Ref.12353
Lot of 18 m2 of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from two rooms, identical patina and width of strips but one room of 6 m2 with 20.47 Inch long strips and a second room of 12 m2 with 22.44 Inch long strips. Possibility to cut the longest slats to obtain a total surface of 18 m2.

Ref.12387
French School, Impressive stone sculpture of a feminine allegory, End of the 18th century

This very large garden sculpture in stone is very likely a French work from the end of the 18th century. Indeed, the return to Ancient time is installed in every form of arts in the late 18th century, following what the Counf of Caylus calls the “return to senses”. The European artists that are traveling to Rome in the Grand Tour context, and among them the sculptors, affirm and set the Neoclassical style by confronting themselves to the ancient vestige. From then on, they try to reach an ideal, timeless and universal beauty. The faces are no longer presenting real expression, the bodies are naked or draped, the sculptor showing his skill to represent the moving bodies, the muscles or the flesh sweetness. We find these principles in the treatment of our sculpture. Indeed, we notice the sweet and symmetric face of the woman with the emerged smile, typical of the ancient statues as the hairstyle with the headband. Also her outfit, composed of ancient tunic with the wet drapery effect that is emphasizing the shape of her breast and make the navel appear. This style effect as the contrapposto – way of creating a wiggle thanks to the body weight resting on one leg – also allow the sculptor to show his talent in the realization of the pleats and drapery of the fabric. The artist most likely wanted to sculpt an allegory, usually recognizable by the attribute they are holding in their hands or represented around them. Thus, we notice that the left hand of our sculpture is put down a small column. Few allegories are depicted in this position, we can then think of the Safety, the Constance or the Gravity. Nevertheless, the allegory of Safety holds in her other hand a spear, while the Constance allegory holds a gladiator sword and the Gravity is traditionally associated to the peacock feathers. Then it seems that the attribute that could have allow to name the allegory represented on our sculpture in a more certain way, was placed in her missing hand... The impressive size of our sculpture, the use of stone, and the marks of time giving it charm, all indicates that its use was for the exterior, where it was adorning most likely a castle garden or a monument.

Ref.4512
Louis XVI fireplace of white marble with a Greek frieze

This beautiful fireplace was made in the early 19th century of white marble. Its straight entablature is adorned with an elegant Greek frieze and roses on each corner. The entablature is supported by slightly curved jambs decorated with a wide acanthus leaf falling down. The cast iron insert adorned with a hunting trophy and laurel leaves was painted in gold but could be painted in black on request.

Ref.13595
Lot of about 20m² of Soubise parquet flooring, 19th century

Lot of antique parquet about 20 square meters made in the 19th century of oak and walnut wood composed of 23 Soubise panels, some have some lacks. The sides are 37" 3/8 for 1" to 1" 3/16 thick.

Ref.15278
Robert LALLEMANT, "High Jump" Vase, 1930

This vase was made in 1930 by Robert Lallemant on the occasion of the Grand Prix of the Stade Français. The ceramicist and decorator Robert Lallemant (Pau, 1902-Davos, 1954) attended the École des Beaux-Arts in Dijon before becoming interested in ceramics between 1921 and 1923. In 1926, his father, Théophile Lallemant, bought him a small ceramics factory in Paris; he managed the business until his death in 1928, which explains the presence of his initial in the signature on our vase, under its base: “T. R. Lallemant”. Robert Lallemant quickly invented a modern and original ceramic style, which he produced in small series. His work was well-received by critics at the Salons des Artistes Décorateurs and the Salons d’Automne in 1926, 1927, and 1928. He was among the founders of the Union des Artistes Modernes (UAM) in 1929. A few years later, he gradually lost interest in ceramics to produce furniture, and then got involved in his father-in-law’s public works business. In 1939, he joined the French Navy, and in 1945 and 1946, he went to Indochina, where he showcased his talents as a photographer. Among other popular themes in the 1920s and 1930s, Lallemant particularly focused on sports, producing several vases on this subject; he was a sportsman himself. Our vase reflects the influence of Art Deco on his work, notably with the stepped shoulders that frame it and its geometric shapes. At the center, an athlete is dynamically depicted in a high jump event. The decoration is characterized by a certain simplification of shapes and colors, aligning with contemporary painting trends. The glaze is brilliant and of high quality. The inscription at the base of the decoration indicates that this vase was commissioned to serve as a trophy for the winner of the high jump event at the 1930 Grand Prix of the Stade Français. Other vases of the same model, without this inscription, were also created by the same artist; the decoration of one of them represents a pole vault event in a style very similar to that of our “High Jump” vase. A photograph from the artist’s archives shows the importance of the sports theme in his work; it depicts a vase of the same shape as ours, decorated with cross-country runners. This photograph also shows that the same decoration could be adapted to different vase shapes.

Ref.15381
Théodore DECK, Large Dish With A Mallard Flying In A Golden Sky, late 19th century

This exceptionally large glazed ceramic ornamental dish was made by Théodore Deck at the end of the 19th century. Théodore Deck initially trained in the stove-making industry. When he established himself in Paris in 1858, he manufactured stove coverings. Buoyed by his success, he then ventured into ceramics. His workshop created numerous plates, sometimes in collaboration with recognized painters. He gradually perfected his technique and achieved significant success at the many Universal Exhibitions he participated in. In 1878, he was made an Officer of the Legion of Honour. He directed the Sèvres manufactory from 1887 until his death in 1891. The figure of a mallard in flight stands out against a finely worked gilded background with subtle shades of yellow and brown. This work is an emblematic example of Théodore Deck’s mastery of the enamel technique, enabling him to achieve great finesse in his work: the bird is depicted with great precision and extreme clarity. The animal, depicted in a particularly dynamic way, seems to be looking at us. The work is enhanced by a natural wooden frame. The decoration on this dish is typical of Deck, who worked on this subject on several occasions, sometimes in collaboration with the painter Ernest Carrière, who produced a series of dishes on the same theme as this one in the 1890s-1900s, sometimes without any signature other than his own, as here. It also reveals Deck’s interest in Far Eastern art, which he collected from the 1870s onwards; the Japanese draughtsman Utagawa Hiroshige often depicted mallards in his prints. Deck collector Peter Marino owns two dishes depicting mallards in flight, with a less flamboyant naturalistic background than our dish. These are by Ernest Carrière, but also show the artist’s interest in the subject, while retaining the originality of each dish.

Ref.15091
Art foundry of Johann HERZNER (attributed to), Lantern with rich rococo decoration, Second half of the 19th century

This ornate rococo-style lantern was crafted by the art foundry of Johann Herzner in the last quarter of the 19th century. The Johann Herzner art foundry, located at 37 Erzgießereistrasse in Munich, specialized in both original works and scaled reproductions. Active from approximately 1870 to 1877, the foundry made a significant impression with its display at the 1870 London International Workers’ Exhibition, where it presented a rococo-inspired couple (“Roccocopaar”) that highlighted Herzner’s early passion for the style. The pieces, noted for their exceptional clarity and detail despite a lack of chiseling, earned the foundry a second-class medal. Following this, the works were also showcased at Munich’s City Hall. Herzner further garnered acclaim at the 1873 Vienna World’s Fair, where he won a merit medal in both metal industry and decorative arts categories, praised for his well-modeled and finely crafted bronze groups. His last known exhibition was at the 1876 Munich Art and Craft Exhibition, where he received a second-class medal in the new arts industry category. This remarkable gilded bronze and glass lantern rests on a quadrilobed wooden base adorned with intricate decoration. Set within a naturalistic rocky and vegetative scene, various putti frolic in varied poses: a winged girl sits on a rock, while two young boys play amid the foliage. From this base, the stand spirals upward, featuring fluted leaves with sinuous curves surrounded by leafy embellishments. Toward the top, more putti appear: one, comfortably nestled within a curve, seems to hold seaweed in each hand; above him, a miniature Jupiter with lightning bolt and crown rests on an eagle with his left arm; another winged girl with roses gazes into the lantern, while an airy putto is suspended below, as if supporting the object. These four putti may symbolize the four elements (water, fire, earth, and air). The base of the lantern also displays rococo styling, crafted as a scalloped shell with uneven edges, from which palm-like fronds arc and frame the glass surface. The top of the lantern utilizes a play of solid and open spaces, which becomes especially striking when the lantern is lit. Each of the six glass panels is tinted blue and depicts a night sky dotted with stars, showing the moon in its various phases, which can be followed by turning the lantern. The exceptional craftsmanship and opulence of this piece showcase the artistry of the Bavarian foundry responsible for its creation, a workshop worthy of greater recognition.