Ref.10708
Julien-Nicolas RIVART (1802-1867) - Leather sheathed jewelry box decorated of porcelain marquetry

This box is graciously decorated with flowers in porcelain inlays by Julien-Nicolas Rivart . The latter is the inventor of the porcelain marquetry technique, a unique process, searched for a long time and patented in 1849, he was the only one to master. Since this date, he foresaw the possibility of inlaying not only in wood, but in several other types of materials as well, including cardboard, velvet and leather. Such examples are however very rare, which is why this box presents a particular historical value, the bouquet of roses and blue campanulas being inlaid in the leather.

Ref.10716
Julien-Nicolas RIVART (1802-1867) - Purple velvet Folder decorated of porcelain marquetry

Bibliographie : Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle : Brevets d'invention. Rivart, Cremer, Fourdinois, Kayser Sohn et Duvinage, Dijon, Faton, 2012, p. 37. This velvet-covered folder is lined with moire fabrics on the inside. It has two compartments on each side and a matching file. Realized by Julien-Nicolas Rivart , it is decorated with a porcelain inlay painted in imitation of flowers, a branch of lilacs accompanied by white flowers, probably bindweed. The purple velvet background particularly emphasizes the porcelain's delicacy, and the liveliness of the colors. Through skilfully mastered range of hues, the painter was able to give an illusion of depth, creating the impression of a real branch of lilac laid on the folder.

Ref.10722
Julien-Nicolas RIVART (1802-1867) - Velvet folder decorated with campanulas in porcelain marquetry

Covered in velvet, this folder has two compartments lined with moire fabrics and a matching file. It is decorated with a painted porcelain inlay by Julien-Nicolas Rivart , depicting twigs of campanulas. The brownish background contrasts with these purple and white wild flowers. The velvet support enables the contrast with porcelain's delicate texture, and to enhance its gleam. This is a very rare type of inlay, Rivart 's porcelains being generally observed into wooden furniture. The latter foresees indeed in his patent to inlay in all types of materials, including cardboard, leather, or velvet; but very few of such works reached us through time. The folder we present is thus an exceptional example of inlays in velvet, a witness to a production much appreciated by the clientele, which at the time was described as "yet more beautiful than beautiful" (Auguste Luchet, The Industrial Art at the Exhibition of 1867).

Ref.11090
Allegory of a river in the form of a child, Statuary marble sculpture, base made of Vert de mer

Sculpture in the round made out of Carrara Statuary marble resting on a base in Sea green marble. It is a work of the late 19th century depicting a child crowned with leaves of aquatic plants, pouring the contents of an urn. Repeating the traditional iconographic codes of the river, a human representation usually crowned with reeds pouring water, the artist wanted to represent a source by the choice of a young child. The choice of a symbol of youth refers to the origin of "a watercourse". It will eventually turn into a river. As the child ages to become these imposing bearded men, allegory traditionally represented on fountains for example. Note the technical virtuosity of the artist who sublimates the expression of water by the fingers of the child passing through.

Ref.10859
Paul ROUSSEL (1867-1928) - Pair of pewter lamps, cast by Eugène Soleau and globe signed Sèvres

This beautiful pair of lamps was made around 1900 out of pewter. Inspired by Art Nouveau, they bear the signature of Paul Roussel, sculptor, and Eugène Soleau, bronze manufacturer in Paris. A farandole of putti unfolds along the neck while the body of each lamp is adorned with flowers in slight relief. Paul Roussel is a major sculptor of the turn of the 20th century. Born in 1867, he entered the École des Beaux-Arts in Paris where he studied with Jules Cavelier, Louis-Ernest Barrias and Jules Coutan. In 1895, he won the Grand Prix of Rome for the bas-relief "David, winner of Goliath, brought in triumph to Saul". He won several medals at the Salons and exhibited Hors-Concours in London, Brussels, Turin, Liège, Amsterdam, Ghent. From 1906, he became a member of the jury of the Ecole des Beaux-Arts and member of the grand jury of the Salon des artistes français. He obtained many orders from the State, including several monuments of importance: "The Duke of Aumale", stone statue commissioned by the State and kept at the entrance of the Museum of Decorative Arts of Paris, for example. He is decorated Knight of the Legion of Honor in 1914 and is promoted officer July 23, 1920. Eugène Soleau, bronzier, was born in Buenos Aires, Argentina, in 1853. His foundry was located at 127 rue de Turenne in Paris. Secretary (1885-1889), then vice-president (from 1895 to 1899) and finally president (from 1900) of the Union of Bronze Manufacturers, he invested himself, at French and international levels, in the protection of Intellectual property.

Ref.10907
Japanese style table, openwork wooden friezes, top decorated with a japanese hunter

Small Japanese style table made in the late 19th century. It is based on four claw feet joined by an X stretcher whose center is decorated with a gilded bronze plaque with openwork decoration. The apron of the table is adorned with openwork wood friezes and small gilded bronze ornaments representing dragon heads or plant elements and interlacing. The top of this table is garnished with a hunter made in engraved bone marquetry and a small inlaid mother-of-pearl butterfly.

Ref.11610
An antique console and its mirror, in Louis XV style, with parrots

Important antique Louis XV style console, with a mirror and surmounted by a still life painting, made in the 19th century. The console is made out of lacquered wood and the table top is made out of Violet Breccia marble. The mirror, in a gilded wooden frame with two sconces, is surmounted by an oil on canvas decorated with floral vase and parrots.

Ref.11421
Gabriel Viardot (attributed to) - Japanese style table with gilded bronze decorations

This small Japanese table is richly decorated and made by Gabriel Viardot. Its main shelf is topped by three small shelves placed completely asymmetrically. All these shelves are engraved with a naturalistic décor. The shelves are supported, on the right side, by two gilded bronze dragons. Bronze ornamentations are very present on this small table. They adorn the feet, the middle and the vertical uprights and make this piece a completely luxurious example. Gabriel Viardot started his wood-sculpting career in 1849, when he sent some furniture pieces in natural décor to the horticultural exhibition. He then became the head of a small team of sculptors when he was just 19 years old. In 1853, he had a factory and a store of furniture located at 36 and 38 Rambuteau Road. During this time, he worked with his brother, Louis Gustave, under the name “Viardot Brothers and Company.” In 1860, he created his own workshop, “G. Viardot” at 5 Grand-Chantier road, and became head of the family business that he kept until 1872. He decided to devote himself to “Chinese-Japanese style furniture,” which he was able to observe mainly at the 1867 World Exposition. At this same exposition, he was awarded four medals. It’s with this production that he was awarded at the 1878 World Exposition with a silver medal. Following that, he practiced consecutively at 15 Chaume road, 3 Archives road in 1878 and 36 Amelot road near the end of the century. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother of pearl inlays from Tonkin. He enlivened his furniture with bronze decorations, of which he made all the designs by hand. Over the course of the years, the success only continued to grow, particularly at the expositions of Nice and the 8th exposition of the Central Union of Decorative Arts in 1884. In 1885, he participated in the World Exposition of Antwerp where he obtained a gold medal. At this time, the shop employed 90 – 100 workers, sculptors or cabinetmakers, a lot of who were educated directly by Gabriel Viardot. Following this exposition, he was promoted to the rank of Knight in the Legion of Honor (December 29 1885). In 1889, he was at the World Exposition that took place in Paris and awarded a gold medal. He obtained the same award at the 1900 World Exposition.

Ref.11295
PERRET & VIBERt (attributed to) - Japanese style coat hanger

This important coat and hat rack, made out of carved sycamore, was made in the 19th century. Its realization is attributed to the parisian store Perret et Vibert. Topped by an imposing dragon, it has many hooks and a tablet to hold umbrellas. The asymmetry of the furniture, the openwork decoration and the dragon are quite characteristic of the so-called "Japanese style" furniture made at the end of the 19th century, notably by the Maison des Bambous by Perret and Vibert

Ref.13320
Louis XVI style trumeau with an allegory of Love in sculpted and gilt wood

This large trumeau was made in the late 19th century of sculpted and gilt wood. The mirror underlined with friezes of pearls is surmounted by a decoration in a slight relief depicting an allegory of Love. In a set of laurel branches, two birds, standing on a torch and a quiver, are kissing each other.

Ref.14666
Paul SOYER, Renaissance-Style Clock Set, circa 1875

This clock set in the spirit of the Renaissance was executed by Paul Soyer around 1875. Paul Soyer (1832-1903) worked as a chaser in Paris from the 1850s. Gradually, he learned the technique of enamel to replace ornamental bronzes in furniture decoration. He opened a workshop as an engraver-enameller in 1861 and then collaborated with renowned enamelers and goldsmiths, such as Claudius Popelin, Charles Duron, and Gustave Baugrand. It was as a collaborator of the latter that he won his first bronze medal at the 1867 Universal Exposition. Following this success, he opened a larger workshop and specialized in various enamel techniques, with a preference for painted enamel. He participated in all the French and foreign Universal Expositions, as well as the Expositions of the Union Centrale des Beaux Arts appliqués à l'Industrie. Regularly rewarded, notably with a gold medal in 1878, he was hors concours and a jury member from 1889, the year he received the Legion of Honor. His production, very varied, includes both small decorations for jewelry and true enamel paintings, as well as enameled art objects for goldsmithing and plaques intended for cabinetry. A follower of Popelin, he remained faithful to the art of the Renaissance and the early 17th century, particularly fond of the technique of polychrome enamels associated with grisaille, and that of gold camaieu.

Ref.11023
J. VIEILLARD & CIE Manufacture, A rare dish decorated with Koi carp in Japanese style

This superb ornamental dish with a Japanese-style decor of koi carps was executed by the Jules Vieillard & Cie Manufacture in the 1870s. After the death of Jules Vieillard in 1868, the Jules Vieillard & Cie Manufacture, then the third largest ceramic factory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes, launching a production of artistic faience intended to decorate the finest interiors.

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.13730
SÈVRES Manufacture, Porcelain Tazza with Masks, 1846-1863

This splendid tazza in blue porcelain enhanced with gold was executed at the Sèvres manufactory between 1846 and 1863. The Vincennes manufactory, the ancestor of the Sèvres manufactory, was founded in 1740 by workers who had defected from the Chantilly manufactory. The Vincennes manufactory became royal in 1752, shortly before its transfer to Sèvres in 1756. It enjoyed growing popularity in the second half of the 18th century, and throughout the 19th and 20th centuries, continuing to the present day. This tazza features a highly elaborate shape and decoration. Its baluster stem alternates bands of deep blue with lighter shades embellished with gold filigree, and interlaced gold on a white background with an oriental motif. Three finely executed faun masks complete the decor. The cup itself is decorated with an alternation of more or less expressive male and female masks in relief, also enhanced with gold. Inside the tazza, numerous interlaced gold patterns, some more burnished than others, unfold on a white background. The manufactory stamps present under the base provide information about the creation of the piece: the tazza was crafted during the reign of Louis-Philippe (1830-1848), in 1846; the gold decoration was only completed in 1863, under Napoleon III (1852-1870). A pair of tazze of this model, dated 1854, were shown at the 1884 Union Centrale des Arts Décoratifs exhibition. This tazza is therefore a magnificent testimony to 19th-century decorative art, both in its form and its decoration.

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).