Ref.10031
Beautiful pair and antique Louis XV period andirons with Summer Allegories made out of gilded bronze and brown patina bronze

This very beautiful pair of andirons comes from the Louis XV period and was made out of gilded bronze and bronze with a brown patina during the 18th century. Two putti figures represent the Allegories of summer. Louis XV style .

Ref.10292
Pair of cast iron Louis XVI style vase with theirs originals bases

These ornamental cast iron vases were made in the 20th century. Antique style, a fluted column is decorated with asparagus tips. Around it stands a garland of laurel leaves, which falls in bouquet. At the top of the column is the vase, a crater, also surrounded by a floral garland (here oak leaves). The vase is decorated with antique style medallions, female profile faces.

Ref.3221
Exceptional antique Regency style complete paneled room in mahogany marquetry with fireplace, France 19th century

Exceptional antique paneled room from the late 19th century made in France in an English Regency Style. The panels are in marquetry of mahogany and wood of varied species (such as lemon tree). The upper part is made of stucco on wood. This decor in stucco is very refined: Athenian with ornaments of rams' heads, foliage and medallions decorated with women dancing in imitation of Wedgwood. Original stained glass windows are included. The medallions are exactly the same decoration as the stucco. The beautiful mantel with detached and fluted columns is also decorated with marquetry with griffins and vase with vegetal scrolls. The interior of the fireplace is made of Breccia Nuvolata marble. The sumptuous inlaid floor is also included.

Ref.10722
Julien-Nicolas RIVART (1802-1867) - Velvet folder decorated with campanulas in porcelain marquetry

Covered in velvet, this folder has two compartments lined with moire fabrics and a matching file. It is decorated with a painted porcelain inlay by Julien-Nicolas Rivart , depicting twigs of campanulas. The brownish background contrasts with these purple and white wild flowers. The velvet support enables the contrast with porcelain's delicate texture, and to enhance its gleam. This is a very rare type of inlay, Rivart 's porcelains being generally observed into wooden furniture. The latter foresees indeed in his patent to inlay in all types of materials, including cardboard, leather, or velvet; but very few of such works reached us through time. The folder we present is thus an exceptional example of inlays in velvet, a witness to a production much appreciated by the clientele, which at the time was described as "yet more beautiful than beautiful" (Auguste Luchet, The Industrial Art at the Exhibition of 1867).

Ref.3294
Large antique carved oak wood paneled room with hunting trophies and still lifes decor

This beautiful carved oak wood paneled room was made in the 19th century. Designed originally for a hexagonal room, with a boudoir, it is composed of six carved wall panels. Three panels have window openings, two are fitted with doors, and the last panel has a large overmantel mirror . The harmony of these elements is ensured by a bucolic decoration of grapes and hunting and fishing trophies. The panels are thus compartmentalized and bordered with carved friezes where vines are climbing. Above the doors, windows and the overmantel , these vineyards frame large medallions. Eggs and dart friezes also surround the doors. The doors are decorated with panels, carved with large rosettes and still lives evoking the attributes of agriculture, hunting and fishing. The sculpture of the wood is of a very beautiful quality and quite charming.

Ref.3316
Exceptional antique Art Nouveau paneled room with its fireplace, made out of carved walnut, burr, pinewood and ceramic decor

This exceptional Art Nouveau style pine and burr paneled room is beautifully carved and decorated with blue-green ceramics. A few gorgeously carved ornaments are balanced by sober lines. The panels cover the bottom of the walls, and harmonize the whole consisting of a fireplace and its monumental overmantel mirror, and two beautiful doors. In carved walnut, the mantel is animated by undulating foliage falling on its jambs. Its ceramic insert is also shaped by a decoration of enamelled holly leaves, in a green color that puts the wood to its advantage. The large overmantel mirror sumptuously raises the space of the chimney, with a large frame and two consoles allowing to place lamps. The doors are surmounted by a small overmantel of carved wood, and adorned with ceramics and sober compartments. One of the two features a stained-glass window.

Ref.10493
Pair of walnut and gilt stucco alcoves, Louis-Philippe style, with Allegory of Renown

This pair of Restoration style alcoves date back to the Louis-Philippe era at the beginning of the 19th century. These are elements of a paneled room , real elements of architecture allowing to redesign the space. In a beautiful hue of walnut, these alcoves are composed of four panels separated by Corinthian pilasters with gilded capitals. The vault is delimited by a fine molding, and underlined by the wooden edges joining at the top. The ark is highlighted by a row of gilt stucco flowers, surmounted by Allegories of Fame in flight, bringing crowns.

Ref.10769
Beautiful antique Neo-Gothic style spherical chandelier in stained glass, late 19th century

Rare spherical chandelier made with the technique of stained glass in the late 19th century. Neo-Gothic style, this chandelier is decorated with colored glass cabochons and profiles of men and women made of out glass in the manner of cameos. Bronze frame with brown patina.

Ref.10570
Antique 18th-century fireback with the coat of arms of the Fontaine de Biré family

Rare antique fireback made during the 18th century and bearing the coat of arms of the Fontaine de Bire family : Azure to chevron with two clovers and a sheaf the whole of gold. The Fontaine de Bire family is originating from Anjou, France. One of his most famous representatives, Marie-Sébastien-Charles-François Fontaine de Biré, asked for his bust in marble by Jean-Antoine Houdon in 1785, which can quite correspond to the date of realization of our fireback. This bust is now preserved at the J. Paul Getty Museum in Los Angeles, USA.

Ref.10926
Antique large urn in French granite, mid-19th century

This large antique urn in French granite was made in the mid 19th century. The urn is decorated with a molded decoration and is on a pedestal whose lower part presents delicately carved patterns. One of the sides of the pedestal is adorned on its central part with carved volutes and geometric shapes.

Ref.18874
DAÏ NIPPON - Japanese style bamboo tea table with engraved and lacquered decor

This unique Japanese-style bamboo tea table was made around 1890 by Daï Nippon, upholstery shop specialized in Japanese style furniture in Paris. It is composed of carved wooden trays and a lower leg structure made of curved bamboo, using the curving technique created by Michael Thonet, a German-Austrian cabinetmaker and industrialist from the 19th century. This object belongs to Japonism , an artistic movement derived from the influence that Japanese art had on Western art during the second half of the 19th century. Painters such as Manet, Degas, Gauguin, and Mary Cassatt were inspired by this movement, as well as architects, and art object creators. As of 1851, the World Fairs contributed to the spread of Japonism in the Western world. This style led to some very colorful works of art and decorations of flowers, birds, dragons, and other animals. This tea table is inspired by Japanese art in its simple, natural shape, its curved outlines, its material – bamboo – and the engraved and lacquered design and mother-of-pearl settings on the trays. There are slightly abstract, simplified designs of flowers and plants. A white mother-of-pearl butterfly is set in the upper tray.

Ref.15230
Louis-Robert CARRIER-BELLEUSE (1848 - 1913) and POTTERY FROM CHOISY LE ROI (1863 -1938), "Children and Butterflies"

Stoneware model presented at the Exposition of the National Society of Fine-Arts in 1898, under the number 4060, with three other vases: Run for your lives! Hercules and Omphale and Music. Reproduced in Antique and Modern Decoration, 7th year, 1900, drawing 66. Enameled pottery.This vase has a slender form that contrasts the four handles. The body is completely decorated with floral or purely decorative elements while the characters are restricted to the neck level. A frieze of cherubs chasing butterflies develops along the neck, in a round frenzy. A brown tint covers the entire piece but fades in the upper part, thus becoming more yellow. This vase displays a decor that combines different techniques. The body of the vase is decorated with a floral decor which mixes elements in relief and engraved elements. The frieze of children is produced in clay on clay. This process, perfected at the Factory of Sevres around 1848 was frequently used by sculptors, which Louis Carrier-Belleuse was. It consists of applying generally white motifs on a colored background. However, the totality of the piece has been enameled which contributes to giving light green reflections to the bodies of the children. This original vase mixes two inspirations: the frieze of cherubs resembles the production of the Second Empire while the body of the vase displays plant elements indicating Art Nouveau.In the Exposition of the National Society of Fine-Arts in 1898, this vase appeared for the first time in stoneware, accompanied by three other vases: Hercules and Omphale, Run for your lives! and Music. These four vases are presented under the same number (no. 4060) and in the same display window. Three of the four vases, including Children and Butterflies, were reproduced, in 1900, in the review of Antique and Modern Decoration. Children and Butterflies was acquired in 2003 by Musee du Petit Palais, in Paris, and it is one of the rare examples of a vase by this artist conserved in a public French collection. The same year,  he exhibited a fifth vase under the number 4059, entitled Farming. The vase that we present, produced in stoneware, is not the one presented at the Exposition in 1898. However, its reproduction, by the pottery in Choisy-Le-Roi proves the popularity of this model and its creator.

Ref.11470
Beautiful cast iron fireback with the wedding coat of arms of the marquis de Vichy and Claude-Josèphe-Marie de Saint-Georges

Cast iron fireback with the wedding coat of arms of Abel-Claude-Marthe-Marie-Cécile de Vichy, said the marquis de Vichy (8th of october 1740 - shot down on the 15th of october 1793 in Lyon), comte de Champrond, guidon des gendarmes de Bourgogne et du Berry en 1769, chevalier de Saint-Louis with Claude-Josèphe-Marie de Saint-Georges (21st of november 1742 - 26th january 1775), married on the 5th of december 1764. Ecu de gauche : de vair plain. Ecu de droite : d'argent à une croix de gueules Couronne de marquis, collier de l'Ordre de Saint-Louis, tenant et support : un homme sauvage et un lion. Inscription : TANTUM VALET QUANTUM SONAT

Ref.11465
A pair of ceramic lamps with Japanese women decor

A beautiful pair of Japanese style lamps made out of painted ceramic and gilded bronze . Two japanese women are represented in wearing a traditional costume with fan or umbrella. They are surrounded by plants and insects or birds represented in golden paint, which gives a great preciousness to this pair of lamps. They have two spheres created by la Maison Baccarat. This model is reproduced in the 1907 – 1908 edition of the Compagnie des Cristalleries de Baccarat's catalogue with all the prices of the lighting products of the Maison (model E201, p.39).

Ref.17966
Neo-Renaissance style carved walnut credenza with profiles of costumed characters

Beautiful walnut credenza carved in the Neo-Renaissance style, opening on the facade with two doors each decorated with a gentleman's or lady's profile. The upper part with two doors rests on a wide apron containing two drawers whose fronts are decorated with carved stylized pikes framed by columns. These two registers are clearly separated by mouldings. Resting on square-section legs, the rectangular moulded base supports two fluted columns surmounted by Corinthian capitals. The bottom of the lower part is divided into two panels. The purpose of this type of furniture could be very diverse. Most often, it was intended to present precious objects that could illustrate the social status of its owner in the eyes of its visitors.

Ref.10459
A Napoleon III style clock made out of porcelain and gilded bronze representing Bacchus, god of wine

This beautiful clock was made out of porcelain and gilded bronze during Napoleon III period. The porcelain dial indicates the hours with Roman numerals. It is decorated with gilded rinceaux and little enameled pearls. Under the dial, there is an open-air scenery. Three characters (two young women and a young man with a dog are playing next to a nearby river. The sides of the clock are also decorated with similar sceneries including a goat and a sheep.The clock is crowned by a young Bacchus sat on a barrel and holding a bunch of grapes and a goblet. It has a beautiful ornamentation made out of chiseled and gilded bronze with a frame imitating wood planks covered with vine branches. The bottom of the clock is decorated with a quiver, an arc and a torch framed by a garland of flowers.

Ref.11398
Arthur WAAGEN (active 1869-1910) Japanese-style clock set, made out of spelter, representing a young woman dressed in a kimono

Ref.10907
Japanese style table, openwork wooden friezes, top decorated with a japanese hunter

Small Japanese style table made in the late 19th century. It is based on four claw feet joined by an X stretcher whose center is decorated with a gilded bronze plaque with openwork decoration. The apron of the table is adorned with openwork wood friezes and small gilded bronze ornaments representing dragon heads or plant elements and interlacing. The top of this table is garnished with a hunter made in engraved bone marquetry and a small inlaid mother-of-pearl butterfly.

Ref.11459
L'ESCALIER DE CRISTAL - Display cabinet in metal marquetry and bronze ornaments

This small display cabinet, stamped L'ESCALIER DE CRISTAL, was made in the 19th century. The single-door, two-storey glass display case is framed by a geometric frieze and adorned with gilded bronze corners. Its lower part, closed by two doors, has a blackened wooden background with a metal marquetry decoration in the spirit of Boulle marquetry.

Ref.3284
Panelled room with fine chinoiserie decoration from the Villa Les Cèdres, King Leopold II’s residence in Saint-Jean-Cap-Ferrat, Côte d’Azur

Set of panels for four walls Alder, giltwood, painted and sculpted decor France, circa 1905 Provenance : Villa Les Cèdres, formerly Villa Les Oiseaux, Cap Ferrat.  Former residence of the Mayor of Villefranche-sur-Mer, acquired by Leopold II, King of the Belgians (1835-1909), then it belonged to Alexandre Marnier-Lapostolle, creator of the French liqueur Grand Marnier and to his descendants ; the property now belongs to the Italian firm Campari. This refined set of wood panels comes from the Villa Les Cèdres (formerly named Villa Les Oiseaux) in Saint Jean Cap Ferrat. The residence belonged to Leopold II, King of the Belgians (1835 – 1909). The mayor of Villefranche-sur-mer, David-Désiré Pollonais (1823-1902), first acquired a fourteen-hectare property on the idyllic peninsula of the Alpes-Maritimes. Mr Pollonais wanted to modify the villa which had already been there since 1830 so he entrusted the architect Sébastien-Marcel Biasini (1841-1913) with the makeover. Leopold II bought the estate in 1904. The next year, he assigned Aaron Messiah (1858-1940) to redesign the villa. The Villa Les Cèdres was acquired by the king in order to settle Blanche Delacroix, his twenty-free-year-old lover whose real name was Blanche Zélie Joséphine Delacroix. The young lady came from a very modest background and was only sixteen-year-old when Leopold II fell madly in love with her. The king showered her with very expensive gifts such as the Château de Balincourt in Arronville (Val d’Oise). In Villefranche-sur-mer, a city next to Saint-Jean-Cap-Ferrat, the king built a sumptuous residence called the Villa Leopolda on a ground acquired in 1900 in order to host his lover. In 1906 and 1907, Blanche Delacroix gave birth to two sons, Lucien and Philippe, who were recognised by the king as his children even if the paternity remained uncertain. Blanche Delacroix frequented Antoine Emmanuel Durieux, an army captain. She had met him long before, she hesitated to marry him at some point but she finally chose to pursue her relationship with the king. The latter gave the two children the titles of Comte de Ravenstein (but this one was born disabled and died at seven years old) and Duc de Tervueren. After he became a widower, the king who nicknamed Blanche Delacroix « Très-Belle » (« Very Beautiful ») also made her Baronne de Vaughan which caused a scandal. He married her on his death bed but she finally married Antoine Emmanuel Durrieux who adopted her two children in 1910. They divorced in 1913. Aaron Messiah (1858-1940) was the architect of the Villa Masséna which is today a great museum in Nice. He was very active in this town and built several villas for Leopold II : the Léopolda, the Villa Saint-Segond, and the Villa Les Cèdres where he chose a historicist style inspired by the sophistication of styles of the past. He also constructed the Villa Ephrussi de Rothschild in 1907 where he used semicircular arches, columns and panelings inspired by the Great Century. He redesigned the wings of the villa, replacing among other things the squared openings by several big bays. At the beginning of the 1920’s, the villa was bought by the business man Alexandre Marnier-Lapostolle who created the « Grand Marnier » liquor. He redesigned the East facade of the building and his son Julien, who was a member of the Natural History Museum, created the botanic garden and added some greenhouses. Thus he made the garden one of the most major exotic private gardens in the world. In 1976, the villa became a possession of the Marnier-Lapostolle Company then it was acquired by Campari-Cinzano in June 2016. Since November 2008, the estate is consigned in the French Inventaire général du patrimoine culturel (the French General Inventory of Cultural Heritage). It was put on sale in October 2017 and quite a few press articles mention a 350 billion euro estimation. Crated at the turn of the century, this paneling is faithful to the Louis XV style with its rinceaux, counter-curves and shells. The painted panels are surrounded by frames with foliated rims. They represent some characters escaped from a fantasised Far East. They are also decorated with some chimeric fishes as an evocation of the baroque fountains. The ornemental theme ensuring the set’s harmony consists of a panel model composed by a sober lower part and a more animated upper part. The lower part is decorated with simple moulded squared parts at the center of which different masks are painted. The upper parts are adorned by two superimposed medallions with baroque forms which are topped by a flowery marquise’s motif in the form of a Chinese fan. On each medallion, little colourful scenarii on the theme of childhood are painted in a very light and sketchy manner. The panels are also decorated with exotic birds which bring dynamism to the composition. They are painted with beautiful colors and a lot of gracefulness. The artist’s work reveals his skills regarding his gesture which is inspired by Asian art shown during the World Fairs of the second half of the 19th century. This sketchy manner existed already during the 18th century as proved by the chinoiseries of the period. However, it is here developed thanks to the lessons learned from Oriental art. The first wall includes a fireplace which is characteristic of the second half of the century because of its richly sculpted frieze and jambs, its shells and rosettes. This sophisticated fireplace has a painted interior. On both sides, an archer and a samurai wearing an armor are represented. The fireplace is crowned by a big trumeau forming a semi-circle.  The glass is installed at the bottom of a recess. On the right side of this set, the panel represents a mother holding a green sunshade and a child nearby a stairway. On the left side, there is a children game’s scene with their mother sat on a bench. On the right wall, nearby a picturesque house with a pagoda roof, an elegant woman wearing a pink silk fabric and a Japanese bun with long hairpins holds his son in a maternal gesture to prevent him from falling into the water. Just behind them, there is an imagined barrier in a purified design which reveals the context which is suffused with Japonism. The second panel depicts children playing nearby a pond with a swan. These little Japanese kids wear a braid on the top of their heads and kimonos. They are squabbling as any child in the world would do, thus the painter insists on universality beyond the picturesque differences. On the facing wall, the left panel represents children holding coloured lanterns characteristic of Japan and the right one a young woman swinging. These two lateral walls have arches and the fourth wall is shaped by three arcades separated from each other with tapered columns forming a big door and two lateral windows.

Ref.11321
Gabriel VIARDOT (1830-1906) - Large Japanese cabinet with Foo dog

This exceptional Foo dog cabinet is signed by Gabriel Viardot. Its asymmetrical construction is characteristic of the creations of the Parisian cabinetmaker. The composition alternates solid elements and empty spaces. The central door is decorated with a panel inlaid with ivory, tinted bone and wood composing a bouquet of flowers. This panel probably came from a Japanese furniture piece and was reused, a common practice by Gabriel Viardot, to make this piece. This was also the case for the element adorning the left panel. A frightening character, of a rare plastic quality, is produced in ivory and mother of pearl. The decorative element the most exceptional of this cabinet is a Fu dog crowning the piece. To the right of the piece, supported by a shelf, a crane resting on the back of a tortoise is also made in polished varnished bronze just like the sinuous dragon located in the lower part of the piece. One also finds small elements of latticed polished varnished bronze decorated in their center with a pinecone in this piece. These are, like the scrolled feet, elements frequently present on the pieces of Gabriel Viardot. Gabriel Viardot was a famous Parisian cabinetmaker specialized in the production of “Chinese-Japanese style” furniture in the last third of the 19th century. He started his wood-sculpting career in 1849, when he sent some furniture pieces in natural décor to the horticultural exhibition. He then became the head of a small team of sculptors when he was just 19 years old. In 1853, he had a factory and a store of furniture located at 36 and 38 Rambuteau Road. During this time, he worked with his brother, Louis Gustave, under the name “Viardot Brothers and Company.” In 1860, he created his own workshop, “G. Viardot” at 5 Grand-Chantier road, and became head of the family business that he kept until 1872. He decided to devote himself to “Chinese-Japanese style furniture,” which he was able to observe mainly at the 1867 World Exposition. At this same exposition, he was awarded four medals. It’s with this production that he was awarded at the 1878 World Exposition with a silver medal. Following that, he practiced consecutively at 15 Chaume road, 3 Archives road in 1878 and 36 Amelot road near the end of the century. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother of pearl inlays from Tonkin. He enlivened his furniture with bronze decorations, of which he made all the designs by hand. Over the course of the years, the success only continued to grow, particularly at the expositions of Nice and the 8th exposition of the Central Union of Decorative Arts in 1884. In 1885, he participated in the World Exposition of Antwerp where he obtained a gold medal. At this time, the shop employed 90 – 100 workers, sculptors or cabinetmakers, a lot of who were educated directly by Gabriel Viardot. Following this exposition, he was promoted to the rank of Knight in the Legion of Honor (December 29 1885). In 1889, he was at the World Exposition that took place in Paris and awarded a gold medal. He obtained the same award at the 1900 World Exposition.

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.11320
Display cabinet with Far Eastern decoration in the style of Gabriel Viardot (1830-1906)

This window opens with a glass door on the inside to a shelf stretched with red velvet in the upper part. In the lower part, it opens with two doors engraved and decorated with bronze dragons. Ornaments of openwork bronze plates. Cabinet in the style of Gabriel Viardot, leader of cabinetmakers specialized in Japanese and Chinese furniture.

Ref.11313
Gabriel VIARDOT (1830-1906) - Japanese style shelf cabinet with mother of pearl decoration

Stamped "G. VIARDOT". This cabinet with shelves is signed by the Parisian cabinetmaker Gabriel Viardot and has a rich japanese style decor: dragon, heron and turtle in bronze, inlaid ivory, bone and mother of pearl decorated with flowering branches. It opens with three doors and a drawer. It is surmounted by an important Foo dog in polished varnished bronze, which is one of Gabriel Viardot's trademarks. Its asymmetrical construction is characteristic of the creations of the Parisian cabinetmaker. The composition thus alternates solid elements and empty spaces. The central leaf is adorned with a carved and inlaid mother-of-pearl panel from Tonkin. The most outstanding decorative element of this cabinet is a Foo dog crowning the piece of furniture. To the right of the cabinet, supporting a tablet, a crane resting on the back of a turtle is also made out of polished varnished bronze as the sinuous dragon located in the lower part of the furniture. These are, just like the winding base, often present on the furnitures by Gabriel Viardot.

Ref.11900
Alexandre BELLANGÉ - Important cupboard, ebony veneer and gilded bronze, coming from the Chateau of Dampierre

Dated from 1853, this exceptional cupboard with very large dimensions was made for Honoré Théodoric d’Albert de Luynes, 8th Duke of Luynes, whose monogram "AL" is shown on the four cartridges placed at the cornice of this piece of furniture. It comes from the Chateau of Dampierre, historic castle of the Albert de Luynes family since 1663. Made out of ebony veneer and gilded bronze, this cupboard is a true masterpiece by cabinetmaker Alexandre Bellangé. The doors are separated by three console legs which modillons are adorned with false trimmings in gilded bronze but highly realistic. These modillons are surmounted by three women masks representing Autumn, with bunches of grapes and vines, and Summer, with wheat ears and wildflowers. These same masks are found on a sumptuous pair of consoles from Her Majesty Queen Elizabeth II's collection at Buckingham Palace in London. These consoles were made in 1820 by Louis-François Bellangé, Alexandre's father. When it was rediscovered, this large cupboard was placed in front of the door of the library’s chateau, probably moved here from its original location during the 20th century.

Ref.12255
Group of four Neo-Gothic style confessionals in oak

A group of four antique confessionals in Neo-Gothic style, made of oak.

Ref.12211
Beautiful Louis XVI style paneled room with architectural decoration inspired by the antique, late twentieth century

This Louis XVI style paneled room was made at the end of the 20th century. It is composed of an architectural stucco and staff decoration on wood panels inspired by the antique. Rhythmed with pilasters with Corinthian capitals, this woodwork presents two antique arches facing each other, framing mirrors and whose ornamental friezes are enhanced with gold. On either side of these arches, the frames with egg friezes of the rectangular mirrors are also decorated with gold. The background painting as well as that of the pilasters imitates marble in pastel blue and orange tones. The staff alcoves are surmounted by panels inhabited by foliage.

Ref.12196
Pair of late 20th century Art Deco style wood trompe l'oeil doors

This pair of doors presents a painted décor of wood trompe l'oeil panels in an English Art Deco taste. The decor is the same on one of the two sides of each door. The back of one of the doors is adorned with a mirror, on the other one we find another decoration composed of painted panels imitating wood underlined by black painted frames.

Ref.12677
Old wrought iron entrance door of a Napoleon III period mansion.

This old entrance door was made in the second half of the 19th century in wrought iron. It is composed of a lintel and a single leaf door. It presents an openwork decoration in repoussé iron sheet in Regency style composed of foliage partly inhabited by acanthus leaves. The frames were originally glazed but the glass is damaged and missing.

Ref.12697
Albert CHEURET (1884 - 1966) (in the taste of), set of 5 alabaster and patinated bronze wall sconces, late 20th century

Set of five oval alabaster wall sconces and patinated bronze foliated decoration realized at the end of the 20th century in the taste of Albert Cheuret (1884 - 1966). This artist realized throughout his career furniture and decorative objects but is especially known for his alabaster and patinated bronze lamps which mix Art Nouveau, Belle Epoque and Art Deco inspirations.

Ref.12868
Lot of 8.5 m² of antique hexagonal terracotta tiles from the Tuileries de Perrusson, Charente, end of the 19th century

Antique floor composed of hexagonal terracotta tiles with the mark on the back where we can read « Grande tuilerie mécanique des Charentes Perrusson Charente". This familial company was created in the late 19th century by Jean-Marie Perrusson. In 1922, the factory is part of the sale group Comptoir des Tuileries et briques des Charentes et de l'Ouest, formed by the three tilesfactories of Roumazières and La Rochefoucauld. About 262 tiles of which the six sides are 4" 1/2 inch for 8" 7/8 inch width and 13/16 inch thick. The whole surface area is about 8.5 m².

Ref.4596
Louis XVI style fireplace made of Carrara marble with friezes of pearls

This beautiful Louis XVI style fireplace was made of Carrara marble in the late 19th century. Its curved jambs and its straight entablature are adorned with delicate friezes of pearls that come underline its edges. Its entablature also bears on each corner two beautiful roses, characteristic of the Louis XVI style.

Ref.13515
Paneled room with velvet and Cordove leather decoration, 19th century

These paneled room elements are a French worj from the late 19th century. It is composed of mainly panels adorn with Cordova leather with flowered scrolls and doors of which some are adorned with ppink velvet hanging.

Ref.11427
Gabriel Viardot (attributed to), Japanese table with bones birds marquetery, circa 1870-1880

This japanese table, made of tainted sycamore in the last decades of the 19th century, is attributed to the Parisian furniture maker Gabriel Viardot (1830-1906), specialized in the creation of Chinese and Japanese inspired furntiure. It's during the 1867 World Fair where he discovered the Japanese Art, the Gabriel Viardot decided to devote himself to “Chinese-Japanese style furniture”. It’s with this production that he was awarded a silver medal at the World's Fair of 1878. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother of pearl inlays from Tonkin. He enlivened his furniture with bronze decorations, of which he made all the designs by hand. In 1885, he participated in the World Exhibition of Antwerp where he obtained a gold medal. At this time, the shop employed 90 – 100 workers, sculptors or cabinetmakers, a lot of who were educated directly by Gabriel Viardot. Following this exhibition, Gabriel Viardot was promoted to the rank of Knight in the Legion of Honor (December 29 1885). In 1889, he was at the World Exhibition that took place in Paris and awarded a gold medal. He obtained the same award at the World's Fair of 1900. The furniture maker is making here, a very beautiful table of which the shape and the decors are inspired by the Far East esthetic. The slab with enrolled edges is adorned on its central part with an important inlaid decoration of bones depicting birds on cherry tree branches. It rests on a very worked foot receiving a carved and open work decor as bronze pieces with high quality carving, typical of the furniture maker's work. The feet with sharp claws sculpted in the wood support on their middle an open work strut.

Ref.12793
Gabriel VIARDOT - Beautiful square stand with a coiling dragon

This beautiful stand was made of tainted sycamore circa 1880-1890 by the famous french furniture maker of the late 19th century, Gabriel Viardot (1830-1904) as indicates the signature. It is composed of a square shelf with a sculpted decor of abstract geometrical motifs typical of the Asian art. The openwork base receives a beautiful coiled dragon in gilt bronze with a remarkable carving. The square bottom with steps rests on four feet. Gabriel Viardot became famous from the 1870 with his production of furniture inspired by the Asiatic ones, of which he makes his specialty. He takes his inspiration from the 1867 Worlds's Fair where Japan participates for the first time. His very characteristic furniture production was sometimes inlaid with Tonkin mother-of-pearl, but always made with tinted sycamore wood.

Ref.13600
Edmond Anne Antoine TAPISSIER « Les sirènes » Salon of 1896

This large painting was made by the painter Edmond Tapissier between 1893 et 1896. The artist depicts here a scene on a bank where three naked young women watch a boat far away. The composition is astonishing as the whole balance of the painting, which was tipping to the left, is re-established by the monkey and the parrot. The harmony of the colors is brought by the strength of the peacock and the parrot. Also, the pine branch which is going down the sea breaks the monotony of a too important stretch of water.Edmond is the second son of the silk merchant Antoine Tapissier and Benoite-Angélique Towex-Comte. Antoine Tapissier who stayed widower put his sons in the Collège des Chartreux in Lyon. In 1879, Edmond was 18 years old, he’s an elegant and cultured young man who is seeking for his path. He starts by following classes with the painter Chatigny who was the student of Picot and Chenavard. Chatigny knew Ingres, and was friend with Henner, Bertrand, Courbet and Manet. 1882 was the year of the drawing from nature learning and the first mural decorations. The following year he leaves for Paris and dedicates himself to the copies of the Italian and Flemish old masters. From 1883, the newspaper started to speak about him and recognize that “there is hope”. During the Autumn 1887, he integrated the Ecole des Beaux Arts and entered Cabanel and Cormon’s workshops. Tapissier made his first exhibition in the Salon in the same year. It’s in the period of the portraits tainted with symbolism that he’s making his debuts. He’s received by Puvis de Chavanne to the Society des Artistes Français in 1891. In the same year he decorated the chapel in Saint Étienne and composed there three large scenes of 3 meters, giving him appetite and knowledge for the large compositions.

Ref.11368
Gabriel Viardot (attributed to) - Japanese style presentation cabinet with a laquer and mother-of-pearl decor

This presentation furniture made of tainted sycamore made in the 19th century was certainely a work by the Japanese style furniture maker Gabriel Viardot (1830-1904). Gabriel Viardot became famous from the 1870 with his production of furniture inspired by the Asiatic ones, of which he makes his specialty. He takes his inspiration from the 1867 Worlds's Fair where Japan participates for the first time. His very characteristic furniture production was sometimes inlaid with Tonkin mother-of-pearl, but always made with tinted sycamore wood. Thus, our furniture is divided into two parts. The superior part forms a display opening by a glass door and giving access to the asymmetrical shelves. It is surmounted by a polished varnished bronze dragon that we find very often on the furniture maker's production. The lower part also shows shelves of which the mount is adorned with coiled polished varnished dragon and a lacquered door adorned with birds in a roses and hydrangeas mother-of-pearls decoration.

Ref.4948
Empire period mantel in belgian petit granit with bronzes on the theme of the death of Archimedes

Rare Empire period mantel in belgian petit granit from the 19th century. It presents a gilded bronze decoration, finely chiseled on the theme of Antiquity. The entablature is adorned with trophies on either side and a bronze depicting the death of Archimedes, inspired by the story told by Plutarch. According to him, in 212 BC, when Syracuse fell to the Romans, a soldier found Archimedes drawing circles. The soldier disturbed Archimedes in his activity and the scientist told him : « Do not disturb my circles! ». The Roman soldier is said to have killed Archimedes with a single blow of his sword, offended by the old man's refusal to submit to his authority. The pillar-like jambs are decorated with gilded bronze stars and torches. They rest on square bases.

Ref.4293
Large Louis XVI style mantel in yellow Sienna marble with entablature adorned with the head of Apollo and arrow heads on the jambs

This large Louis XVI style mantelpiece was carved in Sienna yellow marble in the 19th century. The lintel is adorned with a rich and delicate low relief sculpture: in the centre, a head of Apollo with plaited hair is framed by an oval motif of reeds and acanthus scrolls. Further on, a tree branch laden with leaves and fruit intertwines with a bow. The whole is framed by a frieze of pearls, beneath which run fasces. At the base of the jambs, a floral motif is set in a small cartouche surrounded by pearls. The protruding jambs are adorned with arrow heads, a geometrical frieze, a fluted engaged sheathed column ending in a water leaf pattern and rounded fasces above the base of the mantelpiece.

Ref.15180
Baroque church altar and altarpiece of the 17th century

This large Baroque altarpiece was made for the chapel of the Chazeron Castle, near Clermont-Ferrand, in the 17th century. In the 11th century, there was already a keep on the site of Chazeron castle. The building was rebuilt and extended to become a castle by the end of the Middle Ages, as illustrated in 1460 by Guillaume Revel. In the second half of the 17th century, François de Monestay (1617-1697), Marquis of Chazeron, decided to modernise the medieval castle. He commissioned Jules Hardouin-Mansart to build two new wings and had the interiors panelled. The chapel's walnut altar dates from this remodelling. Above the altar itself is a high carved wood panel. In the centre is the tabernacle in the form of a small temple in the style of Antiquity, flanked by composite fluted pilasters; it is surmounted by two unicorns framing the arms of the commissioner, themselves crowned by an angel. On either side, set against painted niches, are two statues of saints framed by four eminently Baroque twisted columns, around which vine stocks evoke the wine offered during the sacrifice of the Mass. The side columns are flanked by fire pots, while the two central columns are topped by praying angels. In the centre is a low relief depicting God the Father blessing, in line with the tabernacle. François de Monestay's coat of arms is easy to identify, because it can also be seen on a canvas painted after Hyacinthe Rigaud's portrait of the Marquis de Chazeron, kept at the Hôtel de Noailles in Saint-Germain-en-Laye. The coat of arms is surmounted by a crown of a marquis and surrounded by the collars of the Order of Saint-Michel and the Order of the Holy Spirit, which he was awarded following a heroic charge against the enemy at the age of 77. The altar can therefore be dated to the 1690s. Although classical art triumphed in Paris and Versailles in the 17th century, border areas and the countryside adopted Italian artistic models. This altarpiece features a structure often used for Baroque altars, although in this case there is a certain sobriety, particularly in terms of polychromy. Although the richness of the altarpiece lies primarily in its abundant sculpted ornamentation, the addition of a sky-blue background highlights the tabernacle, the sculptures of the saints and the top of the altarpiece, and gives depth to the whole, in a very Baroque style. Finally, the twisted columns intertwined with vines are inspired by the baldachin designed by Bernini for the altar in St Peter's Basilica in Rome between 1624 and 1633. Therefore, the altar and altarpiece in the chapel at Château de Chazeron are a fine example of the penetration of Baroque art in France in the second half of the Grand Siècle.

Ref.15187
Neo-Gothic style oak saddle set

Ref.15194
Pierre-Adrien DALPAYRAT, Woman with Muff

This glazed stoneware sculpture was executed by Pierre-Adrien Dalpayrat at the turn of the 19th and 20th centuries. Pierre-Adrien Dalpayrat is an extremely important ceramist, notably due to his mastery of the flamed stoneware technique. He founded his own faience workshop in Bourg-la-Reine and participated in various exhibitions, where his pieces achieved considerable success. The statuette represents a woman walking in the wind; her shoulders covered with a cape, she keeps her hands tucked into a muff for warmth. The suppleness of the modeling of the skirt, as if lifted by a strong wind, demonstrates the artist’s virtuosity. Similarly, the mastery of the glazed stoneware technique is evident in the color and sheen effects of the material. While blue dominates, it is nuanced with deep “oxblood” red, which contributed to the artist’s fame, and green. The work is signed and numbered under the base.

Ref.14920
Taxil DOAT for the SÈVRES Manufacture, Oxblood Red Glazed Porcelain Jardinière, 1907

This large jardiniere in glazed red porcelain was created by Taxile Doat in 1907 in his workshop in Sèvres. A talented ceramist, Taxile Doat worked for the Sèvres manufactory between 1877 and 1905, while maintaining a personal workshop in Paris, and later in Sèvres. He taught ceramics in the United States between 1909 and 1915. Influenced by East Asian arts, he presents here a vase with a very refined form and decor. Its shape and color echo Asian pieces such as an 18th-century Chinese jardiniere. The ceramist adopted this form while making it his own, adding cabochons of green and blue glazed ceramic that define the character of the piece. The work is signed, dated, and located under the base. A porcelain vase with very similar decoration, which was part of the collection of the gallerist Oscar Graf, a specialist in the artist, also demonstrates Doat's fascination with traditional Chinese porcelain, whose forms he repeatedly reinterpreted.

Ref.15047
Armand POINT, Preparatory drawing for the painting Young Woman with the Green Toque, 1905

This portrait of a woman in red chalk was executed by Armand Point in 1905. A lover of Italy from 1893 onwards, Armand Point (1861-1932) was notably influenced by the Florentine Primitives and the masters of the Italian Renaissance. This work is a testament to that influence. It is the preparatory drawing for one of his paintings, Young Woman with the Green Toque. The model is the artist’s second wife, Helga Weeke, with whom he traveled to Venice for the second time in 1905. In the background, one can distinguish a campanile, perhaps that of the Basilica Santa Maria Gloriosa dei Frari, and the silhouette of a Venetian palace with precisely described architecture, behind the canal where a canoe is navigating. On the right, a garden adorned with a fountain. The softness of the woman’s features and the serenity of her expression echo another red chalk drawing of Helga, characterized by its pronounced sensuality.

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.5524
Napoleon III style mantel with modillions carved in Enjugerais marble

Ref.14015
Japanese Half-Moon Display Cabinet, late 19th century

This Japanese-style half-moon display cabinet was made at the end of the 19th century. It is part of the Japonism trend that was then sweeping through European art. Two of its four legs are wrapped in gilded copper sheaths in the shape of lion’s paws, with their stylized upper ends reminiscent of the depiction of clouds or smoke in East Asian art. At the shelf level, fine openwork ornamentation also draws inspiration from East Asian motifs. The central body of the cabinet, still in a half-moon shape, is lined with red velvet fabric. The door is adorned with a small gilded bronze dragon breathing fire. It is topped by a tall, narrow display case crowned with a pagoda roof and a roaring gilded bronze dragon. Japonism emerged in the West under the influence of Japanese art, following Japan’s opening to the rest of the world and its participation in the 1867 Universal Exhibition. Painting, like the decorative arts, was transformed by contact with East Asian art, as evidenced by this delicate cabinet. In its style and the detail of its ornamentation, this piece of furniture can be associated with the production of the house of Perret & Vibert. Its lion’s paw-shaped legs, the fine openwork ornaments that are alternately geometric and curved, the small display case, and the fierce dragon crowning the piece are all indicators. This cabinet is, moreover, close to a display cabinet depicted in the sketchbooks of this prestigious house.

Ref.14505
Fonderie Fumière & Co, Rococo pink marble lamp with gilded bronze masks, circa 1906-1926

This lamp in pink marble and gilded bronze was created at the beginning of the 20th century, between 1906 and 1926. The bronzes were executed by the Fumière and Co foundry, successor to the famous Thiébaut foundry. An art foundry from 1851, the Thiébaut company collaborated with some of the most renowned artists (David d’Angers, Carpeaux, Falguière, Carrier-Belleuse, and Gustave Doré, among others) throughout the 19th century. At the beginning of the 20th century, it was notably taken over by Fumière, who used the name “Thiébaut Frères, Fumière & Co successor” between 1906 and 1926, allowing us to date our lamp to this period. The base of this lamp, in pink marble and gilded bronze, follows the decorative arts tradition under the reign of Napoleon III (1852-1870). At the lower part, the shapes, with their curves and counter-curves, as well as the leaf and shell motifs, are inspired by rocaille art; higher up, the straight shaft and neoclassical ornamentation recall the Louis XVI style, while the mascarons, like the base, echo the art practiced under the reign of King Louis XV. At the top, the bulb holder is particularly sleek. The high quality of the bronze chiseling and the beauty of the marble contribute to the elegance of this exceptional lamp.

Ref.14790
BOCH Brothers (ceramic), Th. FUMIETE (?), Portrait of a Japanese Lady in Earthenware, 1890

This portrait of a Japanese lady dated 1890 bears the signature, possibly apocryphal, of a certain Th. Fumiete, whom our research has not been able to trace. He worked for Boch frères, whose mark is visible on the reverse of the tiles. The Boch family began producing ceramics in 1748. However, the “Boch Frères” company was only founded in 1844, after many moves, by Eugène and Victor Boch and their brother-in-law Jean-Baptiste Nothomb. Between then and 1881, Victor Boch was at the helm, with engineer Charles Tock taking over until 1904. The assembled ceramic tiles form a large decorative panel. The woman, with her long black hair held back by several sticks behind her head, looks ahead, her head slightly tilted to the side. She is dressed in a kimono with a rich and colorful floral design over a tunic that closes tightly at the neck. She places her right hand on the wide belt (“obi”) that wraps around her. The decorative background is sprinkled with Japanese maple leaves. A primary decorative border adorned with stylized plant motifs (some resembling papyrus leaves) highlights the central figure. The entire piece is set in a wooden frame carved in bas-relief with similarly stylized plant motifs forming scrolls. The enthusiasm that arose in the second half of the 19th century, notably following Japan’s reopening to international trade and its participation in the 1867 Universal Exposition, became known as “Japonism”. This sparked a revolution in Western art, strongly inspiring many artists across all fields. This piece demonstrates the strong influence of Japanese art on Western creations at the end of the 19th century, both in subject and execution (the deliberate absence of depth and the use of flat colors are characteristic of Japanese prints). This work, beyond its intrinsic aesthetic qualities, is emblematic of this movement and reflects the enthusiasm aroused by Japanese works, objects, and even lifestyle among Westerners at the end of the 19th century. The ceramic is original. The design on three tiles has undergone a previous high-quality restoration. The signature has also been restored, suggesting it may be inaccurate.

Ref.15168
Louis XVI style trumeau adorned with a frieze of ovals and pearls

Ref.15214
Louis XVI style trumeau with flower basket and garland of flowers

Ref.15440
Napoleon III style fireback with woman's mask and garland of flowers in gilded bronze and glass.

Ref.15441
Jean-Jacques FEUCHÈRE (attributed to), Jardiniere with Three Tritonesses in Porphyry and Marble, first half of the 19th century

This jardiniere with three tritonesses was created in the first half of the 19th century, with the sculpture attributed to Jean-Jacques Feuchère, and the basin (or labrum) in porphyry dating back to the 17th century. Porphyry is “a purple rock speckled with white, extracted from the Eastern Egyptian desert”. Due to its color, it was associated with imperial prestige in antiquity. Its extreme hardness, requiring expert craftsmanship, further enhances the symbolic prestige of this material. The quarries where porphyry was mined were located in the Egyptian desert and were abandoned in the 5th century. As a result, all objects made between that time and the 18th century were created by reusing ancient pieces. Here, the porphyry is paired with white marble, creating a harmonious contrast between the two parts of the work. The porphyry basin is inspired by models of ancient labra as found in the most prestigious Roman baths. However, it was likely made in the 17th century, a time when the cutting of porphyry resumed. Its perfectly circular form, carved from a single block, is emphasized by alternating convex and concave curves, with the upper section flaring outwards. A discreet circular opening allows water to drain. The sculpture serving as the support for the basin is attributed to Jean-Jacques Feuchère (Paris, 1807-1852). The son of a chiseler, Feuchère initially worked for goldsmiths and bronze manufacturers before transitioning to more monumental work. He exhibited at nearly every Parisian Salon from 1831 until his death in 1852. The sculptural ornamentation is intricately detailed. On a hexagonal base covered in moss from moisture, three kneeling tritonesses rest on their split fish tails, which intertwine with those of their neighbors. Algae transition between their fish-like lower bodies and their feminine upper bodies. The three tritonesses, their heads tilted to the side and crowned with leaves and fruits, act as caryatids, supporting the basin with their folded arms, which are joined behind their heads. Reeds emerge between each of them. The motif of the tritonesses is inspired by numerous 18th-century works featuring hybrid aquatic creatures, especially in Rococo and Baroque art. However, their style belongs to the 19th century, a time when similar motifs were revived. The tritoness motif also appears in the design of the central piece of a surtout created by François-Désiré Froment-Meurice (1801-1855) for the Duke of Luynes between 1846 and 1851 (now in the Louvre Museum), based on a drawing by Jean-Jacques Feuchère. A photograph in the collections of the Orsay Museum, taken around 1858, provides a clear view of these figures, particularly one whose posture closely resembles that of our tritonesses. Our jardinière follows in the tradition of this iconic work. The fountain formerly located on Rue du Faubourg Saint-Martin in the 10th arrondissement of Paris, erected in 1843, features the same motif: on either side of the fountain’s base, a triton and a tritoness with intertwined tails support a basin in their folded arms, which in turn holds a putto and a swan. As with our jardiniere, the tritoness has a double fish tail, a subtle transition between human and animal forms, and the posture of a caryatid with her arm raised over her head. Nearly identical tritoness-caryatids to those on the Parisian fountain were still offered for casting by the Ducel Foundry, later acquired by the Val d’Osne foundry, among their fountain and basin ornaments (Ducel-Val d’Osne catalog, circa 1880, plate 212). The tritoness motif characterizing our jardinière, a popular theme in the 19th century, was already in use in the first half of the century by Jean-Jacques Feuchère or foundries, among others. It continued to be significant in the second half of the century, though the motif became more standardized, unlike the uniqueness and originality of the sculpted base of our work.

Ref.15499
E. BRUN after Jules-Claude ZIEGLER, Portrait of Louis de Champagne, Count of Sancerre, 1920

This portrait of the Count of Sancerre was made by E. Brun in 1920. It is a copy of the work by Jules-Claude Ziegler preserved at the Château de Versailles, as indicated by the inscription placed at the bottom left of the canvas. The original portrait was commissioned for the Galerie Militaire at Versailles in 1834; upon its delivery, it was placed in the Hall of the Constables. Under the reign and initiative of Louis-Philippe (1773-1850), the former residence of the kings of France was transformed into a museum dedicated to “all the glories of France”. In this context, numerous works were commissioned to illustrate the political and military history of France, including this portrait. The copy of the Versailles portrait was likely commissioned by the Sancerre family for their personal residence, the Château de Sancerre, where it was displayed. The constable and his mount occupy the center of the composition. Very dignified, he turns his head to the left, as if his attention has been drawn there – a way for the painter to partially conceal his strabismus, as noted in the Chronicle of the Monk of Saint-Denis. He guides his horse with his left hand while holding a staff of office in his right. He is dressed in armor and chain mail, over which he wears a large red cape and a yellow tunic bearing his family’s coat of arms. The crest is also present on the barding covering the horse’s upper body, surmounted by a comital crown. The horse is shown in motion, its tail in the wind, imparting a sense of movement to the portrait. The scene unfolds against a rocky landscape extending to the horizon. The sky is heavy with clouds at the lower part, transitioning from dark gray to a lighter tone, culminating in a blue sky in the upper third of the canvas. The copy is rigorously identical to the original, with two exceptions: the absence of the artist’s signature on the rock, replaced by the inscription, and the inclusion of a castle in the background. This was likely an express request by the commissioners of this painting: as it was intended to adorn the walls of the Château de Sancerre, it seemed fitting to depict the structure as an integral part of the count’s history. Louis de Champagne, Count of Sancerre (1341/42–1402), was Lord of Charenton, Beaumetz (or Bommiers?), Menetou-Salon, and later Ambrault (1391). Having fought in numerous battles during the Hundred Years’ War, he was named Marshal of France in 1368 and distinguished himself in combat on many occasions. The chronicler Jean Froissart (c. 1337-c. 1410) described him as “a valiant man and a boldly steadfast knight” and “the finest ornament of French chivalry”. He also served as an ambassador to England in 1385, governor of Languedoc from 1390 to 1401, and finally Constable of France in 1397. The Count of Sancerre was buried at the Basilica of Saint-Denis, where his effigy can still be seen today. This effigy, the closest temporal likeness of Louis de Champagne, was likely a source of inspiration for Jules-Claude Ziegler’s portrait. He is depicted here as constable, a title denoting the supreme commander of the king’s armies from the late 12th century, and as Lord of Sancerre, with the château in the background and his coat of arms included in the imagery. This representation aligns with the 19th century’s documentary interest in French history, particularly in the depiction of armor. This historical passion extended into the 20th century, as seen in the creation of this copy, which was accompanied by a frame adorned with neo-Gothic cabbage-leaf moldings.

Ref.15562
Louis XVI period gilded trumeau decorated with a garland of flowers

This overmantel is made of wood and decorated with gilding. It is from the Louis XVI period and embodies the style of the period, depicting ribbons or flowers, motifs characteristic of the decorative arts under Louis XV. Gilded moldings frame the overmantel, and the mirror and decorate the top of the overmantel. In the space created by the molding at the top, ribbons and a garland of wildflowers decorate the overmantel. In a central position, a ribbon knot is placed on top of the molding, supporting a ring that allows the garland to pass through.

Ref.15592
Japanese-style daybed – Maison des Bambous

Rectangular daybed in carved blackened wood, resting on four scroll feet. The two ends are built as box compartments with double doors opening onto storage space. The surface is decorated in low relief with geometric, vegetal, and Asian-inspired patterns distributed across the legs, side panels, and apron. This piece is part of the production of Far Eastern–style furniture developed in France during the late 19th century, notably by the Maison des Bambous, founded by Perret & Vibert. A small ivory-like plaque is screwed on the back, inscribed: “Maison des Bambous – 170 Boulevard Haussmann – Paris.”

Ref.13398
The Oration of Mark Antony, second half of the 19th century

This painting, depicting Marc Antony’s funeral oration over the body of Julius Caesar, was executed in the second half of the 19th century, after 1879. The scene of this painting takes place in the days following Caesar’s assassination in 44 B.C.E. Around twenty conspiratorial senators had struck him down with their weapons. In the aftermath of the event, Rome descended into turmoil. While the Senate sought to preserve peace, Caesar’s funeral, depicted here, only added to the public disorder: initially, the people seemed inclined to align with the conspirators, but the public display of Caesar’s body, Marc Antony’s speech, and the reading of the late consul’s will turned the tide. This is the moment shown in the painting, recounted by various ancient authors, including Suetonius and Appian of Alexandria, as well as by Shakespeare. The imposing architectural setting is structured by a grand staircase and monumental columns, symbolizing both the might of the Roman Empire and Caesar’s authority at its helm. The funeral bed occupies a central place, bearing an inanimate body, pale yet dignified. The grieving populace, gathered to mourn the great man, forms a long diagonal line that fades into the shadowy background, suggesting an endless crowd. The variety of figures, their number, and the diversity of gestures and expressions represent the entirety of the Roman people, come to pay homage to the consul. On the right, Marc Antony raises Caesar’s bloodstained toga. The scene seems drawn from Shakespeare’s tragedy, in which Marc Antony descends from his platform to invite the people to gather around Caesar for the reading of his will. Suetonius, meanwhile, describes Caesar’s funeral pyre erected in the Field of Mars: the body is laid on an “ivory bier draped in purple and gold” alongside the “garments he wore when he was killed.” The painter carefully portrays the “procession of all those wishing to bring offerings.” Appian of Alexandria adds the detail of Piso, Caesar’s executor, who insisted on making the will and the funeral public. Piso may be the figure descending the steps in the upper right, holding a parchment scroll. According to Appian, after Caesar’s body was carried to the Forum, Marc Antony read aloud his decrees and, overcome with grief, “unveiled Caesar’s body, displayed his robe... torn by dagger blows and still stained with blood.” Although the painter embraces pathos, he refrains from depicting Caesar’s face disfigured by wounds, as described in Plutarch’s account. Beyond the architectural details and textual fidelity, the artist’s taste for historicism is evident in the inclusion of incense burners and the meticulous rendering of garments. According to ancient sources, the tumult caused by Caesar’s funeral was so great that it culminated in the creation of a spontaneous pyre, as the crowd could not agree on another location and the risk of fire was lessened in the Forum. The people then sought to avenge Caesar by setting fire to the homes of the conspirators. The moment depicted is thus a pivotal one: between approval of the assassins and mourning, and between mourning and vengeance, embodying a peak of tension and emotional expressiveness. The renowned German history painter Karl von Piloty created an Assassination of Julius Caesar that might be considered a prelude to this work. Though less famous than the assassination of Julius Caesar, the subject of Marc Antony’s oration saw renewed interest in the 19th century. For instance, Georg Edward Robertson (1864-1926) created a Funeral Oration of Marc Antony Over the Body of Caesar around 1894-1895, now held in the Hartlepool Museums’ collections. Its composition features similar elements to this painting: an imposing architectural framework evocative of ancient Rome; the mourning crowd; the body laid out for all to see; and Marc Antony, advocating for Caesar and his cause against that of the tyrannicides. This monumental work thus captures a lesser-known but equally fertile subject, rich in expressiveness and historical representation, deeply rooted in the century of its creation.

Ref.12564
Carlo BUGATTI, Pair of Moorish style wall console sconces, circa 1888

This false pair of wall sconces is quintessentially characteristic of Carlo Bugatti’s art, designed by him around 1888. Carlo Bugatti (1856-1940) trained at the Brera Academy in Milan and later at the École des Beaux-Arts in Paris before turning his focus to furniture design. He exhibited his works at the Italian Exhibition at Earl’s Court in 1888, at the 1900 Paris Exhibition – where he won a silver medal – and in Turin in 1904, where he received an honorary diploma. Bugatti later moved to France and decided to focus on silverwork. These wall sconces perfectly embody his unique style. The geometric influence is evident in his use of circles, a recurring motif in his work. Hammered and perforated, the circular element supports a small square-topped cedarwood console adorned with triangular patterns and bone inlays inspired by Islamic art. The console is mounted on a stand resting on a base decorated with stylized rosettes. Suspended beneath is a small dome holding three chains, which are attached to a perforated copper bowl. The two sconces feature slight variations in their decorative details. This model was presented at the Italian Exhibition in London in 1888, where Carlo Bugatti was awarded an honorary diploma. On this occasion, a page featuring his works was published in the journal The Queen, The Lady’s Newspaper & Court Chronicle on July 7, 1888. The ensemble was described as “quaint”, meaning “picturesque”, a term that aptly reflects the variety of influences in Bugatti’s work. While he primarily drew inspiration from Moorish art, he also incorporated elements from other styles, eras, and cultures. The Musée d’Orsay in Paris holds a photograph of this same model, published between 1888 and 1898, likely for commercial purposes. Additionally, the Kunstgewerbemuseum in Berlin houses another version of this wall sconce. This pair of wall sconces is thus a concentrated expression of Carlo Bugatti’s decorative vocabulary, showcasing both his creativity and the importance of Moorish influences in his work, though he cultivated a distinct and unique style throughout his work.

Ref.11700
Louis MALARD, Unique “Ramses-Style” Bedroom in Walnut With Gold Leaf Embellishment, 1889 World’s Fair

H. 271 cm / 106” 11/16; W. 260 cm / 102” 3/8; D. 232 cm / 91” 5/16 (bed without canopy) H. 74 cm / 29” 1/8; W. 231 cm / 90” 15/16; D. 148 cm / 58” 1/4 (canopy) H. 73 cm / 28” 3/4; W. 212 cm / 83” 7/16; D. 74 cm / 29” 1/8 (bench) H. 101 cm / 39” 3/4; W. 45 cm / 17” 3/4; D. 42 cm / 16” 9/16 (chairs) This extraordinary neo-Egyptian set bedroom crafted in carved solid walnut and enhanced with gold leaves (yellow, green, and red), was created by Louis Malard for display at the 1889 Paris Exhibition, where it earned him a silver medal. The cabinetmaker Louis Malard operated a workshop and furniture store located at 9 bis, rue Maubeuge in Paris. The establishment produced and sold furniture in various styles, particularly historical ones. It exhibited different furniture ensembles at the 1889 and 1900 World’s Fairs. Various reports and advertisements published in Le Figaro allow us to date his activity to between 1886 and 1903. The centerpiece of this bedroom set is the bed. While it does not resemble Egyptian beds as depicted in archaeological findings from the 19th century, it incorporates the architectural and artistic codes of ancient Egyptian art to create a monumental, unique work that aligns with the requirements of modern comfort. The canopy is adorned with an Egyptian temple pylon at its center, flanked by vultures with outstretched wings – symbols of the goddess Nekhbet – and lotus flowers. The headboard features sphinx figures, various hieroglyphs, and scenes inspired by ancient monuments, including Ramses II on his chariot at the Battle of Kadesh (circa 1274 B.C.E.). The artist drew inspiration for this from a low-relief in the Great Temple of Abu Simbel, as documented by Jean-François Champollion in his work Monuments de l’Égypte et de la Nubie (Monuments of Egypt and Nubia). On either side of the headboard, the bedside tables are decorated with life-size seated figures whose poses mimic the monumental statues of ancient Egypt. Their garments reflect the iconographic codes of feminine fashion visible in the low-reliefs of ancient art. The foot of the bed is guarded by two lion-sphinxes in a hieratic posture, while the frame combines hieroglyphic signs, worshipper figures, and representations of the god Anubis. The bed is accompanied by a bench whose decoration mirrors that of the bed frame, along with the motif of sphinxes, and a pair of chairs adorned with scarabs – sacred animals to the Egyptians symbolizing the god Khepri, the rising sun. The presentation of this bedroom furniture at the 1889 Paris Exhibition was a resounding success: in addition to the silver medal awarded to its creator, it received widespread critical acclaim, including a highly favorable article in Le Figaro. It also achieved commercial success, being purchased by Countess Bathilde Ducos (1851-1927), daughter of a former Minister of the Navy under Emperor Napoleon III. It was sold as part of a theatrical yet less elaborate furniture ensemble forming a bedroom: a wardrobe, a fireplace, and a pair of draperies. This bedroom set was auctioned in 1896, probably to Charles Henri Duquesne, whose family kept it until 2019, when it was acquired by the Galerie Marc Maison. Today, this bed serves as a reminder of the fascination that 19th century artists and their contemporaries had for ancient Egyptian art, which inspired rich creations and reinterpretations. Literature: Le Figaro, July 1, 1889, 35th year, 3rd series, no. 182, p. 2, in the “Courrier de l’Expostion” section. Charles Oudart (dir.), Gazette de l’hôtel Drouot, Saturday, June 30, Sunday, June 31, and Monday, June 1, 1896. Jean-François Champollion, Monuments de l’Égypte et de la Nubie…, volume I, Paris, Firmin Didot Frères, 1835, plate XIII.

Ref.14891
L’Escalier de CRISTAL, Japanese-style spherical clock in engraved crystal and polychrome enamels

This exceptional Japanese-style clock in cut crystal, enameled and gilded, is a creation by L'Escalier de Cristal, carefully recorded by Henry Pannier in his Carnet Bleu. The cylindrical base is engraved and enameled with plant motifs typical of Japanese decorative style: leaves, tendrils, and coloquintes unfold around an openwork piece in gilded bronze. At the end of the 19th century, these plant elements were revisited and exaggerated by Art Nouveau artists.The spherical body of the clock is mounted on a gilded bronze lotus with finely chiseled leaves. The engraved and gilded dial depicts a marsh landscape with reeds and lotus flowers, from which ducks take flight. The hours are marked by symbols inspired by Japanese writing, gilded on a black enamel background. This clock is impressive for the finesse of its execution and the originality of its design. The details of this piece are extremely delicate, as evidenced by the finely chiseled brass hands representing a menacing dragon with its mouth open, a characteristic feature of the clocks on the Crystal Staircase. The back of the clock features a polychrome enamel decoration surrounded by scales depicting a rooster and a hen. A symbol of dawn, the rooster is a fitting motif for a clock in the style of the land of the rising sun. The hen, meanwhile, is a symbol of abundance.Decorative elements in gilded bronze are attached to each side of the upper part of the clock, giving it a sense of poise and presence despite its transparency. In addition, the irregular effect of the surface is skillfully controlled and gives a superb relief to the whole. Taking up a motif that was very fashionable during the reign of Louis XV and brought back into vogue in the second half of the 19th century, the clock is topped by a gilded bronze treasure chest straddling a grimacing toad. Famous for its “Tam-Tam” clocks inspired by Asian gongs, our model is one of the few to be made entirely of crystal. Its design is known from Henry Pannier's Carnet bleu. The entry in the notebook lists four orders for this exceptional piece (1). Signed under the base.1) Masseau, Annick et Didier, L’Escalier de cristal. Le luxe à Paris 1809-1923, Saint-Rémy-en-l’Eau, Éditions Monelle Hayot, 2021, p. 241.

Ref.15749
BACCARAT – Pair of White Opaline Vases with Gilded Japonist Decoration

This refined pair of white opaline vases is a creation of the renowned Baccarat crystal manufacturer, identified by its original label. Each vase, slightly flared and resting on a circular pedestal base, is adorned with an exquisite gilded Japonist motif. The decoration features a lush exotic landscape with tall palm trees, bamboo stalks, and rich foliage, all delicately rendered in fine gold. The contrast between the milky opaline glass and the shimmering gold decoration highlights the refined aesthetic typical of Baccarat’s production in the second half of the 19th century. The design reflects the European fascination with Japonism during that period. In excellent condition, these vases exemplify the technical and artistic excellence of the Baccarat workshops.

Ref.15804
Carved softwood high relief of an animal scene, 19th century

This softwood panel, almost certainly limewood, illustrating an animal scene is remarkable for the finesse of its ornamental details. In the foreground, a dog stands still at the edge of a pond. He has just spotted three ducks, two of which take flight to escape the hunter, who will soon rejoin his dog. The effect of perspective is particularly effective in this piece: the dog and the nearest reeds are sculpted in high relief, while the plants further away and the birds in flight are barely visible. This scene is completed by a frame that simulates wooden planks nailed together; the only reference to a human presence. An interlacing of aquatic plants, including lotuses, completes the composition, symbolising the perfect harmony between man and nature. The roughness of the planks is counterbalanced by the delicate stems and leaves that surround them. Part of the scene (the reeds, the ground, the dog's right hind leg and tail) emerges from the frame, giving the piece a particular liveliness and dynamism. Even though this beautiful sculpted panel dates back to the 19th century, it is Aubert-Henri-Joseph Parent (1753-1835) who established the reputation of this type of fine creation during the 18th century. Many artists followed in Aubert Parent's footsteps by creating panels of this kind. The Château de Versailles, for example, still has one of his high reliefs, which the sculptor gave to Louis XVI in 1777 and which was on display in the Retours de chasse dining room at Versailles.

Ref.15819
Entrance Door in Oak and Cast Iron, France, 19th Century

French entrance door from the 19th century, made of solid oak and adorned in its upper section with a finely cast iron grille. The ironwork, visible on both sides, features a symmetrical composition of leafy scrolls, palmettes, and floral rosettes. The glazed section is protected by an interior hinged panel that can be opened independently. The lower moulded wood panel retains a beautiful aged patina with wear marks attesting to its authenticity. The original cast iron handle is still present. This door combines strength, elegance, and the decorative craftsmanship typical of 19th-century French architecture.

Ref.14656
Ernest CARRIÈRE for CHRISTOFLE – Japonist Ovoid Vase “Seaweed and Fish” in Silvered Metal

This Japanese-inspired ovoid vase, designed by the ceramist Ernest Carrière, was produced by the renowned silversmith Christofle. The base is adorned with a frieze of seashells, and the body features a koi carp motif. The relief treatment of the carp lends the vase a unique presence, while the sinuous horizontal patterns represent seaweed swept by the current. The neck is decorated with a frieze of elegantly incised shrimp. A symbol of willpower, strength, and fertility, Japanese tradition attributes talismanic power to the image of the carp, ensuring happiness and wealth. Brother of the painter Eugène Carrière, Ernest Carrière (1857-1908) exhibited at the Salon des Beaux-Arts between 1893 and 1908. The "Seaweed and Fish" model was created in 1894 and exhibited at the Salon the following year. Presented as number 177 with the somewhat dry title "metal vase: fish," it reflects the final waves of Japonisme and introduces the elegant organic forms of Art Nouveau. This model exists in several sizes. Our example is signed Ernest Carrière and marked with the Christofle hallmark under the base. The base shows traces of gilding.

Ref.15738
F. GERDERÈS – Japanese-style billiard table in gilded and carved wood

This rare Japanese-style billiard table in gilt and carved wood bears the plaque of the Parisian manufacturer F. Gerderès. Famous for the quality and inventiveness of its billiard tables, the Gerderès company participated in the 1867 Universal Exhibition. This model is undoubtedly among the most original designs of its time, capitalizing on the vogue for Japonisme in the last third of the 19th century. Our billiard table rests on four imposing gilt bronze legs in the form of vases. These feature motifs inspired by Japanese script, Greek key patterns, and handles with rings. The tall, flared neck supports a playing surface composed of three slates, a material of choice for ensuring a perfectly level billiard table. The frieze features superb marquetry lacquer panels, set within molded frames. The marquetry decoration is characteristic of the Japonisme style: it depicts cherry blossom branches and birds. Gilded wood ornaments stand out sharply against the lacquered border: across the width, three cornflowers unfurl on an acanthus leaf base in a striking Rococo style. Along the length, the border features a menacing gilded Japanese-style dragon resting on an acanthus leaf. Openwork Japanese-style friezes accentuate the profile of the billiard table, further emphasizing the Asian architectural reference. The billiard table has a score counter stamped by the manufacturer, indicating its address and the inscription "Precision Billiards." This high-quality Japanese-style billiard table is one of the few known examples.

Ref.13891
BRUNSWICK COMPANY, imposing French billiard table in veneer

This imposing French billiard table bears the Brunswick stamp. Founded in 1845, Brunswick manufactures leisure products in various sectors and is particularly known for the quality of its exceptional billiard tables with their meticulous finish. Our example features mechanical ball chutes at the corners.