Ref.13777
Bronze gilded suspension with glass gemstones. Napoleon III period.

This gilt bronze chandelier has eight branches which take the form of glassware and candles and surround a semi spherical decorated with glass gemstones. Result of a very careful work, this chandelier has incised decorations of fleur de lis, crosses and flowers. Richly decorated, it displays numerous characters and creatures: dragons adorn the mounts of the branches, playing with the effect of curves and counter-curves, childish characters whose bodies terminate in vegetative vases support torches. Finally, heads of bearded men and women, masks similar to the foliage of ornamental furniture of the eighteenth century, occupy the uprights of this chandelier. Each space is occupied by a decoration of gilded bronze, showing the work of craftsmanship that has been done on this chandelier: latticed elements alongside small sculptures making all the charm of this true piece of art. At the Paris International Exhibition in 1881, the American Thomas Edison, inventor and businessman, gave a demonstration of his incandescent light bulbs. Parisians were excited. Because of its cost, public electric-powered lighting was reserved for prestigious places, French Theatre, Place de l’Opera, Grand Boulevards and of course the Universal Exhibitions, showcases  with the emerging technology. Thanks to Edison, everything changed. The Continental Edison Company was founded a year later. At that time Paris was divided into several areas allocated to different companies. Each company had its own technical standards and it took until 1913 to unify the network that was given to the Compagnie Parisienne de Distribution d'Electricité (CPDE).The appearance of the incandescent bulb not only allowed the construction of large chandeliers, but also lasted for nearly a thousand hours before being replaced, and all this for a very low manufacturing cost (25 francs at the time). Electric lighting was going to replace the use of gas during the 1890s and by the beginning of the 20th century became the only means of lighting.

Ref.13533
Cupboard door in softwood and plywood

H. 152 cm / 59” 13/16 ; L. 70 cm / 27” 9/16 (with frame) H. 145 cm / 57” 1/16 ; L. 59 cm / 23” 1/4 (without frame)

Ref.15237
Pair of Engraved Crystal Wine Decanters, Cristallerie de Saint-Louis

Elegant pair of cut and engraved crystal wine decanters, richly decorated with floral motifs, vine leaves, scrolls, and rosettes. The rounded body rests on a star-cut base and tapers into a slender neck adorned with finely etched vegetal patterns. The stoppers are faceted and shaped like stylized fruits, enhancing the overall refinement of the set. The decoration, combining diamond cuts, star motifs, and engraved medallions, reflects the exceptional craftsmanship of a luxury glassmaker from the late 19th or early 20th century. Attributed to the Cristallerie de Saint-Louis, renowned for the precision of its cutting and the finesse of its engraving.

Ref.16004
JOUNEAU Prosper – Large Hispano-Moorish Pierced Vase, Parthenay, 1889

This remarkable pierced polychrome earthenware vase is signed and dated by Prosper JOUNEAU (1849‑1910), ceramist and founder of the Faïences d’Art de Parthenay. Created in 1889, this rare piece reflects Hispano-Moorish influence, blending Islamic and Persian art with Western ceramic techniques. The piece features a tall twisted pierced neck using the reticulated technique, creating a lace-like effect. The body is richly decorated with symmetrical motifs reminiscent of Arabic calligraphy. The foot, shaped with four stylized scrolls, is enhanced by intricate geometric and floral ornamentation in earthy tones—olive green, ivory, dark blue, and brown. Jouneau, trained as a sculptor and a student of Alphonse Salvétat at the Sèvres Manufactory, founded his workshop in Parthenay in 1882. He was awarded a gold medal at the Antwerp World’s Fair in 1885. In the same year this vase was made, he completed an ambitious Renaissance-style faience ceiling for the French state, which was never paid for—leading to financial ruin for the manufacture. Never employing more than ten workers and never seeking industrial production, the Parthenay factory closed in 1914. This vase is thus a rare witness to technical mastery, artistic innovation, and the rich cross-cultural inspiration that shaped French decorative arts in the late 19th century.