Ref.03142
CARRIER BELLEUSE Louis Robert, Extraordinary vase with Urania , science allegory.

Large ovoid stoneware vase on its tripod base with decoration in high relief made of glazed stoneware. This vase has a wide collar on which unfolds a farandole of lovers having fun with the Moon in a heavenly backdrop of stars and clouds, as an allegory of the day and night.During the night, one of the lovers escapes from the mouth of the personified Moon, while another clings strongly to it. The opposite side, another comforts the Moon who cannot shine during the day.The body of the vase also has a continuous backdrop of flowers and foliage narrating two main stages from Mythology: Urania admiring the stars and the awakening of Aurora.In a setting of ancient remains of balustrades and ionic columns, the muse Urania studies the sky using her telescope and strongly holds her globe with love, while one of her disciples, an Ouranie, takes notes on her speech.The Aurora is voluptuously lying on a bed of flowers and foliage of fields in high-relief, her face still asleep.The entire decor is on a blue background subtly shaded according to whether the scenes take place during the night or day, or when necessary to highlight a character. The harmony of this vase is not only thematic, but also chromatic. Thus, the pedestal with blue ogee curves echoes the night.This vase is presented on a majestic tripod stand with very original decor of upside-down lions, with delicately created coats ranging from beige to dark brown, reflecting the great mastery of their glazes and firings.Lions also rest on a tripod base with finely coiled caryatids endings, the sides decorated with opened shells.This vase is a reflection of the creativity of Carrier-Belleuse, subtly harmonizing his neo-rococo and neoclassical inspirations.It focuses on the description of the complicated rendering of the atmosphere of heaven, floating edges of drapery, hair which frames faces. To acknowledge the reality of the details, he cut the clay still wet, after completing the general form.In the tradition of his father, he pursued his theory that was based on the idea of ??applying the human figure to the decorative arts, especially the female figure. His ability to make realistic characteristics on his models gave him great fame.Louis-Robert Carrier-Belleuse (1848-1913) was the son of Albert-Ernest Carrier-Belleuse, of whom he was a student. At the school of fine arts he took lessons taught by Gustave Boulanger and Alexandre Cabanel.In 1877, he acquired from Theodore Deck his first experiences with ceramic.At the 1881 exhibition, he won the prize for best painter, then for the best sculptor in the 1889 exhibition.He designed some models for the Choisy-le-Roi pottery and was its artistic director.Among his works: The National Monument of Costa Rica, A Little Curious at the Museum of Rochefort, The Little Chimney Sweeps, Bearers of flour at the Petit Palais Museum (1885). His works are also kept at the Dahesh Museum, New York; Museum of Art and Archaeology, Moulins, France and the Musée d'Orsay, Paris.

Ref.17256
"The Dragons", Rare pair of gilt-bronze wall sconces in the Japanese taste

Gilt-bronze A dragon in the Chinese style gracefully wraps his slender body around a branch of stylized branches. The inspiration for these sconces comes from the Orient, more specifically China, and they express the taste for Oriental art in vogue at the end of the 19th century. This was the result of the opening of Asia to the West, through their participation in international exhibitions, as well as the collections that were formed by wealthy and enlightened art collectors, such as Henri Cernuschi or the Empress Eugénie who installed a Chinese Museum at Fontainebleau. These contacts meant there was a new decorative repertory, greatly appreciated, that the designers of the 19th century could draw upon when creating elegant new objects for their clientele.    The stylized cloud motif around the dragon and the head of the monster are also characteristic of this same source of inspiration, which encouraged decoration that was both elegant and sophisticated, and was emblematic of a refined lifestyle. Such works integrated perfectly in the distinguished interiors of connoisseurs and lovers of Asian art of the period. This pair of wall sconces, formerly attributed to Édouard Lièvre, took its inspiration from the work of the greatest designers of the period, such as Reiber or Viardot.    The high quality of the chasing of the bronze and the finesse of the fabrication show that these sconces are the work of a true bronze artist who was smitten by this Far-Eastern taste and created an important work of art destined to decorate the most luxurious interiors of the period.  

Ref.11349
Gabriel VIARDOT (attributed to) - Japanese style cupboard with dragon

This small walnut cabinet is attributed to Gabriel Viardot. The decor is quite characteristic of the production of this Parisian cabinetmaker specializing in Japanese and Chinese-style furniture. The lower part consists of multiple vertical boxes surmounted by three shelves. The upper part of this piece is decorated with latticed wood in the tradition of Japanese furniture. A gilded bronze dragon crowning this cupboard is entirely characteristic of the production of Gabriel Viardot. The vertical uprights are also decorated with gilded bronze elements that we can also find on other productions by Gabriel Viardot. Gabriel Viardot 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.11358
Washbasin cabinet and its mirror in the Far Eastern style

Japanese style washbasin cabinet made in the 19th century. It can receive two basins, and opens on the front with two leaves richly decorated with birds and flowers inlaid with ivory and with three large drawers and two small drawers. The top is in Breccia Sanguine marble.

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

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

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

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

Ref.14697
Louis-Philippe period billiard table with marquetry

Magnificent billiard table made during the Louis-Philippe period in wood and gilded bronzes. It is decorated with a light wood marquetry on a dark background representing numerous small scenes and a set of circular gilt bronze rosettes all around.

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

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

Ref.15702
AU VASE ÉTRUSQUE – Porcelain Vase with Aquatic Decoration

Porcelain vase with lid, marked AU VASE ÉTRUSQUE, PARIS. The surface features a hand-painted and gilt aquatic design on a light blue background. The decoration includes a stylized fish with gold highlights, jellyfish, aquatic plants, and rock formations, rendered in shades of gold, gray, and brown. The rounded body rests on a fluted base with gilded accents. The matching lid has a scalloped gold border and a finial decorated with vertical gold lines.