Ref.10718
Julien-Nicolas RIVART (1802-1867) - Louis XV style Rosewood Table with decor of porcelain marquetry

Bibliography : Marc Maison and Emmanuelle Arnauld, Masterpieces of Marquetry in the 19th Century. Patents. Rivart, Cremer, Fourdinois, Kayser Sohn and Duvinage, Dijon, Faton, 2012, p. 5 and 46. Characteristic of Julien-Nicolas Rivart 's production, this Louis XV style table is adorned with inlays of porcelain flowers, a technique he patented in 1849. Inspired by both porcelain slabs inserted in wood panels, into fashion in the 18th century, as well as Florentine mosaics in hard stone, Julien-Nicolas Rivart succeeded to develop an original technique, totally renewing the use of porcelain by inlaying it like a true marquetry, where each element is independent. The naturalism of peonies flush on the wood surface gives this piece of furniture a great elegance, demonstrating all the skill of the artist, who resorts to a virtuoso technique of ornamentation, of extremely delicate implementation. The finest foliage, made of dyed resin, ensures an elegant connection between the different pieces of porcelain. Rivart 's favorite theme, the floral motifs can be seen on other tables, notably that purchased in 1861 by the Count of Manneville on the occasion of his wedding and preserved today at the Cité de la Ceramique of Sèvres. Like our table, it is decorated with a garland of flowers, shut by a bronze border running all the way along the shelf. The painting of the inlaid flowers is not signed; we can however attribute it to Pierre-Joseph Guérou , painter of the Manufacture de porcelaine de Sèvres in 1847 and 1848 whose signature appears on several pieces of furniture by Rivart , like the Jewel case of the Empress Eugénie at the Château de Compiègne. A specialist in porcelain flower paintings, he also participated several times at the Salon between 1836 and 1866. The treatment of the petals in pink and white shades is characteristic of his style, which is easily recognizable. Much appreciated by the critics for the charm of its porcelain marquetry, the Rivart technique was noticed at the World's Fairs he attended in 1851, 1855 and 1867. It is called a "delicious process", "still more beautiful than the beautiful", and is the subject of praiseworthy comments from the Emperor Napoleon III.

Ref.13836
Oak game counter

Large game counter made of oak wood, open on each side, topped by a tray made of two very thick boards from the same trunk.

Ref.14790
BOCH Brothers (ceramic), Th. FUMIETE (?), Portrait of a Japanese Lady in Earthenware, 1890

This portrait of a Japanese lady dated 1890 bears the signature, possibly apocryphal, of a certain Th. Fumiete, whom our research has not been able to trace. He worked for Boch frères, whose mark is visible on the reverse of the tiles. The Boch family began producing ceramics in 1748. However, the “Boch Frères” company was only founded in 1844, after many moves, by Eugène and Victor Boch and their brother-in-law Jean-Baptiste Nothomb. Between then and 1881, Victor Boch was at the helm, with engineer Charles Tock taking over until 1904. The assembled ceramic tiles form a large decorative panel. The woman, with her long black hair held back by several sticks behind her head, looks ahead, her head slightly tilted to the side. She is dressed in a kimono with a rich and colorful floral design over a tunic that closes tightly at the neck. She places her right hand on the wide belt (“obi”) that wraps around her. The decorative background is sprinkled with Japanese maple leaves. A primary decorative border adorned with stylized plant motifs (some resembling papyrus leaves) highlights the central figure. The entire piece is set in a wooden frame carved in bas-relief with similarly stylized plant motifs forming scrolls. The enthusiasm that arose in the second half of the 19th century, notably following Japan’s reopening to international trade and its participation in the 1867 Universal Exposition, became known as “Japonism”. This sparked a revolution in Western art, strongly inspiring many artists across all fields. This piece demonstrates the strong influence of Japanese art on Western creations at the end of the 19th century, both in subject and execution (the deliberate absence of depth and the use of flat colors are characteristic of Japanese prints). This work, beyond its intrinsic aesthetic qualities, is emblematic of this movement and reflects the enthusiasm aroused by Japanese works, objects, and even lifestyle among Westerners at the end of the 19th century. The ceramic is original. The design on three tiles has undergone a previous high-quality restoration. The signature has also been restored, suggesting it may be inaccurate.