Ref.03144
Gabriel VIARDOT (1830 – 1906), Chinese stool

In stained beech wood and gilded bronze. With a shape made up of curves and counter-curves, this stool is strongly influenced by Far-Eastern works, particularly Chinese or Japanese furniture. Consisting of three shelves brought together with the four feet, this little piece has a completely original profile, with a narrowing in the upper part. The upper shelf is the smallest.  The middle is decorated with latticed panels, just like the lower table. The feet are trimmed with gilded bronze ornaments, also influenced by Japanese bronzes. The completely wooden parts are engraved with scrolls, like the center of the middle shelf whose engraving adopts a scalloped profile. The shapes of this stool, as well as the latticed wood and the bronze decorations are to be compared with a cabinet conserved in the Victoria and Albert Museum of London (W.17:1, 2-1971), signed by Gabriel Viardot and dated in 1888. The bronze of this stool can also be compared with those of a showcase for this cabinetmaker, preserved in the Musee d’Orsay (OAO 1652).

Ref.12298
Adriano CECIONI (1836-1886) - The Child with the Rooster, bronze subject with brown patina

L'Enfant au coq, bronze subject with brown patina signed on the terrace Adriano CECIONI (1836-1886).

Ref.13723
Joseph FRUGONI, Bust of a woman or Aphrodite

An artist who died young, Joseph Frugoni is a rare sculptor. His production is divided fairly equally between copies of antiquity and original creations. Signed "Frugoni" with the mention "copied", our statue evokes a representation of Aphrodite. Without being a distinct iconographic attribute, the comb in the hair evokes the goddess of love and beauty. She is presented from the front and shows her right profile. Placed on a circular pedestal, she is dressed in an antique drape revealing her left shoulder while her hair falls in locks over her shoulders. A true artistic tour de force, Frugoni infuses his creation with a certain individuality: the laughing air, her lowered eyes and the spontaneous movement of the head thrown back bring the work closer to the joyful and expressive figures of Jean-Baptiste Carpeaux (1825-1875).