Ref.03186
Maison des Bambous de Perret et Vibert (attrib. to), Large central coffee table.

Walnut, panel with Tonkin inlaid mother of pearl The inspiration of Far-Eastern creations was crucial to the production of this coffee table. Decorated with latticed wood frizzes, clawed feet as well as elements of gilded bronze openwork, this living room piece is of superb quality.  Its circular top is made from a panel inlaid with mother of pearl coming from Tonkin. The reuse of this panel coming from a furniture piece or from a tabletop is proved by the shortening of some decorative motifs. The mother of pearl décor is quite elegant: in a woody and flowery environment, some small pagodas and other Chinese architecture are depicted. In the lower part, a bridge is shown, on which two men and a horseman pass.In the middle of this scene appears a cursive inscription called the “style of the grass,” artistic writing where the different characters are drawn in a single movement. The writing means: “Collect the flower petals of the plum tree and share their perfume with visitors.” The presence of this inscription proves this panel is a Chinese production. 

Ref.14863
Jean-François GECHTER (1796-1844) (follower of) Pair of Candelabras in bronze

This exceptional Neo-Renaissance style pair of candelabras in silvered bronze, representing two warriors in armour, was modelled by Jean-François Théodore Gechter and made around 1860. The expert work of carving each minute detail of the armoury, is characteristic of the sculptor’s style and emphasizes his technical brilliance. Jean-François Théodore Gechter exhibited regularly at the Salon from 1824 to 1844, from subjects in the Romantic movement to historical themes, through which he could express his talent for archaic scenes, featuring characters with elaborate costumes, sometimes whimsical and anachronistic, but representative of the troubadourian aesthetic he was engaged in. The treatment of the costume and human figure is extremely tactile in this pair of candelabra providing Gechter the opportunity to sculpt a wealth of detail with extreme precision. This pair of candelabras were modelled after a drawing by Gechter and made after his death.

Ref.10521
Eugène-Frédéric PIAT (1827-1903) - Pair of Japanese wall brackets, a similar model of which belonged to Sarah Bernhardt

Bronze with brown patina, glazed stoneware phoenixes (China, 19th century) H. 83 cm / 32’’ 11/16 ; W. 25cm / 9’’ 13/16 ; D. 25cm. / 9’’ 13/16 This model of wall brackets was created by Frédéric Eugène Piat for the Maison Gagneau in Paris. According to the description proposed by the Museum of Troyes in its "Catalog of Decorative Arts" of 1897, there are arms of light composed of a "Chinese modillon with two brackets, an entablature and a gallery with openwork". Inspired by Chinese art, this pair of wall brackets combines the Far Eastern motifs with French ornamental elements: rinceau scrolls and interlaces characteristic of the Louis XV style, illustrating the vogue for eclecticism that marks the artistic production in the 19th century. The motif of the Asian monster recalls the lions mufles made by the artist in its works of Renaissance inspiration while evoking the imaginary bestiary of Japonism; the monster holds in its jaws a ring that recalls a knocker but devoid of its primary purpose as it is indeed a purely decorative element. The same model belonged to the actress Sarah Bernhardt and is visible on old photographs of her Parisian house. The same pair of wall brackets adorned her studio. Frédéric-Eugène Piat (1827-1903) was one of the leading French sculptors and ornamentalists of the 19th century at the beginning of, with Louis-Constant Sévin in particular, the renewal and development of the French bronze industry. An active member of the Bronzes Manufacturers' Association, he is one of those who have merged art and industry. He later became one of the founders of the Central Union of Fine Arts Applied to Industry in 1864. After training with sculptors and ornamentalists, he started his own business in 1845 and enjoyed a good reputation in the 1850s. During the next decade, he began a collaboration with the founder Louis Léon Marchand (1831-1899). In the 1870s, he collaborated with eminent manufacturers: Georges Édouard Gagneau, Charles de Marnyhac, Emile Colin and the Val d'Osne Foundry. His artistic consecration takes place from the year 1873: while he designs models to be exhibited at the World’s Fair of 1873 in Vienna, he receives the visit of the President of the Republic Adolphe Thiers who makes him knight of the Legion of Honor for his fruitful contribution in the field of the bronze industry in French art. He participated at the Parisian Salons and at nine World’s Fairs in the second half of the century. He is particularly noticed during the World’s Fair of 1878 held in Paris where he exhibited a vast collection of works of art thanks to which he received a gold medal, but especially during the World’s Fair of 1889 when he was decorated with the Grand Prix, higher reward ever given to an industrial artist. Thanks to the quality and style of his productions, which are typical of the taste of the time for historicism and eclecticism, and as shown by this pair of Japanese-style consoles, Piat enjoyed not only a nation-wide reputation but also international.