Ref.16314
Pair of Japanese-blackened wooden frames decorated with embroidered silk

This pair of frames was made out of black wood around 1880-1890. Their wooden frame, decorated according to a Far East style, is made up of openwork friezes. In their upper part, the two frames are decorated with a calligraphic inscription, inspired by the Far East. The two frames are crowned by two winged dragons facing each other. The frames have medallions with a silk embroidered border, recovered with convex glass. Delicately embroidered, the silk is decorated with wild animals among a vegetal environment. These two frames are characteristic of the Far East trend which came to Europe at the end of the 19th century, in particular a trend towards Japanese and Chinese style. Made by a French artist, unfortunately anonymous, they are the privileged evidence of a profound taste for exoticism. The high quality of this pair of frames makes them very original and rare.

Ref.11558
Pair of Louis XV gilded bronze wall lights

Rare pair of sconces with two arms of light, Louis XV period, 18th century, made out of gilded bronze. Asymmetrical decoration characteristic of the taste for Rococo.

Ref.12448
Pair of antique Louis XV style gilt bronze andirons with characters in costume

This beautiful pair of Louis XV style chenets was made of gilt bronze in the 19th century. It represents a couple of gallant characters in 18th century costume.

Ref.13197
Louis XVI style trumeau with ribbon, late 19th century

This Louis XVI large trumeau painted in ecru was made in the late 19th century. It is adorned with a beautiful knoted ribbon and friezes of pears, ovum and ribbon.

Ref.12204
Large pink and green earthenware planter with plant decoration

This large pink and green earthenware planter is decorated in the centre with a medallion surrounded by scrolls and acanthus leaves, with two horizontal bands surrounded by a plant decoration of large leaves and flowers. Two bands of gadroons on three sides of the piece frame the central decoration, and are embellished with beehives in their corners. The piece is made up of different separable parts, as earthenware pieces, which need to be fired at high temperatures in a kiln, must have volumes adapted to the kiln in which they are fired. Each part was made separately from the others and then, once all the parts had been fired, they were all assembled to obtain the final work. Each part is signed by the artist, Pierre Perret, and by the place where the planter was produced, Mont Boron in Nice. The intertwining of plant motifs in the decoration, giving an effect of movement, and the imposing size of this planter are a perfect example of Napoleon III's reinterpretation of the Baroque style, however, the colours seem more markedly Art Nouveau, particularly the green that appears in the ceramics under the direction of the Massier family. A former notary of the town of Vallauris, located on the French Riviera, Pierre Perret worked from 1895 with the Massier family, owners of a ceramic factory. This family of ceramists innovated in the artistic field through their research into old techniques, such as glazed earthenware, or metallic lustre, but also showed great originality, characteristic of the works of the factory, with the search for harmony between green and purple with a floral and plant vocabulary of the art nouveau. In 1898, Pierre Perret bought the Mont Boron and Vallauris potteries from Jérôme Massier Fils (Jean-Baptiste). He sold them in 1901, but after going bankrupt in 1908, took over his property, finally selling it to Jean-Baptiste Massier in 1909.

Ref.14637
Dolphin-shaped floor lamp in cast iron

Floor lamp composed of a lamp supported by a dolphin with a serpentine shape resting on a base flared downwards.

Ref.14229
A precious Egyptian ship, a rare earthenware piece by Emile GALLÉ

This Egyptian boat in faience was designed by Émile Gallé in the second half of the 19th century. Considered the founding father of Art Nouveau, Émile Gallé took over the workshop founded by his father and gave it a decisive impetus, which he sustained throughout his life with constantly renewed creativity. Ancient Egypt and its culture were one of his favored sources of inspiration, as evidenced by this piece. This artwork depicts a boat with raised prow and stern, inspired by frescoes of ships from Pharaonic Egypt. The body of the vessel rests on a base formed by multiple oars; the hull is adorned with various insects and a turtle on the right. At the center, a lotus flower decorated with numerous gold accents hosts a fanciful insect reminiscent of the “trucsal” design by Gallé, preserved at the Musée d’Orsay in Paris. On the other side, the center of the lotus flower is occupied by a scarab, a sacred animal that held a central place in the iconography of Ancient Egypt. The only other known example of this model to date is the Grand Prix version, which required significant expertise and an expensive technique.

Ref.14548
Set of 3 Louis XV style doors with door tops

Set consisting of 2 doors and 1 cupboard door.

Ref.15975
Carved stone outdoor vase with spiral handle

This stone garden vase features rich sculptural ornamentation. While the base and pedestal are simple, the lower part of the body is decorated with gadroons, before being interrupted by a succession of sculpted flowers linked by a rope. The concave counter-curve above this frieze accommodates the scrolls of the two handles. Finally, the top is also carved with gadroons, echoing those on the lower part of the vase.

Ref.5443
Beautiful Regency style fireplace, in a superb Royal Red with lots of veins

This fireplace was crafted in Rouge Royal marble, a rich and nuanced material. Its surface shows a deep red background traversed by white and grey veining, creating a lively, contrasting effect that enhances the sculptural work. The overall form follows the codes of the Régence style. The mantel shelf is straight and slightly projecting, supported by a moulded entablature that curves gracefully around the opening. The firebox is tall and semi-circular, emphasised by an accentuated curve that continues into the jambs. These rest on a simple, massive rectangular base. The carved decoration remains restrained, focused on the mouldings. The entablature is enlivened by a play of profiles and chamfered angles forming discreet rectangular frames, visible on the side panels and jambs. These geometric lines lighten the structure without diminishing its imposing character.

Ref.16006
Henri CHAPU — À la Jeunesse

This sculpture depicts a woman with her arm raised, leaning on a monument at the base of which are inscribed the words: “A LA JEUNESSE” (To Youth). Signed by Henri Chapu, this work is composed of various materials skillfully blended together: carved from white marble, the female figure holds a gilded bronze laurel branch in her hand and leans on a red stone monument left rough in places. Our work should be compared with two sketches dated around 1875, commissioned by the École des Beaux-Arts in Paris in 1872 for a monument in memory of the painter Henri Regnault, who died at the front during the Franco-Prussian War. The first terracotta model is kept at the Musée Carnavalet (inv. S3494). Entitled La Jeunesse (Youth), the stele bears the inscription “LAUREA / NON LACRYMAE / 1870-1871.” Accompanied by the dates of the conflict, the motto “Glory, not tears” explains the motif of the laurel branch. The second sketch is a plaster cast kept at the Musée d'Orsay (inv. RF 1785) on which no date accompanies the sober dedication to Henri Regnault and the artist's signature. Henri Chapu présente le modèle au Salon de 1875 et remporte une médaille d’honneur. Le 12 août 1876, le monument est inauguré dans la cour du mûrier aux Beaux-Arts de Paris. Le succès de cette figure féminine porte le sculpteur à éditer le modèle dans trois dimensions en collaboration avec Ferdinand Barbedienne à partir de 1878. Ces fontes présentent quelques variantes quant à leur dédicace. Notre variante, sculptée de la main de l’artiste, est exceptionnelle : à notre connaissance, elle est la seule version à proposer une telle combinaison de matériaux. La variété des matériaux est soulignée par la diversité de leur traitement : la douceur du modelé de la figure féminine en marbre blanc contraste avec les degrés sommairement dégrossis dans la pierre rouge ou le chapiteau ionique gravé en très bas relief.

Ref.6189
Louis XVI style fireplace in Carrara marble, decorated with ribbons and floral rosettes