Ref.3475
Beautiful antique large Art Deco style double door in wood and engraved glass with decor of diamonds

This Art Deco style beautiful large antique double door in wood and engraved glass was made circa 1930. It is decorated with diamonds and circles.

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

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

Ref.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.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.13732
Manufacture de Sèvres - Pair of vases Delhi model with a polychrome floral decoration, 1875

This pair of vases was made in the Manufacture de Sèvres in 1875 as indicates the mark under the base "S75". It is the Delhi model created in 1851 by Jules-Constant-Jean-Baptiste PEYRE (1811-1871), designer in chief of the manufactory in 1845-1848 and in 1856-1871. With a belly shape on the lower part and resting on a more narrow feet, this model with a long neck which is spreading as it extended, marked by a ring. Our pair of vases depict a delicate polychrome floral decoration on a plain white background and of which each part is limited by a gold edging. Under the direction of Victor Regnault, the production of the Manufacture de Sèvres has pulled away from the Empire inspiration to explore a modern technologic potential. This is how the pasta on pasta, the cross-linked pasta or trompe-l'oeil decoration were created. However, after the resignation of Victor Regnault in 1870, the new Republic Parliament threatened to cut the manufactory budget if reforms were not set up. Thus, the direction of the manufactory was given to the chemist and painter Louis Robert until his retreat in 1879 and an improvement commission was created in 1871. It's the ceramist Théodore Deck – member of the commission and a few years later director of the manufactory between 1887 et 1891 – who settled in 1875 a program for the reorientation of the esthetic choices and the creation of new technics executed by Carrier‐Belleuse and the chief chemist Alphonse Louis Salvetat (1846‐1880) then Georges Vogt (1880‐1891). This program promised the creation of a china closer to the oriental pasta allowing colors better glazed, the use of Chinese type transparent and opaque enamels in limited numbers, and the research of the copper red. From 1880, technical progresses are noticed and new decoration styles are spotlighted. The manufactory production under the Third Republic mostly answers to orders for embassies, ministers and other public and prestigious buildings. Nevertheless, vases stay the masterpiece of the manufactory production which develops the highest creativity to constantly renew the sizes and the models. A pair of the same model vases is conserved in the Mobilier National and illustrated on Second Empire et IIIe République, de l'audace à la jubilation de Brigitte Ducrot, published in 2008 in the collection Sèvres, une histoire céramique.

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.14966
Albert-Ernest CARRIER-BELLEUSE, CHOISY-LE-ROI Manufacture, Bust of an Oriental Woman in glazed earthenware

This bust was created by Albert-Ernest Carrier-Belleuse for the Choisy-le-Roi faience factory in the second half of the 19th century. Albert-Ernest Carrier de Belleuse, known as Carrier-Belleuse (1824-1887), was the most prolific sculptor of the Second Empire. He was quickly influenced by the importance of decorative arts and worked with Ferdinand Barbedienne on the creation of decorative objects. He achieved great success at exhibitions and received numerous official commissions. He produced many busts of beautiful and elegant young women, including a Bust of a Woman Wearing a Diadem held at the Orsay Museum. He also provided bust models for the Choisy-le-Roi Faience Factory, where his son later became the artistic director. This bust of an oriental woman, created from an original sculpture signed by Carrier-Belleuse, was made for this manufactory. Titled The Bust of an Algerian Woman, it was auctioned at Sotheby’s in 2017. It is one of his rare orientalist works. The desire to depict a woman in oriental costume aligns with the idealization evident throughout the sculptor's work. The smiling woman shows her teeth. Her long, loose hair, adorned with multiple sequins along the edges, rests on her shoulder and is topped with a hat featuring orientalist motifs. Her bare chest, partially covered by a crumpled fabric and accentuated by the two rows of her necklace, exudes great sensuality. The colorful costume draping her shoulders is highlighted by the vivid colors and brilliance of the faience. At the base of the bust, a gilded belt emphasizes the richness of the costume. The bust is signed on the back and bears the mark of the Choisy-le-Roi manufactory.