Ref.11434
Frédéric-Eugène PIAT (1827-1903) (attributed to) - Inkwell with butterfly

This inkwell made of black sheet metal and gilded bronze was made in the 19th century. This model was created based on a drawing attributed to the ornamentalist Frédéric-Eugène Piat (1827-1903), artistic director of the Maison Marchand.

Ref.13677
Small batch of stone pavement with cabochons

Small batch of stone pavement from a room measuring 73 cm x 110 cm composed of 7 octogonal tiles of which the 8 sides are 3" 15/16, 14 half tiles and 1 cut.

Ref.14332
Fireback from the 18th century with a triple figuration of the coat of arms of France

Ref.12253
Set of steps in fine black marble

Set of marble steps, 17 cm (6” 11/16) high, comprising: small steps, 25 cm (9” 13/16) deep, between 88 cm (34” 5/8) and 200 cm (78” 3/4) long, for a total of 1600 cm (629” 15/16) linear. large steps, 36 cm (14” 3/16) deep, between 118 cm (46” 7/16) and 300 cm (118” 1/8) long, for a total of 2900 cm (1141” 3/4) linear.

Ref.15235
BACCARAT - Pair of Persian ruby bottle-shaped vases, circa 1880

This pair of Persian bottle-shaped vases with Japanese vegetal decoration was made by the Baccarat crystal works around 1880. Founded under the reign of Louis XV, the French crystal manufacturer Baccarat excellence at the World's Fairs throughout the 19th century. These ruby-hued blown crystal vases feature acid-etched and gilded decoration. The Japanese-style decoration features a plant stretching its branches around the circumference, interrupted only at the ring, in the middle of the neck, and at the top. The top of the neck is decorated with geometric friezes. The influence of Japanese prints is perceptible in the theme, as well as in the way of space and the representation of the plant world. Each vase bears an antique label on the base, marked "BACCARAT - FRANCE". The Baccarat crystal works produced a number of ruby-colored vases with very similar designs similar to this one in the 1880s, including two from a set that sold at at Drouot in 2016.

Ref.5583
Louis XIV style mantel in Portor marble

Ref.15383
Jules Barbe for Thomas Webb (attributed to), Japanese-style Vase with Dragons, late 19th Century

This vase with a Japanese-style design in double-layered opaline glass was likely created at the end of the 19th century, when the vogue for Far Eastern objects and works inspired by them was at its peak. It is attributed to Jules Barbe for Thomas Webb. Thomas Webb founded his company in 1837 in Stourbridge, England. In 1842, the business was called T. Webb & Co. before becoming Thomas Webb & Sons. Renowned for its cameo glass, it was noted by the jury at the 1889 Universal Exposition in Paris. The jury report praised its creations: “There is no need to reiterate the remarkable qualities of this manufacture. As always, the whiteness and clarity of the crystal were complete, and its brilliance was enhanced by the cutting and especially by the exceptional polish that characterizes it” (p. 150). Jules Barbe produced several vases as part of his collaboration with Thomas Webb & Sons. The décor of this one is highly intricate. The rounded belly features a subtle gradient ranging from milky white at the bottom to deep brown at the top of the neck. It is adorned with two dragons winding among leaves reminiscent of Japanese maple and various flowers. The straight neck flares at the top and is decorated with stylized branches and cherry blossoms (Sakura). The decorations are executed in gold, with some shades of gray. The enthusiasm that arose in the second half of the 19th century, particularly following Japan’s reopening to international trade and its participation in the 1867 Universal Exhibition, became known as “Japonism”. This movement caused a significant revolution in Western art, strongly inspiring many artists across all fields. This piece demonstrates the profound influence of Japanese art on Western creations at the end of the 19th century, both in its subject (notably with dragons, symbols of strength and power in East Asian culture, and the sakura, characteristic of its flora) and in its execution (mainly in the deliberate lack of depth, a hallmark of Japanese prints).