Ref.12415
Antique trumeau with an oil on canvas representing a scene of children playing with a dog

Antique painted trumeau realized in the 19th century composed in its upper part of an oil on canvas representing a scene of children playing with a dog wearing a dress.

Ref.13206
Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly, 17th century

Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly. Joseph-François de Montecler, marquis of Montecler, (1694-1766) married in 1716 Hyacinthe Menon de Turbilly (1699-1742), lady of La Rongère, of who the marquis de Sourches praised the beauty.

Ref.12401
Faïencerie de Gien - Beautiful Napoleon III style earthenware planter "Bernard" with a gold decor, late 19th century

This beautiful planter with a polychromatic floral decor was made between the late 19th century and the early 20th century in the Gien earthenware factory as indicates the stamp on the bottom. It's the "Bernard" model, with a bulging shape resting on four snail feet and flanked with two handles. Its main decoration is composed of a beautiful lilies patch on a beige background, depicting white or colored with gold blooming flowers and buds surrounded by orange leaves. This decoration is lightened up with larges strips with stylised floral motifs and volutes in purple, green, yellow and turquoise reminding the famous blue of the ceramicist Theodore Deck. About the handles and the feet, they are colored with the same jade green used in this decor, that we also find inside the planter. Among the many earthenware factories born in the 19th century, Gien is one of the most reknown and the most important in Europe. It excels in the imitation art, and makes copies of pieces from the past to an affordable price. Unique pieces were also created thanks to talented artists who decorated them with new decorations, or were inspired by ones from the past or other European and Middle East factories. The factory was born in 1821 initated by Thomas Edme Hulm who buys the lands of the old Minimes convent in Gien to settle an earthenware factory after giving up the one in Montereau managed by his family since 1774. Because of financial difficulties, the Gien factory changes many times its name between 1826 et 1862, it is successively called « Guyon, Boulen & Cie », « Geoffroy, Guérin & Cie » before bearing its definitive name « Faïencerie de Gien » from 1875. The factory participates to the numerous exhibitions of the second half of the 19th centuryn especially the Wolds Fairs and wins many rewards. A planter with the same shape and a similar decor is conserved in the Charles VII museum in Mehun-sur-Yèvre in France

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.

Ref.15013
BACCARAT, Crystal Vase with Neo-Greek Decoration, circa 1867

This vase was executed by the Baccarat manufacture, which presented several pieces with similar decoration at the 1867 World’s Fair; it can therefore be dated to this period. Founded under Louis XV, the French crystal manufacture Baccarat demonstrated its excellence and creativity at the World Fairs throughout the 19th century. This double-layered crystal vase, etched with acid, adopts the shape of a crater, a vessel in which wine and water were mixed before meals in ancient Greece. Its decoration, blue on a white background, is also inspired by ancient Greece: the body is adorned with a figure of a young ephebe playing cymbals and a woman, probably a bacchante, dancing. Below the handles, there is a stylized decoration of scrolls and palmettes, while the base and neck are adorned with regular friezes. These elements are highlighted with gold. The Chrysler Museum in Norfolk (USA) and the Musée d’Orsay in Paris both have a Neo-Greek vase in the shape of an amphora executed by Baccarat around 1867, whose blue and white double crystal decorations are very similar to ours.

Ref.15587
Louis XVI style trumeau decorated with a frieze of scrolled acanthus leaves