Ref.11249
Pair of cassolettes with blowers and griffins, in Napoleon III style, in Vert de Mer, Jaune de Sienne marble and gilded bronze.

Very nice pair of antique Napoleon III style cassolettes made out of gilded and chiseled bronze, Siena yellow and sea green marbles, revealing a beautiful polychrome. The work of bronze is quite interesting, especially in the patterns of griffins and players of aulos. Wind instrument very used during the Antiquity in religious rites, the aulos is composed mainly of a pipe pierced with holes, most often played in pairs. The general shape of these cassolettes is reminiscent of the Athenian, sort of pedestal table with three high feet supporting a shelf or a basin, forming a cassolette, a burning-perfume or a basin to wash the hands. Appeared at the end of the 18th century, the Athenian is inspired by the models of antiquity found during the excavations of Pompeii and Herculaneum. Neoclassicism of the decorative vocabulary, combined with the shape of these cassolettes inspired by Antiquity and the polychromy of the materials mark well a Napoleon III style realization of high quality where eclecticism is the signature.

Ref.12369
Louis XV period fireback with the coat of arms of France

This cast iron fireback was made in the 18th century. It presents the arms of France crowned in a decoration of foliated scrolls.

Ref.15009
Conrad KIESEL (after), Japonist portrait of a woman wearing a kimono, circa 1880

This portrait of a European woman dressed in the manner of a Japanese woman, set against a Japonisant backdrop, was probably executed after a work by the German painter Conrad Kiesel, displaying the same features. Several copies of this work, executed like ours in oil painted on embossed leather, were however attributed to Franz Schier. Against a background of embossed leather decorated with motifs of flowers, butterflies (a symbol of eternity in Far Eastern cultures) and dragons, a woman with European features stands out, dressed in the Japanese manner: she wears a short-sleeved kimono (known as a tomesode) fastened by an obi (a wide Japanese sash) tied at the back. Her hair is arranged with a butterfly-shaped comb and chopsticks, and she holds a fan in her right hand. Her bracelet, however, owes more to Orientalism than to Japonisme. In the lower right corner, her legs appear caught in a bush of pink flowers, thus justifying the imbalance of her posture. The enthusiasm born in the second half of the nineteenth century, notably following the reopening of Japan to international trade and its participation in the 1867 Universal Exhibition, took the name of "Japonisme". It sparked a genuine revolution in Western art, strongly inspiring numerous artists across all fields. This work bears witness to the powerful influence of Japanese art on Western creations at the end of the nineteenth century, both in subject and in execution, notably in the deliberate absence of depth and perspective, tempered however by the presence of the flowers.