Ref.18458
ZSOLNAY Manufacture - "Young woman at the source", vide poche in iridescent ceramic

This Art Nouveau style vide-poche (storage tray) made of iridescent ceramic is from approximately 1900 and signed “Zsolnay Pecs Made in Hungary.” A female figure is leaning down with a jar to collect water. The object's asymmetrical shape, curved outlines, and iridescent ceramic translate the movement, texture, and blueish-green colors of the water. This colorful and original vide-poche belongs to the Art Nouveau movement, an artistic movement from the beginning of the 20th century that wanted to break away from traditional forms and historicist styles from the 19th century. The defenders of the Art Nouveau movement wished to create an art form that included both modernity and a return to nature and its symbols. This vide-poche's modernity is brought by the shine and colors of the iridescent ceramic, and by the object's simple outlines. It also has a very organic, natural side to it, as every aspect helps to recreate the water that the female figure is collecting. As the stamp on the bottom says, this object is from the Zsolnay Factory, a Hungarian ceramics factory founded in 1851 by the merchant Miklos Zsolnay. It first produced simple, useful objects, and in 1865, when Vilmos Zsolnay, Miklos' brother, took over the company, it began creating decorative dishware. It exhibited faience at the World's Fair of 1878 in Paris and obtained a Grand Prize. From the 1890's, the factory also produced architectural ceramics.

Ref.11438
Ignac FISCHER - Chinese style jardiniere, in earthenware and gilded bronze

This jardiniere, made in the 19th century, is signed FISCHER J. in Budapest (Hungary). Square in shape, it has a polychrome decoration of Chinese floral motifs. The chased, gilded and openwork bronze neck and base are joined by two stylized dragon-shaped holds, the foot adopting the shape of elephant head. Ignác Fischer acquired his knowledge in his father's ceramics factory in Tata-Tóváros, Hungary, and then founded his own workshop in Pest in 1864. At first, he only decorated porcelains which were made in other factories but very soon, in 1867, he produced his own ceramics. Similar to Zsolnay, Fischer also specializes in the production of ornamental ceramics. He knows success in his country and in the world thanks to his dishes in majolica. But Fischer is also famous by the production of pieces decorated with Chinese motifs that he presents at the Hungarian Exhibition of 1885. This jardiniere is undoubtedly part of this series. He wins several important awards. His son Emil took over the direction of the factory, but soon it became the property of the Zsolnay factory in Pécs, in southwestern Hungary.

Ref.12129
Beautiful antique Napoleon III style trumeau with putti and flowers decor in gilded stucco

Beautiful antique Napoleon III style mirror in gilded stucco made in the 19th century. The frame is decorated with a frieze of pearls and twisted ribbon all around. The upper part is richly decorated with putti supported by a vase of flowers.

Ref.11991
Auguste MOREAU, The Crayfish Fisherman, circa 1902

This statue in Carrara statuary marble was sculpted by Auguste Moreau around 1902. Auguste Moreau (1834-1917) belonged to a distinguished lineage of sculptors. He was the son of Jean-Baptiste-Louis-Joseph Moreau and brother to the renowned Mathurin Moreau, who appear to have been his mentors. Auguste was also the father of two sculptor sons. Both a painter and sculptor, he exhibited frequently at the Salons from 1866 to 1909. The child is seated on a rock covered with algae, beside the water. His pose is dynamic and slightly off-balance: his right leg is bent backward, while his left leg stretches over the water. His left hand rests on his right leg, holding a stick with which he pulls a crayfish by its claw. The child’s head, framed by long curls, is tilted downward, and he gazes at his catch with a faint smile. Special attention was given to textures, with the child’s smooth skin contrasting against the algae and the rough surface of the stick. The work is signed on the side and bears an inscription. The plaster of this statue was presented to the public at the 1902 Salon, catalogued as number 2725. The artist explored similar themes featuring children and small animals in several other works, including Child with warblers, presented at the 1878 Salon, Child with a Frog in 1893 and Happy Fisherman in 1895.

Ref.12707
Wood paneled room with trompe l'oeil library decoration, late 20th century

This piece of woodwork was made at the extreme end of the 20th century, around 1985 and comes from a Parisian mansion. It presents a grey paneled decoration enhanced with gold, composed of empty shelves surmounted by cupboards opening with a leaf, or filled with trompe l'oeil books by great authors with old bindings. The shelves are punctuated by protruding ionic columns on rudent pedestals. Three doors give access to the room, two of which are trompe l'oeil, taking up the library decor and opening with a round handle.

Ref.12719
Statue of a young musician faun in composite stone, 20th century

This statue depicting a young faun put on a squared terra cotta pedestal was made at the beginning of the 20th century in composite stone. It's a child faun that is depicted here, recognizable thanks to his legs and hears taking the ones of a goat. He's holding in his hands cymbals that he's banging against one another.

Ref.12923
Lot of 6.4 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 310 tiles of which the six sides are 3,54 inch for 7.08 inch width and 1 inch thick. The whole surface area is about 6.4 m².

Ref.12889
Louis XVI period gilt wood overmantel with a double crown of flowers and olive tree branches

This wooden overmantel was made at the end of the 18th century and shows a beautiful decor in gilt wood with typical Louis XVI style motifs. The mirror is framed by a frieze of pearls and a laurel leaves crown. It is surmounted by a frame decorated with a palm frieze showing a relief decoration of a very rich double crown of flowers knotted with a ribbon from where are escaping olive tree branches.

Ref.12850
Lot of around 10.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles from Provence. About 650 tiles of which the six sides are 3"1/8 for 6" 5/16 length and 13/16" thick. The whole surface area is about 10.5 m².

Ref.12870
Lot of around 5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles from Provence. About 300 tiles of which the six sides are 3"9/16 for 6" 11/16 length and 13/16" thick. The whole surface area is about 5 m².

Ref.12088
Important lot of 24.5 m² of antique hexagonal terracotta tiles, 19th century

Important antique lot of 19th century period floor composed of hexagonal terracotta tiles. About 1450 tiles of which the six sides are between 3 3/8 to 3"7/6 for 6" 11/16 length and 7/8" to 1"1/16 thick. The whole surface area is about 24.5 m².

Ref.11029
BACCARAT, Garniture with Japanese landscape, circa 1880

This decoration with a Japanese landscape was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal factory Baccarat demonstrated its excellence at Universal Exhibitions throughout the 19th century. This ruby crystal trim is made up of two vases and a planter. The whole is emblematic of the quality of the crystal works. The gold enamelled decorations of the vases represent a Japanese landscape with Far Eastern fauna and flora. The waders are particularly characteristic. The planter is decorated with an aquatic landscape flown over by wild geese. A vast golden sun emerges from a mountainous background. The transparent crystal handles are also decorated with decorative gold motifs. Each element of the trim is assembled. The crystal maker's stamp, affixed since 1875, shortly before the creation of this piece, is found under the base of the gilded bronze frame. Baccarat produced, in the same period, another decoration mounted in red crystal enameled with gold, with slightly different shapes and a very similar Japanese decoration.

Ref.15388
Théodore DECK, Dish decorated with iridescent bird and insects, circa 1880-1900

This earthenware dish with rich iridescent reflections was made by Théodore Deck around 1880-1900. It bears the artist’s signature and stamp on the back. Théodore Deck initially trained in the field of stove manufacturing. When he established in Paris on his own in 1858, he produced stove coverings and, buoyed by his success, ventured into ceramics. The workshop then created numerous dishes, sometimes in collaboration with renowned painters. He gradually perfected his technique and achieved great success at the many Universal Exhibitions in which he participated. In 1878, he was made an officer of the Legion of Honor. He led the Sèvres factory from 1887 until his death in 1891. The decoration of this dish, particularly poetic, features a small bird with a yellow throat and blue-green and brown wings, surrounded by orange flowers among which a bee and two butterflies flutter. The top of the bird’s head and part of its wings, as well as the wings of the butterflies and the body of the bee, were executed thanks to Deck’s work on metallic reflections, which uniquely enriches the decoration of this dish. It is notably due to his technical mastery in this area that he won a silver medal at the Universal Exhibition of 1867; however, it is rare for him to use such an important and varied application in a single work. In this, the dish is an exceptional piece. The artist particularly favored motifs of birds and butterflies in flight within a natural, flowery setting; this is evidenced by another dish of his, preserved in Peter Marino's collection, depicting a bird with blue wings striped with black, perched on a flowering branch, from where it watches two butterflies with colorful wings.

Ref.14967
Jean-Charles CHABRIÉ, Vendetta, Salon of 1888

This marble bas-relief entitled “Vendetta” was created by Jean-Charles Chabrié before 1888. The painter and sculptor Jean-Charles Chabrié (1842-1897) was a student of François Jouffroy for sculpture (which he practiced as his primary art form) and Vincent Chevilliard for painting. He exhibited regularly at the Salon between 1868 and 1888 and was awarded a prize in 1870 for his plaster work Rêverie d’Enfant (1874, marble at the Museum of Picardie in Amiens), which reflects his fondness for childlike themes. Vendetta is a bas-relief framed within an integrated structure. At its center, a putto is suspended from a hook by a ribbon that passes under its arms and ties at the front, unfolding in an elegant movement. Its wrists are also bound by cords attached to nails. The putto holds a rose in its right hand. On the ground lie a discarded bow and arrows; the quiver is secured with a ribbon that unfurls to display the letters of the title. The work is signed at the bottom right. Chabrié plays here with the contrast between the chosen theme and the way it is depicted. A vendetta typically refers to a personal revenge that often ends in violence or even murder, yet here it is an innocent and dejected-looking putto being punished. It might symbolize Love, defeated by an unhappy lover, as suggested by the bow and arrows on the ground and the rose in its hand. The use of tied ribbons adds a sense of softness and charm, further emphasized by the presence of a flower and a dragonfly in low relief in the background. This low-relief was exhibited at the Salon of 1888 under entry number 3896.