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.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.14714
Of roses and bellflowers, the precious porcelain marquetry panel by Julien-Nicolas RIVART

A decorative panel of great finesse, this creation is the work of a unique talent: Julien-Nicolas Rivart. Cabinetmaker and porcelain painter, Rivart developed an original technique in 1849: porcelain marquetry. Our panel is a precious work produced using this innovative and unequaled technique in the history of decorative arts. The process consists of molding the shape in soft porcelain paste, fired once at a very high temperature then leveled with a grinding wheel. Enameled, the piece is fired a second time, then painted and heated to set the colors. The porcelain elements are then surrounded in the panel of a sought-after wood, using marquetry techniques. Our panel presents a rich floral decoration, composed of roses and bellflowers with round leaves, of great delicacy and vibrant colors. Finer scrolls, such as flower stems, can be made of colored resin or wood of various shades. Admired by Napoleon III during the Second Empire, Rivart's works are elegant and subtle. The cabinetmaker designed other pieces of precious furniture, decorated with floral decorations, which the Marc Maison Gallery is pleased to present.

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.

Ref.15042
Ernest CHAPLET for the HAVILAND manufacture, Vase with aquatic plant decoration, circa 1880

This vase was executed by Ernest Chaplet for the Haviland & Co. manufacture, as evidenced by the mark “H&Co” surrounded by a chaplet incised under the base. Merchant David Haviland (1814-1879) initially created an import business of earthenware and porcelain with his elder brother in 1838 in New York, Haviland Brothers. In 1842, he founded his own porcelain manufacture in Limoges. He was awarded a gold medal in 1853 in New York and received a silver medal at the World Fair in Paris in 1855. The greatest artists, including Ernest Chaplet, worked for his company, which was taken over by his descendants. Ernest Chaplet (1835-1909) first learned stoneware work in Normandy. Then, employed by Haviland & Co. in Limoges, he opened a workshop in Paris. He became independent in 1885, then sold his workshop to Auguste Delaherche in 1887. In 1888, he settled in Choisy-le-Roi and dedicated himself to researching copper reds and flamed porcelain. Around 1900, he focused his production on thick flamed porcelain. In the 1880s, Chaplet primarily produced brown stonewares decorated with colored clays and incised motifs, like our vase. The incisions reveal the underlying stoneware color, while the colored and gilded clay decorations provide great luminosity to the design. The decoration evokes aquatic flora: two large lotus flowers surrounded by reeds stand out against a green and blue background reminiscent of the water’s edge. Above, a swarm of butterflies hovers over the scene. The color variations add to the relief effects created by the artist through the addition or incision of material. The vase bears the number 83, next to the inscription BR 2/2. A very similar vase, with its simple form and technique, decorated with flowers and arrowhead leaves, is in the Musée d’Orsay in Paris.