Ref.3221
Exceptional antique Regency style complete paneled room in mahogany marquetry with fireplace, France 19th century

Exceptional antique paneled room from the late 19th century made in France in an English Regency Style. The panels are in marquetry of mahogany and wood of varied species (such as lemon tree). The upper part is made of stucco on wood. This decor in stucco is very refined: Athenian with ornaments of rams' heads, foliage and medallions decorated with women dancing in imitation of Wedgwood. Original stained glass windows are included. The medallions are exactly the same decoration as the stucco. The beautiful mantel with detached and fluted columns is also decorated with marquetry with griffins and vase with vegetal scrolls. The interior of the fireplace is made of Breccia Nuvolata marble. The sumptuous inlaid floor is also included.

Ref.12033
Théodore DECK (1823-1891) - Round ceramic dish with oriental decoration of a vase of flowers and foliage on yellow background

Theodore DECK (1823-1891), large round slightly hollow glazed earthenware dish with oriental decoration of a vase of flowers and foliage on a yellow background. Signed on the reverse.

Ref.13299
Pair of vases in malachite and gilt bronze, Russia, late 19th century

This beautiful pair of vases was made of gilt bronze and malachite. It's very likely a Russian work from the end of the 19th century. The belly of our vases was made of malachite and welcomes a Rococo style decoration of gilt bronze. The whole decoration was made of gilt bronze, like the handles which are also reminding of the Louis XV style as they are shaped of thin acanthus leaves scrolls, or even the neck where are attached the handles and the foot. Finally, from the neck a beautiful gilt bronze tulips bouquet springs while the vase rests on a small malachite square base. The malachite, is an intense green stone because of its high copper composition, which makes it very appreciated in the 19th century. This stone mainly comes from Russia where important deposit are known since the 17th century, we can name the one called Nijni Taguil, discovered in 1835 and exploited by the Count Demidoff (1812 - 1870). Used in bloc to create small objects, the malachite can't be used for big pieces as the ones we can make in marble. That's why the technic called “Rusian mosaïc” was invented during the second half of the 19th century : malachite strips are inlaid to create the illusion of a block , allowing to put this extraordinary color on walls, columns or other interior elements like in the Malachite Room in the Winter Palace in Saint Petersburg. It's the Royal stone manufactory of Peterhof and Ekaterinbourg that develop this art which quickly seduces the aristocracy. This technic is discovered in France when Alexander I of Russia (1777 - 1825) gifted Napoléon Ier (1769 – 1821) a set of malachite element in 1808. Candelabras, big vases and basins are placed in the Emperor Room in Trianon, which became the “Malachite Room”. The new beauty of this sophisticated art creates an important enthusiasm which lasts during the entire 19th century.

Ref.14591
Émile GALLÉ, Jardiniere with a design inspired by the nature of Pharaonic Egypt, circa 1879-1890

This ceramic jardinière, with a design inspired by the natural world of ancient Egypt, was created by Émile Gallé in the late 19th century. Considered the founding father of Art Nouveau, Émile Gallé (1846-1904) took over the manufactory established by his father and gave it a decisive new direction, which he sustained throughout his life with his ever-renewed creativity. Ancient Egypt and its culture were among his favored sources of inspiration, as evidenced by this work. The artist selected two complementary colors, brown and blue, to structure the piece and give it a distinct harmony. The blue forms faux drips over the brown, perhaps evoking the Nile’s floods that fertilized Egyptian soil. The brown background features reed stems, reed flowers, and papyrus blooms. A flying scarab with wings resembling those of a bird references the god Khepri, the manifestation of the rising sun. The entire design is enhanced with gold accents. A similar piece in shape but featuring a Japanese-inspired design was sold at auction by Tajan in Paris in 2013. The Egyptian inspiration in this piece is also echoed in a jardinière shaped like a falcon housed in the Musée d’Orsay in Paris. In that work, Gallé also incorporated designs of reeds and papyrus, as well as a flying scarab with large falcon-like wings.

Ref.15265
Edmond LACHENAL (painter), Théodore DECK (ceramist), Ornamental plate with Two Mallards Swimming Among Irises at Sunset, circa 1880

This enameled ceramic plate was created in the workshop of ceramist Théodore Deck at the end of the 19th century; its decoration is attributed to Edmond Lachenal. Théodore Deck initially trained in stove manufacturing. When he established his own business in Paris in 1858, he specialized in stove coverings before expanding into ceramics due to his growing success. The workshop produced numerous plates, sometimes in collaboration with renowned painters, including Edmond Lachenal. Deck gradually perfected his technique and enjoyed significant acclaim at the many World’s Fairs in which he participated. In 1878, he was made an Officer of the Legion of Honor. He directed the Sèvres porcelain manufactory from 1887 until his death in 1891. Édouard Achille Lachenal, known as Edmond Lachenal (1855-1948), served as the chief of Deck’s workshop before establishing his own studio in 1881. He later participated with success in the World’s Fairs of 1889 and 1900. Lachenal was particularly recognized for his naturalistic representations and the vividness of his colors. This plate, a collaboration between two prestigious artists, depicts a pair of lifelike mallards swimming among irises, with a white goose in expressive flight, seemingly intent on chasing them away. The birds are bathed in the golden-yellow light of late afternoon, illuminating both the sky and water. The colors are rendered with great subtlety, particularly in the male mallard’s plumage, which features rich shades of blue, green, and brown, and in the vibrant irises. This design is emblematic of the Japonism trend that swept through Europe from the 1870s onwards. Indeed, both mallards and geese are favored motifs in Japanese woodblock prints, as is the stylization of the background, where the distinction between sky and water is subtly blurred. The work is signed within the design by the painter, and bears two signatures by Théodore Deck on the reverse. Edmond Lachenal also created a plate depicting a rooster, which is housed in the Metropolitan Museum of Art in New York. The vividly colored bird is portrayed in a naturalistic manner, captured mid-stride as it chases a butterfly.