Ref.10703
Julien-Nicolas RIVART (1802-1867) - Writing desk with gilt bronze espagnolettes and porcelain marquetry decoration

This elegant writing desk is built in a beautiful dark and warm wood, enhanced by gilt bronze ornaments and flower porcelain by Julien-Nicolas Rivart . Inventor, in 1849, of the porcelain marquetry technique, he was then the only one to master this unique and long sought process. We have here an example of these rare decorations with a bouquet of roses and white campanulas on a rosewood background.

Ref.10712
Julien-Nicolas RIVART (1802-1867) - Exceptional Jewel Case decorated with porcelain marquetry from Elsa Schiaparelli’s collection

This large jewel case, which sophisticated decoration of porcelain inlay contrasts with blackened wood, bears the signature of Julien-Nicolas Rivart , inventor of the porcelain marquetry process. The latter patented his innovative technique he was the only one to master in 1849, which opened the doors of the most prestigious commissions to him, including those of the Imperial couple, Napoleon III and Eugenie. The sobriety of the case, bordered with black and gold laces, is only broken by small gilt bronze mounts depicting shells and foliage borrowed from the Louis XV style vocabulary. The interior, just as beautiful, has the warm tone of the rosewood veneer. The delicacy and rarity of this object were recognized by the woman of taste that Elsa Schiaparelli was, since it was in the possession of this major personality of fashion and of 1930's Paris, who made it her jewelry case. Elsa Schiaparelli, born in 1890 at the Corsini Palace in Rome, was a figurehead of haute couture between 1930 and 1950. Friend of the Surrealists in the 1920's, she always promoted avant-garde and creativity, but this case is the witness of her personal sensitivity to other aesthetics and her receptivity to the poetry of things. Perhaps she had also recognized her fetish color in the roses on the lid, the "Rose Shoking". The decoration of flowers, blue and white campanulas, yellow daisies, roses and jasmines, here is of extreme finesse. These are inlays of porcelain, and painted resin for the thinnest foliage, a technique arrived at its perfection in the last years of Rivart 's career. The address engraved on the inside, 26 Boulevard Baumarchais, is indeed that of his last workshop, from 1860 to his death in 1867. His reputation was established largely for the competition that represents his new technique of inlay with that of the Florentine hard stones mosaic. The Count de Nieuwerkerke compares indeed his technique to the pietra dura in a letter of 30 March 1857. He uses here the full force of this comparison, bringing out his luminous porcelain on a deep black background. Porcelain has the advantage of enabling a more detailed cut-out, and therefore very fine details whose colors appear beautifully. But above all, it is a painted decoration that the wood panels are receiving, allowing magnificent hues and lights effects. The box lid is decorated with roses and jasmines, the ultimate flowers of romance, while the sides are dotted with wild flowers, bellflowers and daisies, which evoke innocence and coquetry. Contrasting colors accentuate the luminosity of these floral compositions, so the deep pink makes all the more vibrant the leaves of jasmine's aqua green, and the orange of the daisies revives the campanulas' blue. The precision of the floral decorations of Rivart had already owed him in 1852 a medal awarded by the National Society of Horticulture. Here, we can indeed admire the work of an illusionist brush that has kept the freshness and lightness of its subject. These flowers immortalized in the kaolin could not find more suitable support than porcelain for this luxurious beauty accessory.

Ref.10638
Georges Alphonse MONBRO (attributed to), Pair of low bookcases with bronze espagnolettes

This pair of cabinets with rosewood and amaranth veneer was made during the 19th century. Attributed to Georges Alphonse Bonifacio Monbro, these two pieces of furniture are characteristic of his work because of the delicacy and the profusion of the gilt and finely chiseled bronze decoration. The abundance of Monbro's production and his predilection for eclectic furniture enhanced the belief that Monbro made this cabinets. Monbro, whose father was an antique dealer and a cabinetmaker, was born in 1807 in Paris, where he died in 1884. He took over the family business from 1838 with the name "Monbro aîné" and whose the shop was situated at 18, Rue Basse-du-Rempart. During Haussmann’s renovation of Paris, he had to move and set up in Rue du Helder, in the hôtel Dudon, which will also be demolished. Monbro sold curiosities, furnitures, bronzes, porcelains, tapestries, sculptures and was also cabinetmaker. He acquired a great renown and opened a branch in London around 1850. While his shop was compared by his contemporaries to a real antiquities museum, the furniture he created were famous thanks to their historicism and their eclecticism, in vogue, as this pair of cabinets. The rosewood and amaranth veneer is very fine. The amaranth frames the rosewood parcels whose the streaks add ornamentation and relief, even a certain geometric aesthetic. Richly adorned with carved and gilt bronze, this cabinets each support a Carrara marble top subtly veined. On both sides, bronze and high relief espagnolettes adorn the corners. These espagnolettes, decorated with detailed leaves and draperies, are taken from the Regence style and are become, during Napoleon III, a recurring pattern in the decorative arts. Leaves and bunches of grapes surround the bronze borders as a vine stock. The furniture legs are inspired both by Louis XV and Louis XVI styles : they are ornated with square rosettes which are overhung by rococo curves and shells. A half-lion and half-human face is at the centre and is wrapped with foliage. The bronze is very fine and elaborated, especially on the edgings with rococo decorations which structure each piece of wood or on the edgings finely decorated with oak leaves which frame the two windows. Both restorer and cabinetmaker renowned for his skill as connoisseur about bronzes and antique furnitures, Monbro specialized in historical styles and in antique furnitures reproduction, at a time when copies were most appreciated than originals. Constance Aubert tells in the review L'Opéra in 1842 his journeys through France, Switzerland and Italy for visiting all the castles to find antique furnitures in order to resell or to copy it for his creations. However, if Monbro was a real historic styles expert – Marc Fournier, a critic, writes in the review La Grande ville, that he was "the only curiosities merchant with [...] a great reputation and genuinely versed in the science of archeology" - he did not imitate originals, but he reinterpreted historic styles, according to the trend of the period, and this pair of cabinets is a perfect example : Louis XV, Louis XVI and Napoleon III styles are mixed.Georges Alphonse Bonifacio Monbro is especially known for his ebony and gilt bronze furnitures decorated with enamel such as the one currently exhibited at the Musée d'Orsay. Two caryatids also adorn the angles and the figure in the center is reminiscent of those at the bottom of our cabinets. This furniture with many inspirations - rigor and egyptomania are taken from the Napoleon I style, shells and curves from the Louis XV style, square rosettes from the Louis XVI style - is also characteristic of the furniture of the time.Antiques merchant, with whom "all the precious remains of past ages are," Monbro made bronze furnitures with eclectic decor his specialty, symptomatic of the aestethic of the second half of the 19th century and his taste for curiosities.

Ref.15462
Joseph Chéret (1838 - 1894) for the Manufactory of Sèvres "Putto with greek masks" Coin tray made in faience with a blue glaze

This coin tray was made in blue glazed faience in the 19th century by the manufacture of Sèvres, after an artwork of Joseph Gustave Cheret (1838-1894). This sculpture represents a putto with two Greek comedy masks. The first one, sitting at its foot, is a woman's mask of a courtesan called 'pseudokoré'. The putto is holding the other one in his arms, it is the mask of a bearded man called 'pornoboskos'. The putto is partially covered with a drape. At his feet are severals musical instruments : a flute, some bells and a tambourine, with the signature 'Joseph Cheret Saw'. Another mark 'CH FICQUENET. - Sevres' is on the side. Cheret is an important sculptor of the 19th century. He was trained by the famous Carrier-Belleuse. This very gifted student eventually married one of the daughters of his mentor in 1868. From 1863 he regularly presented works in different Fairs and Exhibitions. We owe him the first salamander design, which he realized in collaboration with the Chaboche Company. This object is inspired by sculptures depicting putti or young satyrs having fun with Greek comedy masks. Very popular in the imperial Rome period, these images are experiencing a revival during the Renaissance and then in the 19th century during eclecticism. It is particularly representative of the 19th century taste, especially by its material: a blue glazed faience. At that time, ceramic techniques were very popular. This blue can be compared to 'Deck blue', used by Théodore Deck at the same time.

Ref.11215
Japanese style tea table with mother-of-pearl inlays

Beautiful Japanese style tea table. The trays are carved and engraved with extreme oriental motifs and feature a decoration of mother-of-pearl flowers and butterflies. The lower part rests on four feet finished with claws.

Ref.11418
Pair of chair with openwork backseat in the taste of Japan

This pair of sculpted, moulded and engraved side chairs was made in the 19th century. The backseat has an openwork decoration of flowers and a dragon. The seat rail is engraved with flowers and carved with openwork motifs. The seat is covered with red velvet. The front legs are arched and finished in claws

Ref.11292
Maison des Bmbous Alfred PERRET and Ernest VIBERT (attributed to) - Japanese flat desk with mother-of-pearl and ivory decoration

This desk, inspired by the Far East, was created in the 19th century. The parchment leaf-style tray and the five drawers are engraved and inlaid with floral motifs, birds, insects and butterflies in ivory and mother-of-pearl. The belt is decorated with openwork Chinese motifs. The pedestal with spacer is sculpted and finished with claw feet. This Japanese style desk is typical of its time and of the creations by Perret and Vibert. The decorative arts of the late 19th century testifies to a renewed attraction for Far Eastern creations and divert the codes of the Japanese art to apply them to perfectly Western furniture. The Maison des Bambous by Perret and Vibert is the place to be for lovers of Japanese objects at the end of the 19th century. Alfred Perret founded, in 1879 in Paris, a house specialized in the production of bamboo and luxury basketry furniture, as well as in the importation of authentically Japanese objects for a well-off clientele. The company specializes in the early 1880s in the manufacture of lacquered and carved wood Japanese style furniture. In 1886, it is taken by the son of Alfred Perret and Ernest Vibert and becomes "Perret and Vibert". It will take the name of "La Maison des Bambous" in the early 1890s.

Ref.12791
Gabriel VIARDOT, Japanese display case with chimera feet and mother-of-pearl decoration

This beautiful display case was made circa 1880-1890 by the famous French furniture maker from the late 19th century, Gabriel Viardot (1830-1904), as indicates the signature. The display part can be opened with a glass door and shows three shelves on a red velvet background. Its pediment taking the shape of a pagoda roof is adorned with polished varnished bronze chimera, frequent element on the Viardot's production. The furniture, made with tinted sycamore is adorned with a delicate decoration of inlaid Tonkin mother-of-pearl forming cherry tree branches with animals and insects. The belt canbe opened as a drawer but can also be transformed into a writing desk by taking down the facade. The whole is supported by two sculpted chimera feet and lays on a base with four small feet. Gabriel Viardot became famous from the 1870 with his production of furniture inspired by the Asiatic ones, of which he makes his specialty. He takes his inspiration from the 1867 Worlds's Fair where Japan participates for the first time. His very characteristic furniture production was sometimes inlaid with Tonkin mother-of-pearl as it is the case on our display case, but always made with tinted sycamore wood.

Ref.14023
Exceptional Charles X billiard by Maison Chéreau in mahogany and gilt bronze

.noticeclient.container { display:flex; flex-direction:column; gap:0px; width: 100%; } .noticeclient img { border-radius: 5px; box-shadow: 0px 0px 5px grey; } .noticeclient-section { display: flex; flex-direction: row; gap: 0px } .noticeclient figcaption { text-align: center; } .noticeclient figure { width: none; text-align: center; } @media screen and (max-width: 640px) { /* .noticeclient figure { width: none; text-align: center; } */ .noticeclient img { width: none;} .noticeclient-section { flex-direction: column; } } Billiards were first created in 1469 in France and have their origin in croquet, which was played outdoors at that time. A version of the game adapted to indoor play was then introduced, and then on a table. The billiard table underwent a slow evolution, propelled by the creativity of the French style which influenced the design of tables around the world, until it reached its apogee in the 1800s. According to "The Billiard Encyclopedia. An Illustrated History of the Sport", tables from this period became masterpieces of carving, inlay and marquetry, some of which, like our exceptional table, are of the highest quality. The Maison Chéreau was founded in 1816 and settled in the heart of Paris, at 307 rue Saint Denis and 18 rue du faubourg du Temple. It specializes in the creation of exceptional billiard tables, especially with music, and was patented by the king for 5 years from 1828. It acquired an unprecedented notoriety in 1816, by the creation of one of the most beautiful and original tables in the history of billiards. The Maison P. Charles Chéreau, manufacturer of billiards, designed a table equipped, under its bed, with an organ that played a different note depending on the pocket in which a ball landed. It was unique and was presented at the Louvre Exhibition in 1827. The specialty of the Chéreau firm was to supply particularly elaborate tables to high society and royalty, such as our six-legged solid bronze table. Typical of French billiards, also called carom billiards, or three-ball billiards, our billiard is played on a pocketless table (without holes), decorated with a green carpet, and is generally played by two players with three balls. The drawing "Ladies and gentlemen playing billiards" of 1756, by Johan Esaias Nilson (1721-1788), shows that at this date, the pin (probably replaced by a ball) and the hoop disappeared and that the ladies still used a crosier while the men already used a cue. The "blouses" (holes), clearly visible on the drawing, will start to be removed from the tables around 1850 in order to be able to play the game with three balls. In addition to the improvements of the tables, the "pockets" of these were removed in France around 1850, and then in other countries. This allowed for better series, to the great pleasure of the players. The consequence was the opening of several new cafés, as well as very large billard rooms, notably in Paris, Vienna, Amsterdam and New York. The French three-ball game on a pocketless table became one of the most popular billiard games in the world. Some billiard tables are sometimes inspired by the style of furniture of a particular period, such as the Louis XV style table with six legs and marquetry, similar to ours. Our six-legged billiard table in solid bronze with lion's heads and mahogany veneer, was made by the Maison Chéreau, Blanchet & Co and then transformed by the award-winning craftsman E. Gueret (Gold Medal 1889). This exceptional piece was during decades in the magnificent Renaissance-style Château de la Cordelière. This impressive castle was built by the owner of Moët & Chandon in 1892, in Chaource (near Troyes), in a Louis XII, Gothic and Renaissance style. The second floor had vast and luminous rooms with high ceilings, and housed our large and exceptional billiard table, a pair of wrought iron sconces and iron lanterns and stained glass windows (currently presented around the billiard table in our stand 2 & 2 bis of the Paul Bert market). Above is an example of the opening of the gowns on another model from the Maison Chéreau, which are today condemned on ours. The table is overall sober and elegant, characteristic of the Charles X. It is an exceptional piece from the 1820s. In the XIXᵉ century, Cuban mahogany was highly prized, which reinforces the grandeur of de billard. It is supported by six superb ormolu legs with small scrolls, featuring lion heads with clawed feet. The intensity of the bronze, accentuated by exceptional ciseling, highlights the dark color of the mahogany around the billiard table, notably by the inlay of a dozen rosettes. The lions' mouths on the legs are now blocked, which indicates that the original table was "à blouses" and was transformed thereafter "à la française" by E. Guéret, to reinforce the noble aspect of this game. This transformation is reversible, it is thus possible to return to the original model. The mother-of-pearl cartouches indicating "Maison Chéreau, G. Blanchet & Cie, E. Guéret Sr." and "Médaille d'or, 13 [or 73] rue de Lancry, PARIS" were probably added during the transformation to the French style. Indeed, it would seem that the Maison Chéreau, specialized in the manufacture and creation of exceptional billiard tables, collaborated with the great piano manufacturers. In the list of the rewarded of the National Exhibition of Paris in 1827 (same decade as our billiard table) the names "Roller and Blanchet" located at 10 boulevard Poissonnière in Paris, received a silver medal for "Pianos transpositeur, pianos droits, Chromamètre" and explains the mention of the name "Blanchet" at the side of "Maison Chéreau" on the cartouche. The same year, we also find in the list of the rewards, the name of "Gaidon" (who also worked with Blanchet) for an honorable mention for a piano, as well as the address 307 rue Saint-Denis in Paris, which is also the address of the Chéreau Company. The sharing of the Chéreau workshops with a piano factory has therefore surely nourished the creation of our billiard table. Similar model of a billiard from the Chéreau company, in Charles X style with 4 feet in gilded bronze, with the holes in the lions' mouths. 248 x 138 cm.

Ref.14555
Pair of Louis XV period door overmantels depicting scenes from the life of Venus

Ref.11158
Armchair by PROUVÉ Jean, to be proven as by Prouvé

Our seat is an office chair with armrests in imitation leather and folded steel sheet. Its dimensions are H. 82 cm, L. 62.7 cm, D. 50 cm. Our model is similar to one in the Centre Pompidou collection (inv. AM 2007-1-144) and bears a striking resemblance to the furniture designed in 1936 in collaboration with Jules Leleu for the Geoffroy Martel sanatorium in Janville. The Cantilever Chair Museum of Tecta, a German furniture manufacturer with whom Jean Prouvé worked in the early 1980s, has a unique example of an office chair which has legs identical to ours.When Jean Prouvé left the Maxéville workshops near Nancy, much of his correspondence, plans and drawings were destroyed. While much research into the architect's work has suffered as a result of this loss, recent access to the Prouvé archives does not rule out new discoveries. The proximity to Prouvé's chairs, the existence of unique examples and the significant loss of archives allows us to nuance the lack of conclusive documentation concerning our armchair. It has yet to be proven as by Prouvé.

Ref.16062
Antonio Salviati (Vicenza, 1816 – Venice, 1890), attributed to Pair of mosaic portraits of Gioachino Rossini and Baldassarre Peruzzi

Trained as a lawyer, Antonio Salviati developed a keen interest in glassmaking and mosaic production. In 1859, after contributing to the restoration of the mosaics of St Mark’s Basilica, he opened his first glass and mosaic workshop. In 1866, he founded a second firm—Salviati & Cie—which he later divided into two distinct branches: glassmaking on the one hand and mosaic production on the other. Salviati was entrusted with major commissions. His workshops produced the mosaic glass for the reredos of the high altar at Westminster Abbey (1866–1867), took part in the restoration of the Palatine Chapel in Aachen, executed exterior mosaics for the Opéra Garnier, and contributed to the decoration of the Albert Memorial, inaugurated in 1872. Salviati’s enterprise also became famous for reviving the traditional glassmaking techniques of Murano. These two mosaic portraits depict the composer Gioachino Rossini and the Renaissance painter Baldassarre Peruzzi. Their poses conform to established conventions for portraits of illustrious figures: the Renaissance artist is shown in profile, while the composer is represented in a three-quarter view. In a similar spirit, Salviati supplied the tesserae for the mosaic portrait of Abraham Lincoln executed by Enrico Podio in 1866, now preserved in the United States Senate. The public’s appreciation for the meticulous craftsmanship of mosaicists has been particularly strong in Italy since the 16th century. While the 18th century renewed interest in micro-mosaics for precious luxury objects, the 19th century restored mosaic art to its status as a public art form—just as it had long been in Salviati’s native Veneto. Through his entrepreneurial spirit, the lawyer-turned-master glassmaker played a central role in the resurgence of mosaic art in Europe between 1866 and 1890.