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My selection
(6 Objects)

My selection (6 Objects)


Oak 19th century double door

Ref.1482
Oak 19th century double door

This Regence style oak double door is striking due to its impressive dimensions and yet elegant proportions. Each door is subdivided into four parts, at the base of both is a relief panel with a molded border. Above the panels is a braided frame enclosing a carved, high relief, and slanted feature that is also surrounded by a double volute frame. The central panels, where the doorknobs were originally, are very plain- this emphasizes the craftsmanship of the top panels. Framed in braided molding, the two sculptures are set against a plain background, and are enclosed in a frame; a frame of double volutes and foliage. The frame rests upon an engraved pannel that adds to the decor. With regards to the sculptured objects, they appear to praise science and technology; an important development during the 19th century. One of the sculptures displays a music scroll, a globe for geography, a camera, a test tube for chemistry, a compass and protractor for geometry; whilst the other displays a saw for carpentry, cog wheels, an anvel and bellows for black smiths. The two different themes shown by these two panels clearly bear an artistic element. A remarkably sculpted pannel seperates these two doors. Above, there is a series of fleur-de-lys made up of acanthus leaves which wind across the double door. At both ends of the fleur-de-lys there are the heads of two tremendous winged monsters. This decor is enhanced further by the curled carving in the wood above. Above this, two panels framed with braided molding each bear the letters E and P; a monogram referring to the owner of the house for whom this door was made for. The reverse side of the door is decorated with two moulded panels.

Dimensions:
Width: 208 cm
Height: 424 cm
Depth: 4 cm

Jules LOEBNITZ (1836 – 1895), Ceramic panel “Child with a flower”

Ref.12841
Jules LOEBNITZ (1836 – 1895), Ceramic panel “Child with a flower”

This rectangular panel made of enameled ceramic made by Jules Loebnitz in the second half of the 19th century depicting a child holding a bow in one hand and a flower in the other one from a painting by Emile Lévy (1826 – 1890). The Pichenot-Loebnitz factory was founded by Mr Pichenot, grand parent of Jules Loebnitz, in 1833. From 1841, Mr Pichenot had started the fabrication of uncrackable earthenware panels for mantel's interiors, showed with success during the Exhibition of 1844. Breaking with the traditional fabrication of white heating system, the Pichenot-Loebnitz factory, was one of the first to start the production of architectural earthenware decorations. In 1857, Jules Loebnitz, artist as much as an industrial, succeeded to his grand father and became director of the factory. He helped renovating the old mantels tiles during the restoration of the Castle of Blois before collaborating with the most important architects of his time Eugène Viollet-le-Duc, Laval, Charles Garnier, Just Lisch et Paul Sédille. Between the architect Paul Sédille and Jules Loebnitz, a true friendship was born that leads them to collaborate very closely from 1867. The architectural polychromy theoretician had met the man that has brought important progresses to French ceramic, allowing the making of important uncrackable earthenware panels. Thus, during the Great Exhibition of 1878, Paul Sédille realized the door of the Palais des Beaux-arts, while Jules Loebnitz was in charge of the ceramic decoration of the facade, in order to advocate the renewed of architectural polychromy. For this purpose, he made a series of three panels taking as a model the paintings of Emile Lévy, kept today in the Musée de la céramique architecturale of Auneuil, depicting the Painting, the Sculpture and the Architecture, transposed to enamel by Lazar Meyer, a student of the painter. The Painting depicts a scene on which we can see a man painting three naked women in the characteristic position of the Three Graces. Cupid, asking for a flower held by one of the woman, has most likely been used too as a model for the one we can see on our panel, as they have the exact same body position. Indeed, the naked child with his red hair is standing by its profile on both panels, the left leg is out straight, the other is bend. He's holding in his left hand a bow and straight out his other hand to the sky, toward where he is looking. The difference is visible with the representation of the flower that the child is holding in our panel. On the contrary of the original painting, the background is abstract, the only décor is the flower behind the child. We also find on one of the plate from La brique et la terre cuite by Pierre Chabt – book that has contributed to the success of the manufactory after it was published in the 1880’s – a panel depicting the same subject with a different background. This model is today kept in the Musée des Arts et Métiers in Paris.

Dimensions:
Width: 39 cm
Height: 98 cm
Depth: 5 cm

Louis XV style mantel in veined Carrara marble

Dimensions:
Width: 133 cm
Height: 106 cm
Depth: 37 cm
Inner width: 89 cm
Inner height: 82 cm