Ref.03348
Nikolai Iwanowitsch Lieberich (model by) for the Woerffel Foundry in Saint-Petersbourg - Antique Bronze and black marble writing set

Important and rare bronze and black marble writing set with bears at rest decor. The set consists of a desk-top blotter, a card holder, an inkwell and a pen holder. The large inkwell features a lying adult bear. In front of him, a tree trunk is an ink reservoir where two bear cubs play. The small inkwell is in the same spirit, with a smaller bear, figured in a different position. Both bears are known models made by the great Russian sculptor Nikolai Iwanowitsch Lieberich and realized by the bronze manufacturer Woerffel in St. Petersburg which is 'Official Imperial Supplier' in 1895. The Great Bear model was designed in 1866. This complete writing set, with a superb bronze chiseling, is quite exceptional and extremely rare. It was probably made around 1880-1890 by Woerffel foundry. See illustrations in the book 'Николай Либерих. 1828–1883' published in 2012 at Palace Editions.

Ref.11120
Ferdinand BARBEDIENNE (attributed to) - Gilded bronze set clock in the taste of Japan

This set clock, attributed to Ferdinand Barbedienne (1810-1892), was made in the 19th century. The base of the candelabrum and the clock rests on feet in the shape of elephant heads. The design of the feet and the presence of the symbol evoking the Shu ideogram are characteristic of the production of Édouard Lièvre (1828-1886), a leading figure in Japanese art in France.

Ref.12479
Antique Napoleon III style gilded wood trumeau carved with a profile decoration in a medallion

Antique Napoleon III style trumeau, made in the 19th century, in carved and gilded wood with leaf decoration in profile in a medallion.

Ref.13131
Important Louis XVI style trumeau in painted wood and stucco with laurel garland

This important trumeau was made in the late 19th century in wood and stucco painted in white. The frame decoration takes motifs from the Louis XVI style, we especially find in each corner, the rose. On the upper part, laurel leaves garlands are escaping from it to fall along the mirror, while on the lower part, acanthus plants are climbing on the sides. The mirror is also framed with small friezes.

Ref.13709
Antique paneled room elemen with sculpted cross motif, 18th century

This antique paneled room element was made of walnut wood in the 18th century It is adorned with sculpted cross motifs.

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.13397
Gabriel VIARDOT, Japanese style support unit with bouquet, 1888

This piece of furniture and display was made by Gabriel Viardot in 1888, at the height of his career. A talented wood sculptor, Gabriel Viardot opened a furniture factory and store in Paris in 1853. In the 1870s, he decided to devote himself to “Chinese-Japanese furniture”. He obtained a silver medal at the Universal Exhibition in Paris in 1878, then the gold medal at the International Exhibition in Antwerp in 1884, and at the Universal Exhibitions in Paris in 1889 and 1900. This piece of furniture, although adapted to European uses, is part of Viardot's Sino-Japanese production. Its base is pierced with geometric scrolls forming a heart in the center. The door is decorated with an exceptional Japanese panel from the Meiji period (1868-1912). It is decorated with a still life combining bas-relief and mother-of-pearl inlay. This representation is characteristic of Japanese art of this period. It has many stylistic and technical similarities with this other panel from the Meiji era. One of the short sides is decorated with a bamboo in bloom accompanied by an inscription made of characters chosen for their aesthetic appearance, probably taken from Japanese prints. The other is carved with mistletoe branches. The crown of the piece of furniture is inspired by Far Eastern architecture and is decorated with a roaring lion. Viardot's signature is on the right side of the piece of furniture, in the lower part. The stamp and the date, rarely indicated, which is indicative of the value of this piece of furniture, are on its left side. Gabriel Viardot created a small Japanese style cabinet known by an old drawing, the upper part of which, more especially the crowning, is very close to that of this piece of furniture.

Ref.15389
Pair of white marble Medici vases, 1980

Ref.15092
Julien Nicolas RIVART, Two Alabaster Panels Inlaid with a Tulip and an Iris in Porcelain, after 1849

Julien Nicolas Rivart (Paris, 1802-1867), noted in archives as a porcelain gilder, bronze manufacturer, and maker of bronzes and porcelains, is particularly renowned for his 1849 patent on a technique for inlaying soft-paste porcelain into various materials. He specifically mentioned “wood, [...] copper, marble, and all other stones” as possible substrates. Over time, additional certificates allowed him to employ all types of French and English porcelain, eventually extending to porcelains of all origins, along with modifications to his process. Rivart was the sole practitioner of this innovative technique, even after the patent expired. His work was displayed at various exhibitions, where it was awarded medals. These two panels were created using Rivart’s groundbreaking porcelain marquetry technique. The process involved molding soft-paste porcelain, firing it at a high temperature, and then grinding it to achieve a smooth surface. The pieces were glazed, fired again, painted, and finally heated to set the colors. The porcelain elements were then embedded into a selected material – here, alabaster – using marquetry methods. The backgrounds of the works were leveled with a special paste. These panels are of exceptional quality. Two finely painted porcelain flowers are inlaid into oval-shaped alabaster plaques, bordered with a bead frieze that transitions seamlessly into a rectangular wooden frame. The first flower is a tulip, rendered with outstanding naturalism, while the second is a branch of iris featuring four blooms at varying stages of development. The petals are depicted with extraordinary precision. Rivart’s craftsmanship is particularly remarkable here. It is rare for him to use alabaster as a base for his porcelain compositions. Furthermore, the marquetry flowers are entirely crafted from porcelain, which is not always the case in his work. The panels are framed in amboyna burl, an exotic and prized wood frequently used in marquetry, further enhancing their value. The choice of materials and the meticulous craftsmanship position these panels among the most valuable works by Rivart. The detailed representation of the flowers aligns with the burgeoning interest in horticulture during the 19th century. The iris depicted is a “bearded iris”, while the tulip resembles a “triumph tulip”. A jewelry chest belonging to Empress Eugénie, an exceptionally refined piece, features two porcelain marquetry motifs on its shorter sides that are similar to those on these panels.