Ref.2562
Exceptional antique oak wood fireplace made after the model of the fireplace in the Hercules Salon in Versailles Palace

This exceptional antique Regence style fireplace was made out of carved oak in the late 19th century. The lower part of the fireplace is inspired by the famous fireplace that decorates the Hercules Salon in the Versailles Palace. The center of the frieze is adorned by Hercules' head wearing the skin of the Nemean lion, carved in high relief. On both sides are represented two cornucopias with realistic flowers and fruits. The upper part is finely decorated as an overmantel frame for an Aubusson tapestry made by the Manufacture Hamot. Crowned by a semicircular arch, this pier is richly carved with cartridges, foliage, flowers and friezes.

Ref.17390
Mantle garniture in the orientalist taste in gilt-bronze with polychrome porcelain decoration

Polished and varnished bronze, polychrome porcelainThis exquisite orientalist mantle garniture was inspired by an eclectic range of decorative source materials and is characteristic of French works of art produced in the 1880s. Fashioned in gilt-bronze and ornamented with porcelain polychrome plaques decorated with vegetal scrolls and cartouches inspired by Iznik enamels, the clock takes the form of a piece of miniature architecture. The clock face is framed by two columns whose capitals support an open foliated pediment directly inspired by Islamic monuments. The clock is accompanied by a pair of vases of Byzantine form, the sides of which are encircled with a porcelain band that echoes the clock’s decoration. The body of the vases is also ornamented with chased bronze of the highest quality. This beautifully chased bronze work comprises palmettos of stylized organic shapes and delicate scrollwork. Certain of the bronze elements are executed in openwork, such as the handles of the vases.    Although not signed, this garniture is inscribed “Paris” under the face of the clock, indicating that this exceptional piece was the work of a French manufacturer. Created around 1880, this set is characteristic of the taste for eclecticism, the divergent sources used and the wide ornamental vocabulary taken from many different periods and continents that created this arresting and original work of art. 

Ref.13458
Louis - Constant SEVIN & Ferdinand BARBEDIENNE - Beautiful pair of ornament vases in bronze and cloisonne enamel, circa 1862

This beautiful pair of vases is the result of the collaboration between Louis Constant Sevin (1821 – 1888), drawer and designer, and Ferdinand Barbedienne (1810 – 1892), bronze maker and founder of the famous 19th century foundry of the same name. Indeed, even though they are only bearing the signature of the last one, we can compare our vases to another pair presented on the Barbedienne's stand during the International Exhibition of London in 1862 depicting the same decor. We owe to the associations of the two men – which has lasted for more than thirty years, between 1855 and 1888 – an important collection of works of art and especially vases, showing the same colors and technical. Our ornamental vases were made in bronze and show an outstanding and abundant decoration of enamel cloisonne. The gilt bronze on the blue background and the polychromatic richness of the motif reminds of an imaginary and an inspiration coming from the East. They rest on three gilt bronze feet with cat's heads, finished with claws. We notice in the shape and the decoration an eastern inspiration but above all an eclectic one, characteristic of the artistic tendency in France under the Second Empire. Indeed, Constant Sevin was inspired by patterns belonging to the Arabic, or Persian decorative repertoires for the decoration. While the handles with cat's heads tend toward reminding Egypt, the technic of divided enamel dates back to Middle Ages. With the creation of this pair of vases Ferdinand Barbedienne and Constant Sevin participate to the reborn of champleve enamel in the middle of the 19th century. Indeed, the polychromatic decoration, omnipresent in the industrial arts during the Second Empire, finds in this technic a perfect expression. Inspired by examples of champleve enamels made during the Middle-Ages, this technic was innovated by obtaining directly during the melt the network of partitions to produce a draw of a irreproachable clarity and regularity. The first technical tries of Barbedienne were made near 1858 and four years after he presents in the Great Exhibition of London a stand mainly composed of works of art inlaid of enamels – very likely the model of our vase – which does not leave the critic indifferent. Alfred Darcel (1818 – 1893), art critic, said in his report on the Great Exhibition of 1862, published in the Gazette des Beaux-Arts : "Among the numerous works of art exhibited by Mr Barbedienne, we did not see anything more gripping than the objects decorated with enamels, kind of decoration he knew how to apply with success. […] With enamels painted that have conceded nothing to the most beautiful works of art of the 16th century first masters.[…] "

Ref.11448
Nature made vase, (Attributed to) Émile GALLÉ for the Lunéville factory

Dated between 1863 and 1880, this vase is attributed to the great Nancy ceramist and master glassmaker Emile Gallé. It was most certainly published by Keller and Guérin, owners of the Lunéville factory, before Gallé registered his own models. In a very sophisticated shape, our vase has a quadrilobed body decorated with branches, leaves and butterflies in gold and silver colors on a Prussian blue background. The vase rests on a base imitating branches, very naturalistic, evoking Gallé's studies of foliage and flowers preserved at the Musée d'Orsay. The Parisian institution also has a preparatory drawing by Gallé for a piece close to our vase.Dated between 1863 and 1880, this vase is attributed to the great Nancy ceramist and master glassmaker Emile Gallé. It was most certainly published by Keller and Guérin, owners of the Lunéville factory, before Gallé registered his own models. In a very sophisticated shape, our vase has a quadrilobed body decorated with branches, leaves and butterflies in gold and silver colors on a Prussian blue background. The vase rests on a base imitating branches, very naturalistic, evoking Gallé's studies of foliage and flowers preserved at the Musée d'Orsay. The Parisian institution also has a preparatory drawing by Gallé for a piece close to our vase.

Ref.15193
BACCARAT (Attributed to) - Oriental crystal and gilt bronze chandelier inspired by a mosque lamp

Ref.14505
Fonderie Fumière & Co, Rococo pink marble lamp with gilded bronze masks, circa 1906-1926

This lamp in pink marble and gilded bronze was created at the beginning of the 20th century, between 1906 and 1926. The bronzes were executed by the Fumière and Co foundry, successor to the famous Thiébaut foundry. An art foundry from 1851, the Thiébaut company collaborated with some of the most renowned artists (David d’Angers, Carpeaux, Falguière, Carrier-Belleuse, and Gustave Doré, among others) throughout the 19th century. At the beginning of the 20th century, it was notably taken over by Fumière, who used the name “Thiébaut Frères, Fumière & Co successor” between 1906 and 1926, allowing us to date our lamp to this period. The base of this lamp, in pink marble and gilded bronze, follows the decorative arts tradition under the reign of Napoleon III (1852-1870). At the lower part, the shapes, with their curves and counter-curves, as well as the leaf and shell motifs, are inspired by rocaille art; higher up, the straight shaft and neoclassical ornamentation recall the Louis XVI style, while the mascarons, like the base, echo the art practiced under the reign of King Louis XV. At the top, the bulb holder is particularly sleek. The high quality of the bronze chiseling and the beauty of the marble contribute to the elegance of this exceptional lamp.

Ref.15441
Jean-Jacques FEUCHÈRE (attributed to), Jardiniere with Three Tritonesses in Porphyry and Marble, first half of the 19th century

This jardiniere with three tritonesses was created in the first half of the 19th century, with the sculpture attributed to Jean-Jacques Feuchère, and the basin (or labrum) in porphyry dating back to the 17th century. Porphyry is “a purple rock speckled with white, extracted from the Eastern Egyptian desert”. Due to its color, it was associated with imperial prestige in antiquity. Its extreme hardness, requiring expert craftsmanship, further enhances the symbolic prestige of this material. The quarries where porphyry was mined were located in the Egyptian desert and were abandoned in the 5th century. As a result, all objects made between that time and the 18th century were created by reusing ancient pieces. Here, the porphyry is paired with white marble, creating a harmonious contrast between the two parts of the work. The porphyry basin is inspired by models of ancient labra as found in the most prestigious Roman baths. However, it was likely made in the 17th century, a time when the cutting of porphyry resumed. Its perfectly circular form, carved from a single block, is emphasized by alternating convex and concave curves, with the upper section flaring outwards. A discreet circular opening allows water to drain. The sculpture serving as the support for the basin is attributed to Jean-Jacques Feuchère (Paris, 1807-1852). The son of a chiseler, Feuchère initially worked for goldsmiths and bronze manufacturers before transitioning to more monumental work. He exhibited at nearly every Parisian Salon from 1831 until his death in 1852. The sculptural ornamentation is intricately detailed. On a hexagonal base covered in moss from moisture, three kneeling tritonesses rest on their split fish tails, which intertwine with those of their neighbors. Algae transition between their fish-like lower bodies and their feminine upper bodies. The three tritonesses, their heads tilted to the side and crowned with leaves and fruits, act as caryatids, supporting the basin with their folded arms, which are joined behind their heads. Reeds emerge between each of them. The motif of the tritonesses is inspired by numerous 18th-century works featuring hybrid aquatic creatures, especially in Rococo and Baroque art. However, their style belongs to the 19th century, a time when similar motifs were revived. The tritoness motif also appears in the design of the central piece of a surtout created by François-Désiré Froment-Meurice (1801-1855) for the Duke of Luynes between 1846 and 1851 (now in the Louvre Museum), based on a drawing by Jean-Jacques Feuchère. A photograph in the collections of the Orsay Museum, taken around 1858, provides a clear view of these figures, particularly one whose posture closely resembles that of our tritonesses. Our jardinière follows in the tradition of this iconic work. The fountain formerly located on Rue du Faubourg Saint-Martin in the 10th arrondissement of Paris, erected in 1843, features the same motif: on either side of the fountain’s base, a triton and a tritoness with intertwined tails support a basin in their folded arms, which in turn holds a putto and a swan. As with our jardiniere, the tritoness has a double fish tail, a subtle transition between human and animal forms, and the posture of a caryatid with her arm raised over her head. Nearly identical tritoness-caryatids to those on the Parisian fountain were still offered for casting by the Ducel Foundry, later acquired by the Val d’Osne foundry, among their fountain and basin ornaments (Ducel-Val d’Osne catalog, circa 1880, plate 212). The tritoness motif characterizing our jardinière, a popular theme in the 19th century, was already in use in the first half of the century by Jean-Jacques Feuchère or foundries, among others. It continued to be significant in the second half of the century, though the motif became more standardized, unlike the uniqueness and originality of the sculpted base of our work.

Ref.15587
Louis XVI style trumeau decorated with a frieze of scrolled acanthus leaves

Ref.15890
Napoleon III style gilded trumeau decorated with a frieze of oak leaves

Ref.10928
Jean-François-Théodore GECHTER (1795–1844) & Nicolas-Germain CHARPENTIER (1807–1864), Ensemble comprising a chandelier and a pair of wall sconces with standard and trophy holders

Jean-François-Théodore GECHTER (1795–1844) Nicolas-Germain CHARPENTIER (1807–1864) A set comprising a chandelier and a pair of wall sconces with standard and trophy holders This exceptional thirty-six-light chandelier was made in gilt bronze during the second half of the 19th century. A work of great originality, it illustrates the Troubadour style, which characterized 19th-century artistic production. Too often equated with the Neo-Gothic style, Troubadour emerged in the 18th century and is not limited to the rediscovery of the Middle Ages. It blends various artistic trends from the past and promotes a national style while also incorporating numerous foreign influences, particularly English and Spanish. Blending styles and periods, and with little regard for stylistic and chronological accuracy, the Troubadour genre initially designated a style of painting before extending to other artistic fields, particularly the decorative arts. It celebrates great historical moments and figures but also encompasses works of anecdotal genre, which, unlike history paintings depicting major historical events, describe the private and emotional lives of characters from both the Middle Ages and the Renaissance. Often perceived as a reaction against the Neoclassical and Empire styles, the Troubadour style was part of the first form of Romanticism, a rejection of revolutionary anarchy. Romanticism notably gave rise to a new genre of novel: the historical novel, of which Walter Scott is often considered the leading figure. The heyday of this new genre occurred in France between 1815 and 1830, during the Restoration period. Artists drew inspiration from these trends, focusing on the exaltation of passions, the chivalric spirit, great historical figures, and a whole world of wondrous medieval imagery comprised of fantastic animals, esotericism, and sorcery. Our chandelier depicts three standard-bearers in armor, each holding a banner in one hand while the other rests on the pommel of the sword at their waist. Their standards are adorned with heraldic symbols, notably a coat of arms bearing a Christian cross evoking the Crusades, as well as armored knights armed with lances, the artist undoubtedly intending to allude to medieval jousts. The details of the armor worn by our three figures, particularly their chainmail, provide a beautiful demonstration of the sculptor's skill and dexterity, while their faces display a vindictive air, the rendering of human expressions betraying his Romantic influences. The themes of war and victory are explored in various ways by the artist: in addition to the soldiers, pieces of armor adorn different parts of the chandelier, especially the lower section, covered by finely chiseled breastplates and menacing-looking helmets. Strange lion-headed helmets decorate the highest candelabra arms, while shields protect different parts of the chandelier. Numerous weapons adorn the chandelier: standard-bearers encircle long, finely chiseled war axes, whose tips match those of the spears surrounding them; shorter spears are grouped in the center of the chandelier and appear to be held in place by skillfully sculpted fabric ties. Smaller war axes are also arranged between the light arms, along with swords in their richly ornamented scabbards, whose pommels depict a lion's head. Finally, flails without handles lend lightness, balance, and density to the chandelier, through a clever arrangement of chains. An imposing sphere studded with spikes conceals the opening separating the breastplates from the lower section, in which various weapons are intertwined and protrude here and there. The themes of war and triumph are also evoked by more symbolic elements such as stylized oliphants (war and hunting horns), torches, the previously mentioned banners, and the numerous olive branches described as "fruity," symbols of wisdom, glory, and victory. The three armored men stand proudly atop a capital adorned with egg-and-dart molding, a Greek frieze, and architectural volutes. The medieval bestiary is evoked by griffin heads holding rings in their beaks, from which chains are suspended. A pair of wall sconces on the same theme accompanies our chandelier. This set is similar to a mantelpiece set held at the Louvre Museum. Cast by Nicolas-Germain Charpentier after a model by Gechter, it depicts the Battle of Charles Martel and Abd al-Rahman, King of the Saracens, exhibited at the Salon of 1833. Several stylistic elements of the candelabra in this set are identifiable on our chandelier: the warriors are quite similar and the light arms are adorned with the same shields, feature the same branches but are surmounted by an axe, an element that is also found on our chandelier, but not in the same position, this one being reserved for an additional light arm. Jean-François-Théodore Gechter (1795-1844) Born in Paris in 1795, Théodore Gechter trained at the École des Beaux-Arts where his teachers included the sculptor François-Joseph Bosio and the painter Antoine-Jean Gros. Like Barye, he frequented their studios and then, around 1820, specialized in sculpture; he exhibited regularly at the Salon from 1824 to 1840. His first public commission was for the casting of the group of Charles Martel. In 1834, he received a second-class medal for his group depicting the Battle of Aboukir. At the Salon of 1835, he exhibited a statue of Mary Magdalene meditating on the Holy Scriptures, which he later executed in marble for the Church of the Madeleine. He also participated in the construction of the Arc de Triomphe, where he created a bas-relief depicting the Battle of Austerlitz. Following this commission, he was awarded the Legion of Honour on April 2, 1837. He is also responsible for the two statues of the Rhine and the Rhône for the North Fountain in the Place de la Concorde, completed in 1839. That same year, in response to a royal commission, he created a large marble statue of Louis-Philippe in his coronation robes, intended for the Council of State chamber at the Quai d'Orsay, and later placed in the Chamber of Peers at the Luxembourg Palace. This sculpture is now on display at the Palace of Versailles; The Musée des Arts Décoratifs in Paris holds a bronze version of this work. Gechter also executed a statue of Saint John Chrysostom in 1840, which was placed under the colonnade of the Madeleine Church. The sculptor created numerous small bronze groups, revealing his predilection for battles between horsemen, captured in spirited movements, as in the group of Joan of Arc. Gechter was particularly fond of this type of dynamic composition, in which one rider seeks to unseat another. These battles provided opportunities for studies of horses, movement, and contortions, so dear to Romantic artists. The depiction of the climax of combat is also characteristic of sculptors of this movement, and especially of Gechter's art. Gechter seems to have sold few of his models to publishing houses. From 1841 onwards, he appears in the Trade Directory as a bronze caster and sculptor. He would therefore have personally made and signed the molds necessary for the sand casting of his own editions. It seems that he single-handedly organized the casting and sale of his models, depositing them in galleries in Paris, London, Berlin, and Dresden. These limited-edition statuettes thus allowed him to disseminate his art. These sculptures, reduced to the dimensions of an interior decorative object, are quite typical of the July Monarchy. Bibliography Stanislas Lami, Dictionary of Sculptors of the French School in the 19th Century, 3 vols., Paris, 1919. The Romantics to Rodin, French Nineteenth-Century Sculpture from North American Collection, Los Angeles County Museum of Art, 1980. Note: Nicolas-Germain Charpentier, after Jean-François-Théodore Gechter, fireplace mantel, circa 1849 (Paris), silvered and gilt bronze, 76 x 55 x 32.20 cm, Paris, Musée du Louvre (OA 11337, OA 11338 and OA 11339).

Ref.12550
Pair of cast iron planters decorated with cartouches and lion heads

A pair of cast iron planters dating from the second half of the 19th century, preserved in their original green paint. Rectangular with a flared body, each planter is encircled by a twisted gadrooned border, punctuated at the corners by gadrooned spinning top ornaments. The sides are decorated with a central cartouche of scrolls enclosing a smooth oval medallion, underlined at its base by a lion's head medallion. Fruit swags adorn the corners, while the base, cut with scroll and shell motifs, rests on four hoof-shaped feet. The perforated bottom ensures drainage, indicating use directly in the ground for the ornamentation of gardens, terraces, or courtyards. This model, characteristic of the production of the great French art foundries of the Napoleon III era, testifies to the taste of the second half of the 19th century for the ornamental vocabulary of the Renaissance applied to the garden arts.