Ref.3475
Beautiful antique large Art Deco style double door in wood and engraved glass with decor of diamonds

This Art Deco style beautiful large antique double door in wood and engraved glass was made circa 1930. It is decorated with diamonds and circles.

Ref.17878
A. TEBARQUE - Pair of women portraits made out of glazed stoneware

This pair of medallions was made by A. Tebarque around 1880-1890 out of faience enameled in relief. Featuring two female portraits, the painter perfectly mastered the enamels and brushstrokes, and used an abundance of colour. Tebarque also made the women very realistic. On one side, a woman with ashy blonde colour hair; blue eyes, seems to be dressed in a white dress with a lace neckline, whilst a deep dark blue coat is wrapped around her shoulders against the sky blue background of the medallions. On the other side, the second woman, brown, dark eyes, is dressed in the same style, a yellow pastel dress with a lace neckline and a large brown coat. Like a game of colours, Tebarque matched the colours of his characters' eyes with the colours of their adornments. The two women have realistic flowers made out of metallic enamel in their hair. The background of the two medallions, a sky blue colour, is decorated with floral apple tree branches carved in relief.

Ref.11470
Beautiful cast iron fireback with the wedding coat of arms of the marquis de Vichy and Claude-Josèphe-Marie de Saint-Georges

Cast iron fireback with the wedding coat of arms of Abel-Claude-Marthe-Marie-Cécile de Vichy, said the marquis de Vichy (8th of october 1740 - shot down on the 15th of october 1793 in Lyon), comte de Champrond, guidon des gendarmes de Bourgogne et du Berry en 1769, chevalier de Saint-Louis with Claude-Josèphe-Marie de Saint-Georges (21st of november 1742 - 26th january 1775), married on the 5th of december 1764. Ecu de gauche : de vair plain. Ecu de droite : d'argent à une croix de gueules Couronne de marquis, collier de l'Ordre de Saint-Louis, tenant et support : un homme sauvage et un lion. Inscription : TANTUM VALET QUANTUM SONAT

Ref.11118
Louis-Robert CARRIER-BELLEUSE (1848 - 1913) and POTTERY FROM CHOISY LE ROI (1863 -1938), "Children and Butterflies"

Enameled pottery Signed under a handle : “LOUIS CARRIER-BELLEUSE.” Signed under the base: “HB” Dimensions : W. 28 cm (11'') ; H. 45 cm (17'' 3/4) In the Exposition of the National Society of Fine-Arts in 1898, this vase appeared for the first time in stoneware, accompanied by three other vases : Hercules and Omphale, Run for your lives! and Music. These four vases are presented under the same number (no. 4060) and in the same display window. Three of the four vases, including Children and Butterflies, were reproduced, in 1900, in the review La Décoration ancienne et moderne. The same year, he exhibited a fifth vase under the number 4059, entitled Farming. Children and Butterflies was acquired in 2003 by Musée du Petit Palais, in Paris, and it is one of the rare examples of a vase by this artist conserved in a public French collection. This vase has a slender form that contrasts the four handles. The body is completely decorated with floral or purely decorative elements while the characters are restricted to the neck level. A frieze of cherubs chasing butterflies develops along the neck, in a round frenzy. This vase displays a decor that combines different techniques. The body of the vase is decorated with a floral decor which mixes elements in relief and engraved elements. The frieze of children is produced in clay on clay. This process, perfected at the Factory of Sevres around 1848 was frequently used by sculptors, which Louis Carrier-Belleuse was. It consists of applying generally white motifs on a colored background. However, the totality of the piece has been enameled which contributes to giving light green reflections to the bodies of the children. This original vase mixes two inspirations: the frieze of cherubs resembles the production of the Second Empire while the body of the vase displays plant elements indicating Art Nouveau. Son of the sculptor Albert-Ernest Carrier-Belleuse (1824 - 1887) of whom he was a student, Louis Carrier-Belleuse followed the teachings of Gustave Boulanger and Alexandre Cabanel at the school for Fine Arts. He began as a painter in the Exposition of 1870 and exhibited sculptures after 1889. He was interested very early in industrial arts: for some years, he worked beside his father at the Factory of Sevres, which he was the artistic director of since 1875. In 1877 he acquired alongside Theodore Deck a first work experience in ceramics and participated in the competition of Sevres in 1882 by sending a gardener project. Afterwards, he became director of art works of the pottery of Choisy-le-Roi, where he produced numerous models. He obtained a medal in 1896, in the section of applique art, year where he presented the two plaster vases. He exhibited for the last time in 1912. As the artistic director of the pottery of Choisy-le-Roi, he created numerous models, which this vase was a part of. Founded in 1805 by MM. Valentin, Melchior and Nicolas Paillart in the little old castle of Choisy-le-Roi, the factory became the property of Valentin Paillart and Hippolyte Hautin in 1824. In 1836, with the departure of Valentin Paillart, the pottery became the property of Hippolyte Hautin and Louis Boulenger. From this date on, the pottery of Choisy-le-Roi would be a family business. In 1863, Hippolyte Boulenger succeeded his uncle Louis as head of the company. He remained the sole owner until 1878. It was under his direction that the factory experienced an considerable expansion. This same year, he decided to transform the factory into a joint-stock company: the “Societe Hte Boulenger and Co” was born. Hippolyte Boulenger would be the only manager up until his death in 1892. At this time, his son, Paul, took over the business. It was with him that Louis Carrier-Belleuse worked.

Ref.11321
Gabriel VIARDOT (1830-1906) - Large Japanese cabinet with Foo dog

This exceptional Foo dog cabinet is signed by Gabriel Viardot. Its asymmetrical construction is characteristic of the creations of the Parisian cabinetmaker. The composition alternates solid elements and empty spaces. The central door is decorated with a panel inlaid with ivory, tinted bone and wood composing a bouquet of flowers. This panel probably came from a Japanese furniture piece and was reused, a common practice by Gabriel Viardot, to make this piece. This was also the case for the element adorning the left panel. A frightening character, of a rare plastic quality, is produced in ivory and mother of pearl. The decorative element the most exceptional of this cabinet is a Fu dog crowning the piece. To the right of the piece, supported by a shelf, a crane resting on the back of a tortoise is also made in polished varnished bronze just like the sinuous dragon located in the lower part of the piece. One also finds small elements of latticed polished varnished bronze decorated in their center with a pinecone in this piece. These are, like the scrolled feet, elements frequently present on the pieces of Gabriel Viardot. Gabriel Viardot was a famous Parisian cabinetmaker specialized in the production of “Chinese-Japanese style” furniture in the last third of the 19th century. He 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.13732
Manufacture de Sèvres - Pair of vases Delhi model with a polychrome floral decoration, 1875

This pair of vases was made in the Manufacture de Sèvres in 1875 as indicates the mark under the base "S75". It is the Delhi model created in 1851 by Jules-Constant-Jean-Baptiste PEYRE (1811-1871), designer in chief of the manufactory in 1845-1848 and in 1856-1871. With a belly shape on the lower part and resting on a more narrow feet, this model with a long neck which is spreading as it extended, marked by a ring. Our pair of vases depict a delicate polychrome floral decoration on a plain white background and of which each part is limited by a gold edging. Under the direction of Victor Regnault, the production of the Manufacture de Sèvres has pulled away from the Empire inspiration to explore a modern technologic potential. This is how the pasta on pasta, the cross-linked pasta or trompe-l'oeil decoration were created. However, after the resignation of Victor Regnault in 1870, the new Republic Parliament threatened to cut the manufactory budget if reforms were not set up. Thus, the direction of the manufactory was given to the chemist and painter Louis Robert until his retreat in 1879 and an improvement commission was created in 1871. It's the ceramist Théodore Deck – member of the commission and a few years later director of the manufactory between 1887 et 1891 – who settled in 1875 a program for the reorientation of the esthetic choices and the creation of new technics executed by Carrier‐Belleuse and the chief chemist Alphonse Louis Salvetat (1846‐1880) then Georges Vogt (1880‐1891). This program promised the creation of a china closer to the oriental pasta allowing colors better glazed, the use of Chinese type transparent and opaque enamels in limited numbers, and the research of the copper red. From 1880, technical progresses are noticed and new decoration styles are spotlighted. The manufactory production under the Third Republic mostly answers to orders for embassies, ministers and other public and prestigious buildings. Nevertheless, vases stay the masterpiece of the manufactory production which develops the highest creativity to constantly renew the sizes and the models. A pair of the same model vases is conserved in the Mobilier National and illustrated on Second Empire et IIIe République, de l'audace à la jubilation de Brigitte Ducrot, published in 2008 in the collection Sèvres, une histoire céramique.

Ref.14547
Louis XV period trumeau in painted carved wood decorated with garlands of flowers

Ref.14966
Albert-Ernest CARRIER-BELLEUSE, CHOISY-LE-ROI Manufacture, Bust of an Oriental Woman in glazed earthenware

This bust was created by Albert-Ernest Carrier-Belleuse for the Choisy-le-Roi faience factory in the second half of the 19th century. Albert-Ernest Carrier de Belleuse, known as Carrier-Belleuse (1824-1887), was the most prolific sculptor of the Second Empire. He was quickly influenced by the importance of decorative arts and worked with Ferdinand Barbedienne on the creation of decorative objects. He achieved great success at exhibitions and received numerous official commissions. He produced many busts of beautiful and elegant young women, including a Bust of a Woman Wearing a Diadem held at the Orsay Museum. He also provided bust models for the Choisy-le-Roi Faience Factory, where his son later became the artistic director. This bust of an oriental woman, created from an original sculpture signed by Carrier-Belleuse, was made for this manufactory. Titled The Bust of an Algerian Woman, it was auctioned at Sotheby’s in 2017. It is one of his rare orientalist works. The desire to depict a woman in oriental costume aligns with the idealization evident throughout the sculptor's work. The smiling woman shows her teeth. Her long, loose hair, adorned with multiple sequins along the edges, rests on her shoulder and is topped with a hat featuring orientalist motifs. Her bare chest, partially covered by a crumpled fabric and accentuated by the two rows of her necklace, exudes great sensuality. The colorful costume draping her shoulders is highlighted by the vivid colors and brilliance of the faience. At the base of the bust, a gilded belt emphasizes the richness of the costume. The bust is signed on the back and bears the mark of the Choisy-le-Roi manufactory.