Ref.03338
Antique Napoleon III style clock set in two patinas bronze with Antique Comedy masks decor

This antique Napoleon III style clock set consists of five elements : a pendulum, two candelabras and two cups. The elements are made of gilded bronze and silvered bronze. The clock rests on four feet with claws and is topped by a bust of a young woman who could be the Muse Thalia. Corybantes mother, Thalia is the muse who presides at the Comedy. This identification seems to be confirmed by both ancient theater masks that are placed on either side of the dial. Candelabras and cups are made in the same taste for Greek Antiquity with claws feet, palmettos and profiles in medallions.

Ref.17257
CARRIER-BELLEUSE Louis et Manufacture de CHOISY LE ROI, "Every man for himself"!

Glazed red and white faience. Another example, presented at the Salon de la Société Nationale des Beaux-Arts, in 1898, and numbered 4060, was shown with three other vases: Hercules and Omphale, Children with Butterflies (in the collection of the Petit Palais, Paris), and Music. Resting on a square base, this pair of vases is decorated with a group of putti who encircle its lower section. These children, who look frightened, run in all directions, seemingly to escape some imminent danger. The ceramicist, who carefully studied how he was going to present the figures, succeeded by placing each one in a different position: some are running with outstretched arms; some are on the ground, probably having fallen on their terrified flight; still others look upward in a quest to understand the cause of their anguish: the two winged demons placed on either side of the top of the vase. These two small monsters are finished with a greenish glaze that gives them a hideous appearance. The title of the work, “Every man for himself!” is written twice on the underside of the vase and explains the iconography. The children, who sense they are in danger, attempt to escape as quickly as possible.     Louis Carrier-Belleuse first showed these vases in a plaster version at the Salon de la Société Nationale des Beaux-Arts of 1896. They then reappeared at the Salon of 1898, this time in stoneware, with three other vases that formed a series: Hercules and Omphale, Children with Butterflies and Music. It was on this occasion, in 1900, that the vase was illustrated in the review La Décoration ancienne et moderne.     Son and pupil of the sculptor Albert-Ernest Carrier-Belleuse (1824-1887), Louis Carrier-Belleuse studied with Gustave Boulanger and Alexandre Cabanel at the Beaux-Arts academy. He began his career as a painter at the Salon of 1870 and started exhibiting his sculpture in 1889. Early on, he became interested in the industrial arts: for several years, he worked at the Sèvres factory with his father who had been the artistic director since 1875. Then, in 1877, thanks to Théodore Deck, he acquired his first training as a ceramicist, an experience that would determine the path he would eventually pursue: he became the artistic director of the Choisy-le-Roi faience manufactory. He created numerous models for them and often won awards, notably a medal in 1896, the year he showed the plaster version of “Every man for himself!”.    As artistic director of the Choisy-le-Roi faience manufactory, he designed numerous models of the highest quality, including this pair of vases, which is an exceptional example of his artistry. 

Ref.3539
An antique Louis XV style fireplace, Pompadour model, made out of Rouge du Nord marble

This antique Louis XV style fireplace, Pompadour model, was made out of Red from the North marble in the 19th century.

Ref.14608
Large carved wood and stucco overmantel from the Napoleon III period

Large carved trumeau in wood and painted stucco in Regency style with mercury mirror.

Ref.5290
Louis XVI style mantel with curved flutes and carved capitals in highly veined Arabescato marble

Ref.15384
O. MILET, Émile Diffloth, Ornamental Dish with Hummingbird, late 19th century

This decorative dish featuring a kingfisher results from the collaboration between ceramist Félix Optat Milet (1838-1911) and Emile Diffloth (1856-1933). Born into a family of potters, Milet joined the Manufacture de Sèvres in 1862 as a modeler before becoming a decorator. In 1866, he founded his own factory, which would become the largest private ceramics manufacturer in Sèvres. In 1876, Optat Milet participated privately in the Contemporary Ceramics Exhibition of the Union Centrale des Beaux-Arts, where his brightly colored creations were a great success, as evidenced by the lines dedicated to him by Adrien Dubouché in 1876 in his article “Contemporary Ceramics at the Union Centrale des Beaux-Arts Exhibition” in the second issue of L'Art: la revue hebdomadaire illustrée. At the 1889 World's Fair, Milet won the gold medal and Loebnitz highlighted the wonderful effects made possible thanks to the new technique used by Optat. It was also in the 1880s that Optat Milet and Clément Massier opened the Delvaux boutique (18, rue royale in Paris), which remained in business until the 1970s. Our dish bears Emile Diffloth's signature on the front and the Milet factory mark on the back. Based in Sèvres, Milet was famous for his technical expertise and his close ties with the Manufacture Nationale. The central decoration created by Diffloth features a vibrant cobalt blue kingfisher. The motif of the kingfisher just leaving its branch and the elegant composition are inspired by Japanese art, which was in vogue at the time. The details and relief effects under the glaze are striking: the veins of the leaves are brilliantly rendered and the gold background dotted with plant elements creates a luminous vibration contrasting with the powerful blue of the bird's plumage.

Ref.15663
Louis XVI style trumeau decorated with a garland of flowers

Ref.15059
Anonymous, Bronze statue of a Eurasian eagle-owl clutching a snake, late 19th-early 20th century

This impressive sculpture of a Eurasian eagle-owl clutching a snake is striking for its stern, intimidating gaze. It shows all its determination in the fight it is waging against its prey. The snake, imprisoned by the large bird, continues to struggle and displays its best weapon: sharp teeth that contain a deadly venom for its attacker. The height of the statue and the Great Horned Owl's partially outstretched wings give the piece a powerful character. We found a lamp and an old wire inserted inside the space, allowing the bird's eyes to be lit from behind. The opening on the bronze indicates that the piece was meant to be lit up from the very beginning. The owl's eyes, made of glass, add light to the otherwise very dark piece. The artist wanted them to be the focal point that catches the eye of the viewer. This decorative sculpture is exceptional in that it was sand-cast in a single piece, whereas this process normally requires the piece to be produced in two pieces that are then assembled. This shows the high quality of workmanship on the part of the creators of the decorative piece. The only added element is the upper part of the snake held in place by a visible key. The question remains: could this very special object be the chief model?