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