Ref.10002
Louis XV style brazier in gilt wrought iron

This antique brazier from the Louis XV style was made in gilt wrought iron during the 19th century. Supported by lions paws, this brazier is elaborately decorated with foliage.

Ref.10505
Pair of "Medici" vases in cast iron, 18th century

This pair of antique cast iron garden vases dates from the XVIIIthe century. It is the Medici model, with serpent-shaped handles.

Ref.10722
Julien-Nicolas RIVART (1802-1867) - Velvet folder decorated with campanulas in porcelain marquetry

Covered in velvet, this folder has two compartments lined with moire fabrics and a matching file. It is decorated with a painted porcelain inlay by Julien-Nicolas Rivart , depicting twigs of campanulas. The brownish background contrasts with these purple and white wild flowers. The velvet support enables the contrast with porcelain's delicate texture, and to enhance its gleam. This is a very rare type of inlay, Rivart 's porcelains being generally observed into wooden furniture. The latter foresees indeed in his patent to inlay in all types of materials, including cardboard, leather, or velvet; but very few of such works reached us through time. The folder we present is thus an exceptional example of inlays in velvet, a witness to a production much appreciated by the clientele, which at the time was described as "yet more beautiful than beautiful" (Auguste Luchet, The Industrial Art at the Exhibition of 1867).

Ref.3457
Antique Neo-Renaissance fireplace in oak with a portrait of woman

This antique Neo-Renaissance fireplace in oak wood was made during the 19th century. On the monumental upper part is a portrait of a woman with a blue cloth and holding a small bouquet of flowers. A cariatide and an atlante draped and bare-chested are carved on the jambs. They support a frieze richly decorated with foliage and flowers characteristic of the Neo-Renaissance aesthetic.

Ref.3495
Beautiful Victorian style antique fireplace in Carrara Statuary marble and inlays of Vert d'Estours marble with vases and bowl

This beautiful antique Victorian style fireplace is an English model made in the late 19th century. It is made of Carrara Statuary marble and Vert d'Estours marble, whose inlays contrast with the whiteness of the Statuary marble and highlight the straight lines. This fireplace is adorned with fine sculptures. The fluted jambs are thus decorated with Greek-inspired vases at the top and the frieze is adorned with rosettes and a large bowl at its center surrounded by branches with flowers.

Ref.03331
Beautiful antique paire of Onyx lamps with cloisonné enamels and gilded bronze with Sphinx decor

This beautiful pair of Napoleon III style lamps was made around 1870. The central part, made of onyx , is shaped like an antique amphora. It is adorned with a very colorful frieze of cloisonné enamels and two handles topped with gilt-bronze busts of female sphinxes (see our article about sphinx ). The foot, also made of gilt bronze, is sculpted with spirals. It is placed on a rather simple, round base made of gilt bronze, onyx , and cloisonné enamels. This piece epitomizes the Antique artistic current of the 19th century and the Second Empire. Napoleon's 1798 campaign to Egypt initiated “ Egyptomania ” and, more generally, Orientalism. Ancient Greek and Egyptian shapes, colors, designs, and iconography became very popular in the Western world. “Neoclassicism” was popular in painting since Jacques-Louis David, as well as in architecture, and in decorative arts. This pair of lamps features decorative female sphinxes, who resemble the typical Greek sphinx. They have wings and are wearing a helmet and armor. The lamps' shape is like that of an Egyptian or Greek amphora. Moreover, onyx is a stone that was often used in Ancient times for cameos and as an ornament for decorative objects. This object is quite characteristic of the Napoleon III style in particular by the cloisonné enamels decor that bring a rich polychrome, technique rediscovered in France circa 1860 and extensively used in decorative arts, especially by the genius that was Ferdinand Barbedienne , bronze manufacturer. The combination of onyx and bronze was brilliantly used first by the Compagnie des Marbres et Onyx d'Algérie by Eugene Cornu.

Ref.03335
Ferdinand LEVILLAIN (1837 - 1905) Pair of Napoleon III lamps, in gilded an brown patinated bronze

This pair of Napoleon III style lamps, was made in bronze with double patina brown and gilded. They are signed 'F. LEVILLAIN' above the base. The handles of those lamps are formed by two volutes ending with a grotesque mask of an old bearded man, in high relief. The four sides of the lamps are adorned with the same masks.Those lamps are decorated with motifs from Classical Antiquity. Each grotesque masks are embellished with two feline, a caduceus and pinecones. The upper part ornated with a bas-relief of a cavalcade at the market. This scene is topped with a fluted frieze and supported by stylized plants. This lamps is based on a quatripode base in the form of animal paw.Levillain was a famous sculptor, who worked on regular basis with the celeb Ferdinand Barbedienne Compagny.

Ref.17966
Neo-Renaissance style carved walnut credenza with profiles of costumed characters

Beautiful walnut credenza carved in the Neo-Renaissance style, opening on the facade with two doors each decorated with a gentleman's or lady's profile. The upper part with two doors rests on a wide apron containing two drawers whose fronts are decorated with carved stylized pikes framed by columns. These two registers are clearly separated by mouldings. Resting on square-section legs, the rectangular moulded base supports two fluted columns surmounted by Corinthian capitals. The bottom of the lower part is divided into two panels. The purpose of this type of furniture could be very diverse. Most often, it was intended to present precious objects that could illustrate the social status of its owner in the eyes of its visitors.

Ref.11318
Gabriel VIARDOT (1830-1906) - Japanese style display cabinet

This display cabinet, made at the end of the 19th century, is stamped Gabriel Viardot. With a sculpted and openwork decoration, its pediment is decorated with a dragon in high relief. It opens on the facade through a glass door on five shelves, three of which are arranged in a staggered pattern, one of which is supported by a dragon.

Ref.11610
An antique console and its mirror, in Louis XV style, with parrots

Important antique Louis XV style console, with a mirror and surmounted by a still life painting, made in the 19th century. The console is made out of lacquered wood and the table top is made out of Violet Breccia marble. The mirror, in a gilded wooden frame with two sconces, is surmounted by an oil on canvas decorated with floral vase and parrots.

Ref.11315
Cabinet with shelves inspired by the Far East

Cabinet with shelves in the Japanese style, inlaid with ivory, bone and mother-of-pearl, decorated with decorative openwork motifs enhanced with gilded bronze plaques. Opening with three doors, engraved with dragon, samurai, floral motif and three drawers. Many asymmetrical shelves. On the upper part, two carved dragons and a cornice.

Ref.12255
Group of four Neo-Gothic style confessionals in oak

A group of four antique confessionals in Neo-Gothic style, made of oak.

Ref.12547
Peach blossom marble and gilt bronze clock surmounted by a statuary white marble sculpture representing Phryne in front of his judges signed " Campagne ", circa 1900

This clock presents a reduced reproduction in white statuary marble of Phryne. in front of its judges of Pierre Campagne put on a peach flower marble base and gilt bronze. The painted enamel dial is signed "Société des bronzes de Paris" and "C. Armeliu to Angouleme". Underlined by a torus of laurel leaves it is presented on a base in Carved peach flower marble set on four feet in gilt bronze. This base in marble is embellished with gilt bronze ornaments reproducing rosettes in the corners, acanthus leaf scrolls and friezes. The clock is surmounted by the sculpture reproducing the work of Pierre Campagne (1851 - 1914) "Phryne in front of his judges", exhibited at the Salon des Artistes Français in 1893 and 1894. Having known a success, the sculpture has been the subject of numerous reeditions in bronze and in marble.

Ref.12697
Albert CHEURET (1884 - 1966) (in the taste of), set of 5 alabaster and patinated bronze wall sconces, late 20th century

Set of five oval alabaster wall sconces and patinated bronze foliated decoration realized at the end of the 20th century in the taste of Albert Cheuret (1884 - 1966). This artist realized throughout his career furniture and decorative objects but is especially known for his alabaster and patinated bronze lamps which mix Art Nouveau, Belle Epoque and Art Deco inspirations.

Ref.12653
Charles Hunsinger (attributed to), Beautiful presentation stand with a marquetry decor, circa 1870-1880

Even though it is not signed, this beautiful presentation stand is very likely a work made in the 1870's-1880's by the French funriture makers Charles Hunsinger and Charles Wagner because of the caracteristic marquetry decoration. Indeed, we find on our blackened wood stand a remarkable and very interesting decor of precious woods and ivory marquetry, drawing on a checked pattern, horns of plenty and flowers crowns. These elements frame an ivory medallion receiving the profil protraits of sovereigns. Small animals come also to animate the scene, such as a butterfly, a dragonfly or even snails. this stand is a very elegant and luxurious work. Charles Husinger was born in Dossenheim in 1823, it's only around 1859 that he starts to be named in the Almanachs du Commerce as a luxurious furniture maker. He specializes himself in the ebony furniture inlaid with ivory and marquetry furniture making. In 1872, he creates a business with Charles Adolphe Frédéric WAGNER, which lasted for about ten years. During his whole career, he participates to many World Fairs and especially the ones taking place in Paris (1865, 1867, 1878 et 1889), and exhibits also in the Havre. His work was rewarded by a gold medal in Brussels in 1881, a Progress and Merit medal in Vianna and another medal in London. The inventory after his death, in 1893, shows that he continued to work during the last years of his life, dropping furniture at some sellers shops, even though he had to legally close down his business in 1890, because of a long list of creditos among which we can name his old partner, Wagner. RELATED WORK : HUNSINGER, WAGNER Paris, Cabinet made of sculpted and blackened lime wood, marquetry of diverse variety of woods and engraved bones, 1879, Conserved at the Musée d’Orsay in Paris.

Ref.13458
Louis - Constant SEVIN & Ferdinand BARBEDIENNE - Beautiful pair of ornament vases in bronze and cloisonne enamel, circa 1862

This beautiful pair of vases is the result of the collaboration between Louis Constant Sevin (1821 – 1888), drawer and designer, and Ferdinand Barbedienne (1810 – 1892), bronze maker and founder of the famous 19th century foundry of the same name. Indeed, even though they are only bearing the signature of the last one, we can compare our vases to another pair presented on the Barbedienne's stand during the International Exhibition of London in 1862 depicting the same decor. We owe to the associations of the two men – which has lasted for more than thirty years, between 1855 and 1888 – an important collection of works of art and especially vases, showing the same colors and technical. Our ornamental vases were made in bronze and show an outstanding and abundant decoration of enamel cloisonne. The gilt bronze on the blue background and the polychromatic richness of the motif reminds of an imaginary and an inspiration coming from the East. They rest on three gilt bronze feet with cat's heads, finished with claws. We notice in the shape and the decoration an eastern inspiration but above all an eclectic one, characteristic of the artistic tendency in France under the Second Empire. Indeed, Constant Sevin was inspired by patterns belonging to the Arabic, or Persian decorative repertoires for the decoration. While the handles with cat's heads tend toward reminding Egypt, the technic of divided enamel dates back to Middle Ages. With the creation of this pair of vases Ferdinand Barbedienne and Constant Sevin participate to the reborn of champleve enamel in the middle of the 19th century. Indeed, the polychromatic decoration, omnipresent in the industrial arts during the Second Empire, finds in this technic a perfect expression. Inspired by examples of champleve enamels made during the Middle-Ages, this technic was innovated by obtaining directly during the melt the network of partitions to produce a draw of a irreproachable clarity and regularity. The first technical tries of Barbedienne were made near 1858 and four years after he presents in the Great Exhibition of London a stand mainly composed of works of art inlaid of enamels – very likely the model of our vase – which does not leave the critic indifferent. Alfred Darcel (1818 – 1893), art critic, said in his report on the Great Exhibition of 1862, published in the Gazette des Beaux-Arts : "Among the numerous works of art exhibited by Mr Barbedienne, we did not see anything more gripping than the objects decorated with enamels, kind of decoration he knew how to apply with success. […] With enamels painted that have conceded nothing to the most beautiful works of art of the 16th century first masters.[…] "

Ref.14806
Royal Red marble console with stone legs

Ref.11146
Pair of Chinese screens

Ref.14666
Paul SOYER, Renaissance-Style Clock Set, circa 1875

This clock set in the spirit of the Renaissance was executed by Paul Soyer around 1875. Paul Soyer (1832-1903) worked as a chaser in Paris from the 1850s. Gradually, he learned the technique of enamel to replace ornamental bronzes in furniture decoration. He opened a workshop as an engraver-enameller in 1861 and then collaborated with renowned enamelers and goldsmiths, such as Claudius Popelin, Charles Duron, and Gustave Baugrand. It was as a collaborator of the latter that he won his first bronze medal at the 1867 Universal Exposition. Following this success, he opened a larger workshop and specialized in various enamel techniques, with a preference for painted enamel. He participated in all the French and foreign Universal Expositions, as well as the Expositions of the Union Centrale des Beaux Arts appliqués à l'Industrie. Regularly rewarded, notably with a gold medal in 1878, he was hors concours and a jury member from 1889, the year he received the Legion of Honor. His production, very varied, includes both small decorations for jewelry and true enamel paintings, as well as enameled art objects for goldsmithing and plaques intended for cabinetry. A follower of Popelin, he remained faithful to the art of the Renaissance and the early 17th century, particularly fond of the technique of polychrome enamels associated with grisaille, and that of gold camaieu.

Ref.14850
Maison Bernard, wrought iron craftsman, pair of richly decorated floor lamps, circa 1889

These monumental floor lamps were made circa 1889 by the the wrought-iron craftsman Antoine Bernard. They each rest on three feet in the shape of lion's paws extending in the form of volutes covered with ornamental acanthus leaves; in the center, the scrolls join a central foot, masked by masks and leather straps. Higher up, the uprights are hidden by a large shell. The central part is thin, then a large, richly decorated prominence announces the crowning of the floor lamp. Finally, a vase receives the glass ball of the luminaire, itself crowned with a small radiant circle of algae. One of the original opaque glass balls was carved with harmonious streaks forming a translucent star; the same pattern was reproduced on the other, in order to restore the harmony of the pair and return the lamp to its original appearance. Bernard took part in the Universal Exhibitions of 1889 and 1900 in Paris. Several examples of this floor lamp were exhibited at the 1889 exhibition. They were listed as "Louis XIV candelabras" in La Construction Moderne of 21 December 1889, which, following on from the previous edition of 14 December, listed the "remarkable samples of [the] art [of ironwork]" at that year's Exhibition; this mention was accompanied by an engraving. Bernard also presented two "consoles in the Louis XIV style" at the exhibition, which are probably similar in style to our light fittings. The Bernard company responded to very prestigious orders. She notably executed the Honor Gate, or Rooster Gate, of the Élysée Palace, in 1900. This gate has many characteristics in common with the two lamps: the same monumentality, the same foliage ornaments bring them together.

Ref.15180
Baroque church altar and altarpiece of the 17th century

This large Baroque altarpiece was made for the chapel of the Chazeron Castle, near Clermont-Ferrand, in the 17th century. In the 11th century, there was already a keep on the site of Chazeron castle. The building was rebuilt and extended to become a castle by the end of the Middle Ages, as illustrated in 1460 by Guillaume Revel. In the second half of the 17th century, François de Monestay (1617-1697), Marquis of Chazeron, decided to modernise the medieval castle. He commissioned Jules Hardouin-Mansart to build two new wings and had the interiors panelled. The chapel's walnut altar dates from this remodelling. Above the altar itself is a high carved wood panel. In the centre is the tabernacle in the form of a small temple in the style of Antiquity, flanked by composite fluted pilasters; it is surmounted by two unicorns framing the arms of the commissioner, themselves crowned by an angel. On either side, set against painted niches, are two statues of saints framed by four eminently Baroque twisted columns, around which vine stocks evoke the wine offered during the sacrifice of the Mass. The side columns are flanked by fire pots, while the two central columns are topped by praying angels. In the centre is a low relief depicting God the Father blessing, in line with the tabernacle. François de Monestay's coat of arms is easy to identify, because it can also be seen on a canvas painted after Hyacinthe Rigaud's portrait of the Marquis de Chazeron, kept at the Hôtel de Noailles in Saint-Germain-en-Laye. The coat of arms is surmounted by a crown of a marquis and surrounded by the collars of the Order of Saint-Michel and the Order of the Holy Spirit, which he was awarded following a heroic charge against the enemy at the age of 77. The altar can therefore be dated to the 1690s. Although classical art triumphed in Paris and Versailles in the 17th century, border areas and the countryside adopted Italian artistic models. This altarpiece features a structure often used for Baroque altars, although in this case there is a certain sobriety, particularly in terms of polychromy. Although the richness of the altarpiece lies primarily in its abundant sculpted ornamentation, the addition of a sky-blue background highlights the tabernacle, the sculptures of the saints and the top of the altarpiece, and gives depth to the whole, in a very Baroque style. Finally, the twisted columns intertwined with vines are inspired by the baldachin designed by Bernini for the altar in St Peter's Basilica in Rome between 1624 and 1633. Therefore, the altar and altarpiece in the chapel at Château de Chazeron are a fine example of the penetration of Baroque art in France in the second half of the Grand Siècle.

Ref.14914
BOCH Frères, Art Nouveau Vase in Iridescent Faience Decorated with a Toad and Mushrooms, late 19th century

This iridescent faience vase with a toad and mushroom motif was created by the Boch Frères manufactory in the late 19th century. In 1841, Eugène and Victor Boch founded a fine faience manufactory called Kéramis in La Louvière, Belgium. The faience factory quickly flourished and diversified its production, adapting to the stylistic and technical evolutions of the time. This particular vase is emblematic of the Art Nouveau movement, as evidenced by its asymmetrical design directly inspired by nature: the body of the vase takes the form of a tree stump. Wider and rounded at the base due to roots seemingly ready to plunge into the earth, it rises to a certain height before ending with an irregular rim. Several mushrooms, among which an agaric, grow on it, and a toad climbs at the base of the stump. The vase features an iridescent glaze transitioning from pink to violet, lightening to white on the mushrooms and darkening to brown on the toad. This glazing demonstrates the high level of mastery achieved by certain artists and the most important manufactories at the end of the 19th century. The mark under the base indicates that the manufactory had a subsidiary in Thiais, in the Seine department. A vase of the same shape but with a slightly different glaze – where pink blends with yellow-orange, green, and blue (and the toad appears black) – was noted by expert Alain Cical.

Ref.12432
CHARBONNIER (cabinetmaker) for L’ESCALIER DE CRISTAL, Japonist Cabinet with Sliding Lacquer Panel, circa 1890

This significant cabinet in rosewood veneer was created for L’Escalier de Cristal after 1885. Founded around 1808 by the widow Désarnaud, the Escalier de Cristal was taken over by the brothers Georges and Henri Pannier at the end of the 19th century. They adapted to the vogue of Japonism while maintaining the high quality that made the store’s reputation. This cabinet is to be found in Henry Pannier’s notebooks, where it is recorded as having been made by the cabinetmaker Charbonnier; as such, it can be dated to around 1890, shortly after the Pannier took over the store. The design of this cabinet draws inspiration from Japanese architecture and furniture. It features a cabinet with a large Japanese lacquer panel adorned with gold floral and bird motifs. True to its primary inspiration, it does not open in the European manner but slides, referencing the interior walls of traditional Japanese houses. The frame is decorated with intricate woodwork, echoing East Asian ornamental vocabulary. It rests on a base with extending sides, featuring a heart-shaped crystal center encased in gilded bronze, which can be attributed to the work of Édouard Enot. Gilded bronze ornaments can also be found above the clawed feet and on the pediment. The use of lacquer to decorate furniture became popular in Europe as early as the late 16th century, following the first Jesuit missions to Asia and the creation of the East India Company. In the 18th century, the invention of Martin varnish allowed Europeans to imitate it effectively, particularly in furniture and interior decoration. However, the opening of Japan and the intensification of trade with the Far East in the latter half of the 19th century led to an influx of raw materials, enabling French cabinetmakers to incorporate more lacquer panels into their creations.

Ref.14015
Japanese Half-Moon Display Cabinet, late 19th century

This Japanese-style half-moon display cabinet was made at the end of the 19th century. It is part of the Japonism trend that was then sweeping through European art. Two of its four legs are wrapped in gilded copper sheaths in the shape of lion’s paws, with their stylized upper ends reminiscent of the depiction of clouds or smoke in East Asian art. At the shelf level, fine openwork ornamentation also draws inspiration from East Asian motifs. The central body of the cabinet, still in a half-moon shape, is lined with red velvet fabric. The door is adorned with a small gilded bronze dragon breathing fire. It is topped by a tall, narrow display case crowned with a pagoda roof and a roaring gilded bronze dragon. Japonism emerged in the West under the influence of Japanese art, following Japan’s opening to the rest of the world and its participation in the 1867 Universal Exhibition. Painting, like the decorative arts, was transformed by contact with East Asian art, as evidenced by this delicate cabinet. In its style and the detail of its ornamentation, this piece of furniture can be associated with the production of the house of Perret & Vibert. Its lion’s paw-shaped legs, the fine openwork ornaments that are alternately geometric and curved, the small display case, and the fierce dragon crowning the piece are all indicators. This cabinet is, moreover, close to a display cabinet depicted in the sketchbooks of this prestigious house.

Ref.15268
Ferdinand DUVINAGE (attributed to), Japanese-Style Set Consisting of an Inkwell and a Pair of Candlesticks, circa 1867-1874

This Japanese-style set, composed of an inkwell and two candlesticks, was crafted by Ferdinand Duvinage around 1867-1874. Founded in the late 1790s by Alphonse Giroux (1775/76-1848), the company specialized in small cabinet-making and marquetry items, also selling curiosities, paintings, and engravings. Under the direction of one of his sons, Alphonse-Gustave (1809-1886), it began creating small furniture pieces. Thanks to Pierre-Ferdinand Duvinage (1813-1876), who took over in 1867, the company gained new momentum, receiving a silver medal and two merit medals at the Universal Exhibitions of 1867 and 1873. In 1874, Duvinage patented a “type of marquetry with metal partitioning for furniture and art objects”. After his death, his widow took over the business, continuing production until 1882; it was then passed on to A. Philippe and E. Arnut before ceasing all activity in 1885. This set reflects the influence that Far Eastern arts had on the company’s production starting in the 1870s. At the center, the inkwell takes the shape of a shachihoko mounted by a Buddhist monk. This creature has the head of a dragon and the body of a carp, a folkloric figure from Japan. The Cernuschi Museum in Paris houses an articulated shachihoko similar to the one that must have inspired Duvinage. On either side, the two candlesticks are mounted on cranes, a recurring motif in Japanese prints. At their base, there is a “metal partitioned mosaic” executed using a technique invented by Duvinage, which he patented in 1874. The entire set is Japonist down to the smallest details: the inscription in Japanese characters under the base of the objects is the same as found on East Asian objects from the Ming era. One of the candlesticks bears the mark of a Brussels retailer, for whom Duvinage likely made these items. The cranes on the candlesticks echo those that support the tripod bowl created by the artist’s widow, now housed at the Musée d’Orsay in Paris.

Ref.15214
Louis XVI style trumeau with flower basket and garland of flowers

Ref.15440
Napoleon III style fireback with woman's mask and garland of flowers in gilded bronze and glass.

Ref.12564
Carlo BUGATTI, Pair of Moorish style wall console sconces, circa 1888

This false pair of wall sconces is quintessentially characteristic of Carlo Bugatti’s art, designed by him around 1888. Carlo Bugatti (1856-1940) trained at the Brera Academy in Milan and later at the École des Beaux-Arts in Paris before turning his focus to furniture design. He exhibited his works at the Italian Exhibition at Earl’s Court in 1888, at the 1900 Paris Exhibition – where he won a silver medal – and in Turin in 1904, where he received an honorary diploma. Bugatti later moved to France and decided to focus on silverwork. These wall sconces perfectly embody his unique style. The geometric influence is evident in his use of circles, a recurring motif in his work. Hammered and perforated, the circular element supports a small square-topped cedarwood console adorned with triangular patterns and bone inlays inspired by Islamic art. The console is mounted on a stand resting on a base decorated with stylized rosettes. Suspended beneath is a small dome holding three chains, which are attached to a perforated copper bowl. The two sconces feature slight variations in their decorative details. This model was presented at the Italian Exhibition in London in 1888, where Carlo Bugatti was awarded an honorary diploma. On this occasion, a page featuring his works was published in the journal The Queen, The Lady’s Newspaper & Court Chronicle on July 7, 1888. The ensemble was described as “quaint”, meaning “picturesque”, a term that aptly reflects the variety of influences in Bugatti’s work. While he primarily drew inspiration from Moorish art, he also incorporated elements from other styles, eras, and cultures. The Musée d’Orsay in Paris holds a photograph of this same model, published between 1888 and 1898, likely for commercial purposes. Additionally, the Kunstgewerbemuseum in Berlin houses another version of this wall sconce. This pair of wall sconces is thus a concentrated expression of Carlo Bugatti’s decorative vocabulary, showcasing both his creativity and the importance of Moorish influences in his work, though he cultivated a distinct and unique style throughout his work.

Ref.15699
Eugène GRASSET (designer) and FULGRAFF (cabinetmaker), set of 6 carved oak chairs, Paris, 1880–1885

Set of six carved oak chairs, designed by Eugène GRASSET (1845–1917) and executed by the cabinetmaker FULGRAFF in Paris between 1880 and 1885. This model is representative of neo-Renaissance decorative furniture in the historicist style popular in the late 19th century, as promoted by Grasset in his ornamental design work. The chair backs are topped with two carved palmette finials. The X-shaped base rests on lion paw feet at the front and twisted fluted columns at the back, giving a wave-like effect. The seat rail is decorated with openwork scrolling foliage, a vegetal motif that is echoed in the uprights adorned with acanthus leaves. The seat and bandeau backrest are upholstered in the original ochre ribbed fabric, secured with stylized flower-shaped nails. The Musée des Arts Décoratifs in Paris houses a reconstructed “Eugène Grasset Dining Room of 1880,” which includes two additional examples of these chairs. This room is a re-creation of the one that once stood in Charles Gillot’s hôtel particulier on Rue Madame. In 1879, this collector and printer commissioned Grasset to decorate and furnish the main rooms of his residence. Naturalistic and fantastical elements coexist in this interior. Chaises Eugène Grasset et Fulgraff, Salle à manger Eugène Grasset 1880, Collections du Musée des Arts décoratifs. Tous droits réservés. This chair model was published in several works, including Eugène Grasset et son œuvre, published in Paris in 1894. C. Lemonnier, G. Kahn, C. Saunier, Eugène Grasset et son oeuvre, La Plume, Paris, 1894, dessin du modèle illustré p.12

Ref.15738
F. GERDERÈS – Japanese-style billiard table in gilded and carved wood

This rare Japanese-style billiard table in gilt and carved wood bears the plaque of the Parisian manufacturer F. Gerderès. Famous for the quality and inventiveness of its billiard tables, the Gerderès company participated in the 1867 Universal Exhibition. This model is undoubtedly among the most original designs of its time, capitalizing on the vogue for Japonisme in the last third of the 19th century. Our billiard table rests on four imposing gilt bronze legs in the form of vases. These feature motifs inspired by Japanese script, Greek key patterns, and handles with rings. The tall, flared neck supports a playing surface composed of three slates, a material of choice for ensuring a perfectly level billiard table. The frieze features superb marquetry lacquer panels, set within molded frames. The marquetry decoration is characteristic of the Japonisme style: it depicts cherry blossom branches and birds. Gilded wood ornaments stand out sharply against the lacquered border: across the width, three cornflowers unfurl on an acanthus leaf base in a striking Rococo style. Along the length, the border features a menacing gilded Japanese-style dragon resting on an acanthus leaf. Openwork Japanese-style friezes accentuate the profile of the billiard table, further emphasizing the Asian architectural reference. The billiard table has a score counter stamped by the manufacturer, indicating its address and the inscription "Precision Billiards." This high-quality Japanese-style billiard table is one of the few known examples.