Ref.03222
Exceptional large clock with the Fô dogs

Brown patina bronze, the base in Red Griotte marble. This magnificent clock was made in France around 1880 out of authentically Chinese bronzes. Two large Foo Dogs, made in China at the start of the 19th century, stand on their hind legs, and support the pendulum with their forelimbs. The pendulum mechanism sits inside a Chinese bronze vase that was specifically cut at its base and reused to make up the body of this clock. It is decorated all over its surface with engraved ornaments. Two dragons carved in relief are placed on the front of this vase and surround the clock's dial. On the back, there is a cockerel with its wings spread, with its head carved in relief. The extremely high quality bronze and the very skilful use of composition makes this clock very original. This clock is typical of a technique that was popular towards the end of the 19th century, which derived from a profound taste in the Far East. This technique involved reusing authentically Chinese elements on European designed objects, which were intended to be used on the most luxurious interiors. The clock's magnificence makes us reflect on the fact that it was made by a true amateur of Chinese Art. The dial's numerals are made out of enamel and are true Chinese numerals. The clock hands feature a dragon which is the result of excellent chiselling skill. These different elements are of French craftsmanship, as is the pendulum featuring an animal with tentacles. The pendulum is signed “ L.M et Cie, Médaille de bronze” (L.M and Cie, Bronze Medal), which confirms that it is off French craftsmanship and was made around 1880.

Ref.13128
Pair of “parakeets Lamps” signed E. BERNARD

This pair of kerosene lamps were made in the last quarter of the 19th century in faience and bronze mounted.On each lamps a parakeets sitting on an orchid is represented on a green background with flowers, they are different on each lamps. The top and the base are ornemanted with geometricals motifs on a purple background. The handles are enamelled with stylized red flowers on a yellow background and blue frame.The lamps rests on an openwork bronze mount. The glass globes were made posteriorly.

Ref.10916
SAINT-CLEMENT manufactory - Plate set with orchids

Set of plates in earthenware of Saint Clément, including 19 large plates (diameter 9'' 7/16) and 8 small sized plates (diameter 8'' 11/16). The decorations present different varieties of orchids.

Ref.11432
Japanese style clock set with Fô dog

This late 19th century cloak set was made of blue decorated ceramic in a Far Eastern style. It consists of a clock and two vases decorated with a dragon in rolled relief. Resting on a base, a Fô dog is represented on the clock. The Fô dog is the Chinese guardian, often placed in front of Imperial Palaces, temples and tombs. The one who adorns this clock is depicted standing on hind legs, letting his front legs rest on a globe integrating the clock mechanism. Each of the three pieces rests on a four-legged bronze base.

Ref.13323
Series of three double wood doors with glasses

Series of three double doors with glasses on more than half of the heigh, some are bearing recent mirrors stuck above, especially on the lower part. The door's ironworks are made of bronze.

Ref.12910
Batch of 2.4 m² of small antique hexagonal terracotta tiles, 19th century

Antique batch of 19th century period floor composed of small hexagonal terracotta tiles. About 120 tiles of which the six sides are 2" 3/4 for 5" /12 length and 1" to 1"1/8 thick. The whole surface area is about 2.4 m².

Ref.12400
VAL D’OSNE Foundry - Exceptional Renaissance style fountain Model presented in the 1851 World Fair

This exceptional painted cast iron fountain in the Neo-Renaissance style was crafted at the Val d’Osne foundry for the inaugural Universal Exhibition of 1851 in London, where it was prominently displayed. Hubert Lavigne created the model for our monumental Neo-Renaissance-style fountain for the Val d’Osne foundry. Resting on an octagonal pedestal adorned with shells and reeds in slight relief, the fountain consists of a first broad basin with small lampposts encircling it, punctuated by fleurons with pierced openings from which water can flow and be adorned with arabesques. In the center of this basin, a beautiful decoration of reeds has been sculpted, where a heron, a turtle, a frog, and a duck flourish in a very realistic manner. It supports a second basin with undulating contours and exterior striations reminiscent of a seashell's characteristics. This last basin features a sculpture in its center representing a woman draped in ancient attire around her waist and brandishing a cup with her left arm. Children seated on dolphins, blowing into a conch shell, have been placed all around the base to animate it. The sculptor's artistry is particularly evident in their modeling, reminiscent of the children sculpted on the facade of the Louvre. In the context of the industrial revolution and the flourishing of free trade, industrial exhibitions, initially national in scope, provided a platform for sharing inventions that opened up future horizons. Thus, the first Universal Exhibition took place in London from May 1 to October 15, 1851, at the Crystal Palace. Queen Victoria's reign demonstrated its modernity and adherence to a liberal philosophy, where international trade would be a guarantor of peace and the flourishing of human genius. The Crystal Palace, conceived for the occasion by Joseph Paxton and executed by Owen Jones, was a giant structure of iron and glass covering 8 hectares, erected swiftly through modern prefabrication methods, showcasing the progress of industry. Unfortunately, this architectural masterpiece was permanently destroyed in a fire on November 30, 1936. Functioning as a demonstrative showcase of Great Britain's supremacy in the global economy and industry, the Exhibition was designed as a presentation of the products of art and industry on a grand scale from each country. The interior was segmented into four sections, later adopted for subsequent Universal Exhibitions: raw materials, machinery, manufactured goods, and works of art. For each section, national pavilions served as showcases for their best productions and innovations. The color illustrations by Dickinson and Matthew Digby Wyatt are valuable testimonies to this event, capturing the beauty of the venue and the precious art objects on display. Infused with pedagogical intent and national affirmation, the 1851 Universal Exhibition inaugurated a highly successful practice, creating an artistic and technical dialogue beyond borders. The participation of the Val d’Osne foundry in this first Universal Exhibition, notably featuring the presentation of our fountain in the vast glass nave, bestowed upon it international recognition. Its frequent participation in such events, coupled with the accolades it received each time, quickly elevated the foundry to the foremost position in France during the second half of the 19th century. Established in 1836 at the initiative of Jean-Pierre-Victor André, founder of the "J.-P.-V. André" house and considered the pioneer of ornamental cast iron in place of wrought iron, the foundry offered urban furniture and decorative cast iron. Thriving over the years, the establishment changed hands without compromising its quality until 1986, absorbing several competing establishments including Barbezat and Ducel, thus enriching its catalog with over 40,000 different models. This included balconies, urban furniture, lighting, as well as monumental fountains, animal groups, statues, and large cast iron groups inspired by ancient or classical models. To achieve this, the foundry collaborated with numerous significant artists such as Albert Ernest Carrier-Belleuse, Mathurin Moreau (a shareholder in the company), James Pradier, and Hubert Lavigne, the sculptor of our fountain. Hubert Lavigne, born in Moselle, specifically in Cons-la-Grandville, in 1818 and deceased in Paris in 1882, studied at the Beaux-Arts in Paris under the guidance of sculptors Ramey and M.A. Dumont. A remarkable sculptor, he won the Third Prize in Rome in 1843 with a plaster bas-relief depicting the Death of Epaminondas, now housed in the Museum of Fine Arts in Nancy. He also won two medals at the Salons of 1861 and 1863, to which he was a dedicated participant between 1849 and 1881. He received commissions for Parisian buildings, including the Palais Royal at the Louvre, where his sculptures adorn the facade of the Turgot wing, as well as the Sorbonne church and the Saint-Michel Fountain. He also created numerous works in cast iron for the Val d’Osne foundry, such as agricultural representations, eagles, tritons, children blowing into a conch shell, and more. A prolific and talented sculptor, Théodore Véron Hubert, lamented in his 1877 work, Dictionnaire Véron, ou mémorial de l'art et des artistes de mon temps, that our sculptor was not duly recognized for his merits: "And to think that after so much study and conscientiousness, so many superior productions marked by an aesthetic worthy of a Dumont, this eminent artist, and at the same time a noble character whom we have followed since 1841 when we drew together (at the Lapin Academy), and whose superior creations we see every year; to say that this truly distinguished sculptor is not yet decorated or recognized! Truly, it's enough to discourage modesty and conscience!" Featured in the foundry's catalog, our fountain was commissioned by numerous cities to adorn their squares. Notably, a model can be found in Cirey-sur-Vezouve in eastern France, another in Saint-Pierre de la Réunion, and yet another on the island of Sao-Miguel in Portugal.

Ref.13074
Batch of around 17 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 17 m² in a square shape, from the 19th century. The sides are 8" 1/4 for 1" 1/8 thick, for a total of about 396 tiles

Ref.15760
Jules VIEILLARD – “Chien de Fô” Polychrome Faience Clock

This unique hexagonal clock in polychrome glazed faience was produced by the workshops of Jules Vieillard in Bordeaux. The body is richly decorated with floral motifs in vibrant turquoise and cobalt blue enamels. The central dial, framed by a copper bezel, features stylized numerals and a matching floral medallion at its center. The sides are adorned with sculpted handles in the form of fantastical creatures inspired by Asian mythology. The top is surmounted by a Fo dog, a traditional Chinese symbol of protection. The back of the clock is pierced with a floral motif, designed to allow sound from the internal mechanism to resonate outward. The underside bears the marks of the Vieillard manufactory and model numbers. A fine example of 19th-century French faience with pronounced Far Eastern decorative influences.