond the frame in which it is inscribed, while on the right, a second frame houses a delicate mother-of-pearl marquetry depicting a sakura (cherry blossom) branch, accompanied by a bas-relief sculpture of a flowering branch mirroring the dragon. The contours display ornamentation characteristic of the artist: the feet are adorned with geometric scrolls, while the top mimics the shape of a cloud. The headboard is topped with two birds fluttering near a sakura branch, surmounted by cloud or smoke scrolls. On either side, there are panels inlaid with mother-of-pearl from the Far East. Four columns rise from the headboard, connected in pairs by an openwork design typical of Viardot’s style. On the left, a sakura branch seems to sprout from one of the two columns, first spreading between them, then into the central space, giving the piece a beautiful asymmetry. The canopy is also adorned with openwork motifs. The two top beams curve upwards at each end to evoke the roof of pagodas. At the front, another blossoming cherry branch harmoniously integrates into the central openwork design. The nightstand rests on four lion paws. It features asymmetrical open shelves reminiscent of Japanese “cha’dansu” (tea cabinets). One of these, covered with white marble on the inside, is closed by a lacquer panel, imported during that period to Europe. At the top, the small drawer, equipped with a decorative handle, displays an engraved bamboo leaf motif, while the sculpted tabletop is raised on one side and lowered on the other, a layout characteristic of the artist’s creations. The nightstand is also signed, a rare occurrence in Viardot’s work, indicating the exceptional care he took in crafting this piece. With this set, Gabriel Viardot follows one of the conventions of Japonism that developed in Europe from the 1870s: he adapts ornamentation inspired by Far Eastern art to an eminently European structure, as both the bed (especially when equipped with a canopy) and the nightstand are furniture pieces that do not exist in Far Eastern culture. One of the drawings found in Viardot’s archives depicts a canopy bed very similar to this one; the posts of the canopy and their ornamentation are quite similar, as is the overall shape of the bed, and much of the ornamentation shows numerous similarities.