Ref.1548
Antique Louis XVI mantel in Yellow marble

The sleek lines of this antique mantel are typical of the Louis XVI style. The straight jambs are decorated with filleted flutes and rise up to molded square framed rosettes. The front of the entablature also has a sober decor, with an interlaced design forming a frieze of circles. The straight lined shelf juts out above the mantel. The simplicity of this mantel is enhanced by the use of a variety of marble with a delicate yellow hue.

Ref.10708
Julien-Nicolas RIVART (1802-1867) - Leather sheathed jewelry box decorated of porcelain marquetry

This box is graciously decorated with flowers in porcelain inlays by Julien-Nicolas Rivart . The latter is the inventor of the porcelain marquetry technique, a unique process, searched for a long time and patented in 1849, he was the only one to master. Since this date, he foresaw the possibility of inlaying not only in wood, but in several other types of materials as well, including cardboard, velvet and leather. Such examples are however very rare, which is why this box presents a particular historical value, the bouquet of roses and blue campanulas being inlaid in the leather.

Ref.3131
Beautiful antique Louis XV style fireplace with opulent decor in white Carrara marble

This beautiful Louis XV style fireplace was made in the 19th century. Its entablature is decorated with an opulent shell from which escape acanthus leaves overflowing on the panels. These are carved with an original and regular geometric pattern, which provides an additional texture. The movement emanating from the shell is reflected in the large scrolls of the consoles. They are covered with foliage from which are born smaller leaves, falling on the consoles. The plinths are also curved, animated with curves and counter-curves.

Ref.3601
Beautiful antique Louis XVI style mantel in Orange veined marble in Skyros marble

This beautiful Louis XVI style antique fireplace was made during the 19th century. It is made of a marble from the Greek island Skyros.

Ref.10857
Manufacture KELLER & GUERIN in Luneville - pair of vases decorated with storks in flight in a lake landscape

Pair of enameled ceramic vases with polychrome decoration of storks in flight in a lacustrine landscape, partly decorated with gilding. Handwritten mark "K.G. Luneville France" and hollow mark "Luneville" under the base. Made in the late 19th century, this beautiful pair of vases bears the mark of the pottery Keller and Guerin in Lunéville. The decoration of storks in flight in a lakeside landscape, punctuated by tree trunks, is reminiscent of Japanese iconography and its taste for animal figurations. The book by Annabelle Héry, "La Faïencerie de Lunéville, 1786-1923, Les Keller & Guérin" (Editions Messene, 1999) publishes on page 110 a cahcepot with a very similar decoration, also with storks.

Ref.10972
MANUFACTURE JULES VIEILLARD & CIE - Glazed ceramic dish with a parrot partitioned decoration

Large circular dish in enameled polychrome ceramic with light relief decoration of a parrot perched on a branch of Japanese cherry blossom on aubergine color background. Cartridge with fake Japanese calligraphy in the decoration. At the back, mark of the "Jules Vieillard et Compagnie" factory with the three intertwined croissants that take up the coat of arms of the city of Bordeaux. This mark indicates a period of manufacture between 1868 and 1895, that is to say at the time when the two sons of Jules Vieillard, Charles and Albert, direct the manufacture. But more precisely, one can undoubtedly attribute the genesis of this type of Japanese design to the presence of Amédée de Caranza, visionary workshop manager with a particular taste for Orientalism and Japanism. It is thanks to his talent and knowledge that the Bordeaux factory shines from the World's Fair 1878 . A large dish of the same model is reproduced in the book "Jules Vieillard et Cie, Histoire de la faïence fine à Bordeaux. De l'anglomanie au rêve orientaliste." by Jacqueline du Pasquier, p. 108.

Ref.11960
Pair of Louis XVI style double doors

Pair of Louis XVI style double doors, made in the first half of the 20th century. The dimensions differ slightly. The back of the first one is flat, the back of the second one is Louis XV style.

Ref.13595
Lot of about 20m² of Soubise parquet flooring, 19th century

Lot of antique parquet about 20 square meters made in the 19th century of oak and walnut wood composed of 23 Soubise panels, some have some lacks. The sides are 37" 3/8 for 1" to 1" 3/16 thick.

Ref.13644
André-Fernand Thesmar, Enameled ceramic gardener

This important gardener bears the monogram of the enameler André-Fernand Thesmar (1843-1912), and was made in the beginning of his enemaler career when he discovers the enamel work and starts his first tries in the 1870's. Andre-Fernand Thesmar first devoted himself to oil painting and was known as a painter of flowers. He was educated in drawing in a factory for printed-fabric in Mulhouse where he had been placed at fourteen years old to learn the trade of a draftsman. His teacher was a painter of flowers: he “drew and dissected the plant with fury, requiring an anatomical analysis of shapes and a meticulous copy of nature.” He left this industrial environment to go to Paris in 1860 and engaged in various activities. It was probably for his talent as a painter that Thesmar was noticed in 1872 by Ferdinand Barbedienne. With Barbedienne, later Thesmar succeeded to the management of the production of enamels. The productions of Thesmar and Barbedienne reflected the interest that they had for the decorative techniques and compositions of Japanese enamel. It was as “co-operator of the Barbedienne company” that Thesmar exhibited at the Exhibition of Decorative Arts in 1874, A cock pheasant from China. At the exposition in 1875, Thesmar exhibited two large enamel compositions on copper. In 1891, Thesmar turned to the decoration of porcelain and introduced himself to Charles Lauth who, since 1879, led the Factory de Sèvres. Its at this time that the collaboration with the Barbedienne company ended. Afterwards, he would be especially known for having invented the “plique à jour” technique, which numerous pieces of are kept in public collections. He creates here a very beautiful gardener with a brown and orange background on which is detaching on slight relief a flower decoration, favorite theme of the artist. He alternates a decor of wide flowers in a light pink shade with strips on a beige background with a motif composed of leaves and flowers scrolls.

Ref.11023
J. VIEILLARD & CIE Manufacture, A rare dish decorated with Koi carp in Japanese style

This superb ornamental dish with a Japanese-style decor of koi carps was executed by the Jules Vieillard & Cie Manufacture in the 1870s. After the death of Jules Vieillard in 1868, the Jules Vieillard & Cie Manufacture, then the third largest ceramic factory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes, launching a production of artistic faience intended to decorate the finest interiors.

Ref.15278
Robert LALLEMANT, "High Jump" Vase, 1930

This vase was made in 1930 by Robert Lallemant on the occasion of the Grand Prix of the Stade Français. The ceramicist and decorator Robert Lallemant (Pau, 1902-Davos, 1954) attended the École des Beaux-Arts in Dijon before becoming interested in ceramics between 1921 and 1923. In 1926, his father, Théophile Lallemant, bought him a small ceramics factory in Paris; he managed the business until his death in 1928, which explains the presence of his initial in the signature on our vase, under its base: “T. R. Lallemant”. Robert Lallemant quickly invented a modern and original ceramic style, which he produced in small series. His work was well-received by critics at the Salons des Artistes Décorateurs and the Salons d’Automne in 1926, 1927, and 1928. He was among the founders of the Union des Artistes Modernes (UAM) in 1929. A few years later, he gradually lost interest in ceramics to produce furniture, and then got involved in his father-in-law’s public works business. In 1939, he joined the French Navy, and in 1945 and 1946, he went to Indochina, where he showcased his talents as a photographer. Among other popular themes in the 1920s and 1930s, Lallemant particularly focused on sports, producing several vases on this subject; he was a sportsman himself. Our vase reflects the influence of Art Deco on his work, notably with the stepped shoulders that frame it and its geometric shapes. At the center, an athlete is dynamically depicted in a high jump event. The decoration is characterized by a certain simplification of shapes and colors, aligning with contemporary painting trends. The glaze is brilliant and of high quality. The inscription at the base of the decoration indicates that this vase was commissioned to serve as a trophy for the winner of the high jump event at the 1930 Grand Prix of the Stade Français. Other vases of the same model, without this inscription, were also created by the same artist; the decoration of one of them represents a pole vault event in a style very similar to that of our “High Jump” vase. A photograph from the artist’s archives shows the importance of the sports theme in his work; it depicts a vase of the same shape as ours, decorated with cross-country runners. This photograph also shows that the same decoration could be adapted to different vase shapes.

Ref.15211
SÈVRES Manufacture, Delhy Vase, 1852

This hard-paste porcelain vase was created in 1852 by the Sèvres manufactory. It was executed based on a model designed by Jules Peyre, a draftsman and sculptor at the manufactory, in 1851. Called “Delhy” or “Persian bottle”, this shape is indicative of the Western decorative arts’ fascination with the Middle East in the 19th century. The decoration of the vase follows this same vein. On a white background covered with a continuous pattern of gold scales, stylized flowers bloom, alternating with arabesques of Oriental inspiration. The central ring interrupting the long tapered neck of the vase is adorned with geometric motifs in the same tones of white, blue, and gold. The manufactory’s mark indicating the date of the piece’s creation is found under the base. A vase executed on the same model in 1855-1856, also featuring an Oriental-inspired decoration, is housed in the Musée d’Orsay in Paris.

Ref.14795
SÈVRES Manufacture, Winner's cup from the 1878 Universal Exhibition

This porcelain tazza of the “Cybèle” model was created by the Sèvres manufacture in 1878 and decorated in 1919. The Vincennes manufacture, the predecessor of the Sèvres manufacture, was founded in 1740 by workers who defected from Chantilly. The Vincennes manufactory became royal in 1752, shortly before its transfer to Sèvres in 1756. It enjoyed increasing popularity in the second half of the 18th century and throughout the 19th and 20th centuries, continuing to this day. For the Universal Exhibition of 1878, the government commissioned the Manufacture de Sèvres to produce a set of sixty vases and one hundred and twenty bowls to reward exhibitors who had won first prizes. The tazza bears several marks under the base: the inscription “S 78” designates the year of manufacture within the manufactory’s workshops; the cartouche “Décoré à Sèvres / R.F. 1919” tells us the year the tazza was decorated. Thus, our model, left undecorated for forty-one years, could only be delivered in 1919 for reasons that remain unknown. Another Cybèle tazza with an identical decoration is exhibited at the Petit Palais museum in Paris.

Ref.13384
Edmond LACHENAL for L'ESCALIER DE CRISTAL, Earthenware bowl decorated with flowers, circa 1890

This elegant ceramic bowl was created by Edmond Lachenal for L’Escalier de Cristal around 1890. It bears his signature. A ceramist and painter, Edmond Lachenal is known for his pastel and velvety enamels, characterized by their great softness. A medalist at the 1889 Universal Exposition, he was one of the favorite ceramists of Sarah Bernhardt, the tragedienne and woman of taste. He made this bowl for L’Escalier de Cristal. Founded around 1808 by Widow Desarnaud, this famous establishment was taken over by the brothers Georges and Henri Pannier at the end of the 19th century. They actively contributed to the spread of Japonism, of which this work is a beautiful testament, while maintaining the high quality that made the store’s reputation. Our bowl features a Japanese-inspired design: the hand-painted decoration depicts cherry blossom branches (called sakura in Japanese). Japonism was then in full bloom, both in the decorative arts and in the fine arts. The colors used and the chosen motifs, notably the variations on the blue background, are very similar to those of an Edmond Lachenal vase held at the Metropolitan Museum in New York.

Ref.5919
Louis XV style fireplace in Carrara marble with plant decoration