Ref.3438
Antique Napoleon III style fireplace in Belgian Black marble with Fior di Pesco marble inlays

This antique Napoleon III style fireplace was made in the 19th century in a beautiful Belgium black marble , also called "Fine Black of Belgium", and decorated with inlays in Fleur de Pêcher marble (Fior du Pesco). The tapered legs are fluted while the rudentures are madeout of Fleur de Pêcher marble. The frieze is composed of three molded panels also inlaid with Fleur de Pêcher marble.

Ref.3593
Antique Napoleon III style fireplace with salomonic columns made of Red Marble and Black Marquina Marble

This antique Napoleon III style fireplace was made during the 19th century in Red Marble. The jambs constit of salomonic columns made of Black Marquina Marble with Ionic style capitals. The frieze is sculpted with foliate scrolls and has, on its center, an antique vase garnished with fruits surrounded by two chimeras.

Ref.03142
CARRIER BELLEUSE Louis Robert, Extraordinary vase with Urania , science allegory.

Large ovoid stoneware vase on its tripod base with decoration in high relief made of glazed stoneware. This vase has a wide collar on which unfolds a farandole of lovers having fun with the Moon in a heavenly backdrop of stars and clouds, as an allegory of the day and night.During the night, one of the lovers escapes from the mouth of the personified Moon, while another clings strongly to it. The opposite side, another comforts the Moon who cannot shine during the day.The body of the vase also has a continuous backdrop of flowers and foliage narrating two main stages from Mythology: Urania admiring the stars and the awakening of Aurora.In a setting of ancient remains of balustrades and ionic columns, the muse Urania studies the sky using her telescope and strongly holds her globe with love, while one of her disciples, an Ouranie, takes notes on her speech.The Aurora is voluptuously lying on a bed of flowers and foliage of fields in high-relief, her face still asleep.The entire decor is on a blue background subtly shaded according to whether the scenes take place during the night or day, or when necessary to highlight a character. The harmony of this vase is not only thematic, but also chromatic. Thus, the pedestal with blue ogee curves echoes the night.This vase is presented on a majestic tripod stand with very original decor of upside-down lions, with delicately created coats ranging from beige to dark brown, reflecting the great mastery of their glazes and firings.Lions also rest on a tripod base with finely coiled caryatids endings, the sides decorated with opened shells.This vase is a reflection of the creativity of Carrier-Belleuse, subtly harmonizing his neo-rococo and neoclassical inspirations.It focuses on the description of the complicated rendering of the atmosphere of heaven, floating edges of drapery, hair which frames faces. To acknowledge the reality of the details, he cut the clay still wet, after completing the general form.In the tradition of his father, he pursued his theory that was based on the idea of ??applying the human figure to the decorative arts, especially the female figure. His ability to make realistic characteristics on his models gave him great fame.Louis-Robert Carrier-Belleuse (1848-1913) was the son of Albert-Ernest Carrier-Belleuse, of whom he was a student. At the school of fine arts he took lessons taught by Gustave Boulanger and Alexandre Cabanel.In 1877, he acquired from Theodore Deck his first experiences with ceramic.At the 1881 exhibition, he won the prize for best painter, then for the best sculptor in the 1889 exhibition.He designed some models for the Choisy-le-Roi pottery and was its artistic director.Among his works: The National Monument of Costa Rica, A Little Curious at the Museum of Rochefort, The Little Chimney Sweeps, Bearers of flour at the Petit Palais Museum (1885). His works are also kept at the Dahesh Museum, New York; Museum of Art and Archaeology, Moulins, France and the Musée d'Orsay, Paris.

Ref.14894
CHOISY LE ROI MANUFACTURE, Coffee and tea set in the Oriental style

Made up of ten pieces, this coffee and tea set bears the mark of the manufacturing company of Choisy-Le-Roi, and is from the Hippolyte Boulenger period. Made out of enamelled faience around 1880-1890, this coffee and tea set in oriental style is characteristic of the trend at the time to move towards exotic styles, from Japan to China, whilst passing through The Orient. The two jugs for the coffee and the tea, the water container, the sugar bowl and the five cups with saucers are enamelled in green and yellow from the bottom, in order to create subtle gradations. The enamelled work is of very high quality. The abstract engraved decoration is made up of concentric and twisting lines, whilst the top of the handles of the different pieces are decorated with animal protomes, either eagles or dragons.

Ref.11309
Gabriel VIARDOT, Desk with a Buddhist monk, signed and dated 1886

This beautiful sloping desk is signed by Gabriel Viardot and dated in 1886. The presence of a date on a piece by Gabriel Viardot is a point in itself and worth noting. The great quality of production of this sloping desk probably explains its presence. Faithful to the Japanese productions, this desk with classic construction has an assymetrical composition, notably in its upper part. In the center of it is a drawer around which shelves and cabinets are distributed. The box located in the lower part is closed by a door adorned with Tonkin mother of pearl inlays, an element reused according to a then customary practice. Below, a small square-shaped box is closed by a panel with a lacquer decor from Japan. An Buddhist monk is depicted there seated and dressed in a rich tunic with gilded motifs. His face is very meticulously represented, engraved in the ivory. The panel closing the desk is also decorated with inlaid Tonkin mother of pearl. The great quality of this desk and the attention to the decor that it presents make this piece an exceptional production of Gabriel Viardot.

Ref.17256
"The Dragons", Rare pair of gilt-bronze wall sconces in the Japanese taste

Gilt-bronze A dragon in the Chinese style gracefully wraps his slender body around a branch of stylized branches. The inspiration for these sconces comes from the Orient, more specifically China, and they express the taste for Oriental art in vogue at the end of the 19th century. This was the result of the opening of Asia to the West, through their participation in international exhibitions, as well as the collections that were formed by wealthy and enlightened art collectors, such as Henri Cernuschi or the Empress Eugénie who installed a Chinese Museum at Fontainebleau. These contacts meant there was a new decorative repertory, greatly appreciated, that the designers of the 19th century could draw upon when creating elegant new objects for their clientele.    The stylized cloud motif around the dragon and the head of the monster are also characteristic of this same source of inspiration, which encouraged decoration that was both elegant and sophisticated, and was emblematic of a refined lifestyle. Such works integrated perfectly in the distinguished interiors of connoisseurs and lovers of Asian art of the period. This pair of wall sconces, formerly attributed to Édouard Lièvre, took its inspiration from the work of the greatest designers of the period, such as Reiber or Viardot.    The high quality of the chasing of the bronze and the finesse of the fabrication show that these sconces are the work of a true bronze artist who was smitten by this Far-Eastern taste and created an important work of art destined to decorate the most luxurious interiors of the period.  

Ref.18521
Albert-Ernest Carrier de Belleuse called « CARRIER-BELLEUSE » (1824 - 1887) (after), Bust of a young Lady, Biscuit porcelain

This sculpture was made in the 19th century in biscuit porcelain. The statue represents the bust of a young lady with a veil. She is dressed in the Neo-Renaissance style. The famous sculptor Carrier-Belleuse created the model for this sculpture. Thus, it is marked "Carrier Belleuse" on the back of the base. This sculptor was a very important artist at his time. He participated in the Garnier Opera's construction, he was in charge of the "torchères au tambourin", which were importants lamps in the main stairs. He also was the professor of Auguste Rodin.

Ref.11386
Christophe FRATIN (1801-1864), Taureau à la grenouille (A Bull With a Frog)

Between 1839 and 1849 (?) Chef-modèle made out of patinated bronze, base in Rouge Griotte marble. Signed « Fratin », « Fonderie de L. Richard Eyck et Durand » engraved on the base. Dimensions : L. 47 cm / 18’’ 1/2 ; H. 23 cm / 9’’ 1/16 ; P. 26 cm / 10’’ 1/4 REF. 11386 This sculpture was made out of bronze during the 19th century by the famous animal sculptor Christophe Fratin. It represents a young bull moving and more specifically chasing the little frog it has on his back. An other amphibian is set on the base. The reason why this sculpture has so many sharp details is that it is a chef-modèle (original mould) allowing the reproduction of the sculpture in order to produce commercial copies. Indeed, the details lose their quality during the overmoulding process so the chef-modèle is sculpted so as to prevent this loss. When the piece is not meant to be cast in one go, it has to be dismantle so there are bolts which link the different parts of the piece as is the case here. The quality of the beautiful brown patina should be underlined. After the 1848 Revolution, the downturn of the art market forces Fratin to sell his works during auctions, most of the time with their publishing rights which is extremeley rare for a 19th century’s sculptor. Our sculpture has been reassembled with the bolts which were added for the purpose of the sale. We don’t know any copy that would have been made from this chef-modèle, making it particularly unique. In the catalogue of one of these auctions (in July 1849), a « Taureau à la grenouille » (Bull With a Frog) is mentioned, so we can date our sculpture from before 1849.

Ref.11296
Napoleon III cabinet bottom, Louis XV style

This cabinet bottom was made in the 19th century. It opens with three doors, including a central glass door. The top is made of Fleur de Pêcher marble. Ornaments of chased and gilded bronze. Beautiful cabinetmaking work with wood veneer symmetrically, playing on the game of lines and veins of wood.

Ref.11349
Gabriel VIARDOT (attributed to) - Japanese style cupboard with dragon

This small walnut cabinet is attributed to Gabriel Viardot. The decor is quite characteristic of the production of this Parisian cabinetmaker specializing in Japanese and Chinese-style furniture. The lower part consists of multiple vertical boxes surmounted by three shelves. The upper part of this piece is decorated with latticed wood in the tradition of Japanese furniture. A gilded bronze dragon crowning this cupboard is entirely characteristic of the production of Gabriel Viardot. The vertical uprights are also decorated with gilded bronze elements that we can also find on other productions by Gabriel Viardot. Gabriel Viardot 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.11358
Washbasin cabinet and its mirror in the Far Eastern style

Japanese style washbasin cabinet made in the 19th century. It can receive two basins, and opens on the front with two leaves richly decorated with birds and flowers inlaid with ivory and with three large drawers and two small drawers. The top is in Breccia Sanguine marble.

Ref.12073
Important Louis XVI style overmantel pierglass decorated with knotted ribbons and flowers

This large antique Louis XVI style overmantel pier glass was made out of wood and gilded stucco in the 19th century. The frame has an important frieze of flowers inscribed in interlacing. The upper part of the mirror is decorated with knotted ribbons. The upper corners are decorated with poppy flowers in high relief with acanthus leaves.

Ref.12109
Albert CARRIER-BELLEUSE (1824-1887) - Young woman in statuary marble

Young woman in Antique, in statuary marble signed on the base Albert CARRIER-BELLEUSE (1824-1887).

Ref.12415
Antique trumeau with an oil on canvas representing a scene of children playing with a dog

Antique painted trumeau realized in the 19th century composed in its upper part of an oil on canvas representing a scene of children playing with a dog wearing a dress.

Ref.12414
Antique Louis XVI style trumeau with an oil on canvas with gallant scene decoration

Antique painted trumeau, Louis XVI style, decorated with an oil on canvas representing a gallant scene in a landscape.

Ref.12091
Lot of about 19 m2 of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from the same apartment, same color. It is composed of two lots : one lot of strips 21.06 Inch long and 3.35 Inch wide for a surface area of 7 m2 and a second lot of strips 20.08 Inch long and 3.35 Inch wide for a surface area of 12 m2.

Ref.12353
Lot of 18 m2 of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from two rooms, identical patina and width of strips but one room of 6 m2 with 20.47 Inch long strips and a second room of 12 m2 with 22.44 Inch long strips. Possibility to cut the longest slats to obtain a total surface of 18 m2.

Ref.13206
Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly, 17th century

Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly. Joseph-François de Montecler, marquis of Montecler, (1694-1766) married in 1716 Hyacinthe Menon de Turbilly (1699-1742), lady of La Rongère, of who the marquis de Sourches praised the beauty.

Ref.13607
René ROZET « Young musician with a mandolin », statuary marble sculpture, late 19th century

This statuary marble sculpture was made in the last decades of the 19th century by the French sculptor René Rozet. Used to sculpt bust portraits, he represents here a young musician from the late medieval period as indicates his haircut and his outfit. Introducing the notion of movement in our bust, the young musician is represented with his body turned toward the right, while his head is turned toward the left. He holds in left gloved hand sheet of paper, a quill and a mandolin leaning against his other arm, which is making a wide movement toward the exterior, thus letting the spectator see the delicacy of his naked hand. As indicates the French newspaper, Le Matin in his publication of the 5th of February, 1905, our sculptor « has understood that it is by grinding and melting all the souvenirs by which is spirit has been impressed, that the artist makes his work, mixing unconsciously and not as a plagiarist, what dictates his imagination with what has stroke his artistic feeling in the past works. » Our bust resting on a steps base, is a beautiful example of this restyled past, inspiring the artists of the late 19th century. René Rozet (1858-1939) is an important and prolific artist of the late 19th century and the early 20th century. He was the student of the Pierre Jules Cavelier and Aimé Millet. He participates very regularly in the Salon des Artistes français between 1876 and 1912 where he presents an important number of plaster and marble portraits. Noticed for his talent by the maison Christofle, he proposes to the silver house many models made next in massive silver, receiving always praised from the contemporary critics. We can for instance speak about an extraordinary mirror depicting the theme of Echo and Narcissus exhibited a first time during the World Fair of 1900, then in the Salon of 1902. Or even, a silver-gilt surtout on the “Air and Water” theme, exhibited the same year. At the same time, he also starts to become bisque sculptor by working for the Manufacture de Sèvres between 1906 and 1923. Thanks to his incredible work, he wins many rewards, especially the First medal in the Salon, two prices during the 1900 World fair, which makes him a unique case, and finally the Légion d’Honneur in 1912. He’s also the father of Fanny Rozet (1881-1958), first female sculptor to be accepted in the Ecole des Beaux Arts of Paris in 1896 and student of Laurent Marqueste (1848-1920). Nevertheless, only few of the many marble busts he made during his career and exhibited in the Salon have been conserved until today. Of his sculpture, independent of other important names, only four bronze bas-reliefs are conserved in the musée d’Orsay in Paris and a marble sculpture untitled « Bonsoir maman » is conserved in the musée des Beaux-Arts of Lyon.

Ref.13756
Napoleon III style trumeau with a cartouche in wood and stucco painted in brown

This trumeau was made in the second half of the 19th century in wood and stucco painted in brown. It presents a rich and eclectic sculpted decoration typical of the Napoleon III style. Indeed, the mirror is framed with a pearls edging and a frieze of coiled acanthus leaves. It is also surmounted by a cartouche in a lavish decoration composed of flowers, fruits, ribbon and shell. The mounts shows on their upper and lower part a decoration of flowers and acanthus leaves.

Ref.13797
Pair of Girandoles in bronze and Sèvres porcelain

Ref.14342
18th century fireback with three crowned lilies, symbols of the arms of France

Ref.14697
Louis-Philippe period billiard table with marquetry

Magnificent billiard table made during the Louis-Philippe period in wood and gilded bronzes. It is decorated with a light wood marquetry on a dark background representing numerous small scenes and a set of circular gilt bronze rosettes all around.

Ref.14778
Pair of beautiful cast-iron planters with woven motif and lion's paws

Ref.14041
Théodore DECK, Large vase of Far Eastern inspiration, late 19th century

This large “blue Deck” vase was created by Théodore Deck, bearing his signature and seal, at the end of the 19th century. Théodore Deck initially trained as a stove maker. When he set up on his own in Paris in 1858, he made stove linings and, building on his success, moved into ceramics. The studio produced a large number of dishes, sometimes in collaboration with well-known painters. He gradually perfected his technique and enjoyed great success at the many World’s Fairs he took part in. In 1878, he was made an Officer of the Légion d’Honneur. He ran the Sèvres factory between 1887 and his death in 1891.

Ref.14791
Persian vases from the Manufacture de SÈVRES, a historic model

Our pair of vases are among the beautiful pieces of bourgeois decor from the Belle Epoque. The model, known as the “Persian Bottle”, was created by the Sèvres Manufacture in 1874, based on a Persian (metal) prototype. The Manufacture de Sèvres produced other examples of this model, with variations in color and ornaments. It was chosen by Ernest Carrier-Belleuse, a renowned sculptor who took over as artistic director of the Manufacture between 1874 and 1887. The particularity of the Persian bottle is that it has a very elongated neck, made of white porcelain generally decorated with patterns or flat areas of blue color. The pair of vases we are presenting was made in 1887. They are in plain cobalt blue glazed porcelain. The decor, composed of fine golden borders, dates from 1888. Blue is considered the favorite color of ceramics from Persia, a culture which was of great interest to earthenware makers in the second half of the 19th century. The era, tired of neo-Greek and neo-Etruscan fantasies, was indeed keen on exotic and oriental references.

Ref.15204
Marie d'ORLÉANS (after), Statue of Joan of Arc in cast iron, after 1837

This cast iron statue was executed from a model by Marie d’Orléans (1813-1839). The original marble statue created from this model was sculpted in 1837 by Auguste Trouchaud, her designated practitioner, based on the model of the princess of royal blood, commissioned by the King of the French, Louis-Philippe, for the Historical Galleries of Versailles. Princess Marie d’Orléans (1813-1839), daughter of Louis-Philippe, had a keen interest in art. She was a passionate amateur of the neo-Gothic taste, which was very popular at the time. She studied painting under Ary Scheffer and sculpture under David d’Angers and was herself a talented artist, with a sensitivity close to the Romantic movement. The painting depicting her in her “Gothic salon” shows her literary culture, her taste for Gothic and neo-Gothic furniture, and her artistic practice, with works of her own creation. The young woman died prematurely of tuberculosis shortly after her marriage, which had made her Duchess of Württemberg. When Louis-Philippe decided to transform the Palace of Versailles into a museum dedicated “to all the glories of France,” he commissioned his daughter to create a statue of Joan of Arc to populate his new Historical Galleries. However, while Marie d’Orléans sculpted, she did not master marble carving, which explains the involvement of another sculptor for the creation of the final statue. The reviews were unanimously laudatory. They recognized the young artist’s talent and praised her dedication. The subject indeed inspired Marie d’Orléans: she had a genuine admiration for Joan of Arc, whose iconography experienced a strong resurgence under the Restoration and at the beginning of the July Monarchy following various rehabilitation efforts. This figure emerged in connection with the “national novel” then widely constructed and disseminated, although Joan’s canonization only occurred later, in 1920. Joan of Arc is depicted full-length, in armor, with a serene face. Despite her martial attire, she remains feminine: with medium-length hair, a gentle face, she wears a mid-length skirt extending from the armor at the waist. She holds a sword drawn from its scabbard but not brandished, held against her in a meditative and almost peaceful posture, her arms crossed over her chest in a sign of contemplation. Her helmet and gauntlets are placed beside her. In a concern for historical accuracy, Marie borrowed a 15th-century armor from the Artillery Museum to precisely replicate its form. On the original model, the handle and guard of the sword evoke the Cross of Calvary. The 19th century marks the beginning of the golden age of reproducibility, notably in the field of statuary. The statue of Joan of Arc was no exception, and several versions exist. In 1840, a bronze statue was commissioned by Louis-Philippe from the founders Louis Soyer and Étienne Ingé, and offered to the city of Orléans in gratitude for the condolences expressed by the city following the death of his daughter in 1839. This model is very close, although not identical: unlike the original statue, the accessories are placed on a pedestal at mid-height. The statue is now housed in the Hôtel Groslot in Orléans. After his daughter’s death and to honor her, Louis-Philippe also had Auguste Trouchaud execute a marble bust version of the statue for the Tuileries Palace. The choice of the bust emphasizes the young woman’s very contemplative attitude and the great delicacy of the sculpture. The bust is now located in the Museum of Fine Arts in the city of Orléans. A bronze model of this work was presented at the Exposition of Industrial Products of 1839 by the Susse Foundry. A commentary from the Exposition mentioning the statuette in question highlights the renown of Marie d’Orléans’ work: “Who does not know the Joan of Arc by Princess Marie?” (no. 22). It further notes: “Among these works, we who carefully choose those most worthy of admiration and publicity could not leave aside the Joan of Arc”; the one closest to the original being made by the Susse Foundry, based on a model executed by “Mr. Jacquemart”.

Ref.14082
Jules Vieillard & Cie Manufacture, Japanese-style Tea Service, between 1878 and 1886

Cups : H. 6,2 cm/2'' 7/16 ; L. 9,5 cm/3'' 3/4 ; D. 7,2 cm/2'' 13/16 Saucers : H. 2 cm/13/16'' ; D. 13,5 cm/5'' 5/16 Teapot : H. 16 cm/6'' 5/16 ; L. 19,7 cm/7'' 3/4 ; P. 7,5 cm/2'' 15/16 Milk jug : H. 9 cm/3'' 9/16 ; L. 12,5 cm/4'' 15/16 ; P. 6 cm/2'' 3/8 Sugar bowl : H. 15 cm/5'' 15/16 ; L. 17 cm/6'' 11/16 ; P. 8,5 cm/3'' 3/8 This exceptional Japonism tea set was created for the Jules Vieillard & Cie Manufacture in Bordeaux between 1878 and 1886; it is attributed to Amédée de Caranza. 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. The son of a ceramist, Amédée de Caranza (1843-1914) developed a deep understanding of the art of ceramics and constantly sought new techniques. After working in his own workshop and for the Creil-Montereau factory, he became the workshop manager at the Vieillard Manufacture from around 1878 to 1886. He then opened his own workshop before moving to New York. He served as artistic director at Henri Copillet & Cie, where he worked with glass. For more information on this work, see the video on marcmaison.art

Ref.13994
J. VIEILLARD & CIE Manufacture, Mantel Set, second half of the 19th century

Pot covers: H. 17 cm/6'' 1/2 ; L. 18 cm/7'' 1/16 ; P. 18 cm/7'' 1/16 This Japanese-style mantel set was made by the Jules Vieillard & Cie Manufacture in the second half of the 19th century. Initially a ceramics trader, Jules Vieillard worked for the David Johnston manufactory in Bordeaux from 1840. When it went bankrupt in 1844, he decided to buy it and founded the company Jules Vieillard & Cie, which enjoyed great success. After his death in 1868, the manufactory, then the third largest ceramics manufactory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes. They launched a production of artistic earthenware intended to decorate the finest interiors, which continued until the end of the 19th century. 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.14915
François-Rupert CARABIN, Woman with a Gourd, circa 1900

This sculpture in brown glazed ceramic with earth-toned and red nuances, called Woman with a Gourd, was executed by François-Rupert Carabin around 1900. François-Rupert Carabin worked in multiple artistic fields. He was a pioneer in the revival of decorative arts at the end of the 19th century and foreshadowed Art Nouveau. A part of his work had an erotic dimension, which is echoed in his Woman with a Gourd. The sculpture depicts a crouching woman holding a gourd in her arms, gazing at it tenderly as if it were her child. The gourd's leaves form a removable pewter lid, allowing the sculpture to function as an inkwell. The woman's back, with its complex and detailed modeling, is a reminder that Carabin frequented the dissection rooms of the medical faculty to study anatomy and was also a notable photographer of female nudes.

Ref.15013
BACCARAT, Crystal Vase with Neo-Greek Decoration, circa 1867

This vase was executed by the Baccarat manufacture, which presented several pieces with similar decoration at the 1867 World’s Fair; it can therefore be dated to this period. Founded under Louis XV, the French crystal manufacture Baccarat demonstrated its excellence and creativity at the World Fairs throughout the 19th century. This double-layered crystal vase, etched with acid, adopts the shape of a crater, a vessel in which wine and water were mixed before meals in ancient Greece. Its decoration, blue on a white background, is also inspired by ancient Greece: the body is adorned with a figure of a young ephebe playing cymbals and a woman, probably a bacchante, dancing. Below the handles, there is a stylized decoration of scrolls and palmettes, while the base and neck are adorned with regular friezes. These elements are highlighted with gold. The Chrysler Museum in Norfolk (USA) and the Musée d’Orsay in Paris both have a Neo-Greek vase in the shape of an amphora executed by Baccarat around 1867, whose blue and white double crystal decorations are very similar to ours.

Ref.15567
Napoleon III style trumeau in wood adorned with a garland of flowers

Ref.15696
GODCHAUX – "Panorama of the Cirque de Gavarnie", signed oil on canvas

Oil on canvas signed GODCHAUX in the lower right, depicting a mountainous landscape identified as the Cirque de Gavarnie, located in the French Pyrenees. The composition features a flowing stream in the foreground, framed by rocks and vegetation, with a wooden chalet centrally positioned. In the background, the mountain peaks add depth and structure to the scene. The color palette includes greens, blues, and earthy tones.

Ref.15702
AU VASE ÉTRUSQUE – Porcelain Vase with Aquatic Decoration

Porcelain vase with lid, marked AU VASE ÉTRUSQUE, PARIS. The surface features a hand-painted and gilt aquatic design on a light blue background. The decoration includes a stylized fish with gold highlights, jellyfish, aquatic plants, and rock formations, rendered in shades of gold, gray, and brown. The rounded body rests on a fluted base with gilded accents. The matching lid has a scalloped gold border and a finial decorated with vertical gold lines.

Ref.15805
Eduard STELLMACHER for Amphora, Ceramic owl vase, circa 1900

This Art Nouveau ceramic vase was produced around 1900 by the Amphora factory. Located in Turn-Teplitz (Austria), the factory was run by Riessner, Stellmacher and Kessel (RSt&K). The piece is stamped "E. St" in a triangle because the design is by Eduard Stellmacher, sculptor and ceramist, son of Albert Stellmacher, who left his partners in 1904 to create Eduard Stellmacher & Co. The number 18 is stamped close to the triangle. Around this vase, with its flattened body and cylindrical neck, an oak branch adds both structure and lightness to the whole. The branch supports the weight of an owl observing the container. The piece is glazed in a green whose reflections vary from more intense shades to subdued ones. A gilded effect highlights the relief of the piece. The enamel is reminiscent of a bronze that would have developed a verdigris patina over time. There are other examples of this vase with a finish that reminds us of metallic surfaces, for instance this piece is enameled in golden and copper colours.

Ref.10542
STEINER Hermann (1878-1963) faun mask in carved wood and ibex horns

Ref.14143
Neo-Renaissance cabinet, Napoleon III era

This imposing Neo-Renaissance cabinet is a superb example of the eclectic taste under the rule of Napoleon III. Richly sculpted, it reuses the essential elements of Renaissance ornamentation: cornice, frieze of figures and Bacchic mascarons, a body flanked by pilasters with grotesque motifs and cornucopias supported by dolphins. A rare feature is the sculpted shields on the lower doors, depicting hunting and fishing trophies. Neo-Gothic chimeras are nestled in the corners and appear to support the upper section. The base of the cabinet take the appearance of monsters crushed beneath the weight of the piece—a motif borrowed from the corbels of Gothic architecture.