Ref.10292
Pair of cast iron Louis XVI style vase with theirs originals bases

These ornamental cast iron vases were made in the 20th century. Antique style, a fluted column is decorated with asparagus tips. Around it stands a garland of laurel leaves, which falls in bouquet. At the top of the column is the vase, a crater, also surrounded by a floral garland (here oak leaves). The vase is decorated with antique style medallions, female profile faces.

Ref.17649
Magnificent Satzuma vase with man and woman decor mounted as a lamp with bronzes attributed to Ferdinand Barbedienne

This beautiful Satzuma vase designed in Japan in the early 19th century was mounted as a lamp in France in the late 19th century. The bronze elements from this period are attributed to the famous bronze manufacturer Ferdinand Barbedienne. The vase rests on a base made ​​up of four gilt bronze elephant heads with an exceptional chiseling quality. One side of the vase shows a Samurai with a finely depicted costume. The opposite side is decorated with a Geisha. The relief decoration is of the utmost quality. Satzuma earthenwares (also spelled 'Satsuma) appear in Japan in the 17th century and are presented in France on the occasion of the Universal Exhibition of 1867, making a strong impression with the public and connoisseurs. Globes have engraved decoration enhanced with gold.

Ref.11352
Maison des Bambous Alfred PERRET et Ernest VIBERT (attributed to) - Japanese style embroidered silk screen

The production of this large sculpted wood screen of far-eastern inspiration is attributed to the Maison des Bambous de Perret et Vibert. Made of four panels, it is crowned by a latticed wood frieze where a small menacing dragon strolls. The body of the screen is finely decorated. Some finely represented birds frolic among luxurious vegetation where different kinds of flowers are depicted. Little known until now, the Maison des Bambous is however of a large importance in the history of Japanese furniture. Founded just before 1879 by Alfred Perret at 30 Quatre-Septembre road in Paris, the Maison des Bambous first specialized in the production of “luxury wicker, bamboo furniture and planters.” It was only around 1880 that Alfred Perret appeared in the Didot-Bottin while making furniture. We can therefore place the beginning of the making of Far-Eastern inspired furniture to this time. In 1882, Alfred Perret moved his store to number 33 Quatre-Septembre road, where the company’s headquarters remained until its closure. It was only a little later, in 1886 that Alfred Perret joined with his own son, named Vibert. The company was then able to grow dramatically and became a supplier of world leaders in France and abroad. The Duc of Montmorency, Princess Mathilde, Empress Eugenie and King George I of Greece were among their loyal customers. From 1889, the company participated in the World Exposition where it would be noticed. It was only in 1894 that the company took the name that we now know, the Maison des Bambous. It grew again significantly, until it had a branch at 170 Haussman Boulevard starting in the early 20th century. The Maison des Bambous still had successful days ahead and did not close permanently until 1994.

Ref.11614
Henri-Auguste FOURDINOIS (1830-1907) - Louis XVI style Bureau plat

Stamp "H. FOURDINOIS" under the top of the bureau. Fruit of a superb work of marquetry and wood veneer (walnut, cherry, blackened pear, sycamore), this Bureau plat is adorned on all sides of gilt bronze, rosettes of Louis XVI style, foliage and friezes of flowers. The desk rests on four toupies feet which develops in the shape of tapered and fluted columns, topped with asparagus heads characteristic of the Louis XVI style, and surmounted by capitals of ionic order. The gilt bronze ornaments of this flat desk are of a very high quality. The excellence of carving and gilding attest to a virtuoso work.

Ref.13315
Albert-Ernest CARRIER-BELLEUSE (1824 - 1887) « Allegory of Winter » bust in Carrara marble

This marble bust presenting an allegory of Winter was created by one of the most prolific sculptors of the Second Empire, Albert-Ernest Carrier-Belleuse. Mainly famous for being Auguste Rodin's (1840-1917) master, Carrier-Belleuse meets acknowledgment in 1863, when Napoléon III buys his Bacchant, now owned by the Musée d'Orsay. Starting from this date, the Emperor will grant him his full support until his reign's end. Even if he did realise lots of big marble groups, honoured during the Salons, it is his terra cotta busts which will bring fame to him. All along his career, he executes busts of his most famous contemporaries, as well as great historic figures, or fantasy busts inspired by the mythology, as it is for our bust. Carrier-Belleuse represents here a young woman with her head down, hooded with a drapery. Some locks of hair escape from the hood and seem about to be blown away by the wind. Her clothes are adorned with a pine cone on the breasts. This piece of work is remarkable because of the delicacy of the execution, which can be particularly appreciated in the drapery's folds or in the strands of hair. The allegory of Winter is part of an ensemble of busts produced by the artist, each bust depicting a season. Sometimes several versions of a season were created by Carrier-Belleuse, as for example the busts assimilated to an allegory of Autumn, with vine branches systematically used as an attribute. Same goes for the Spring, where roses seem to indicate the period of the year.

Ref.15238
Maison des Bambous, Alfred PERRET and Ernest VIBERT (attributed to) - Japanese sideboard with fan-shaped mirror

Ref.14040
BACCARAT, Neo-Greek Crystal Chandelier with Five Lights, after 1875

This significant five-light chandelier in the Neo-Greek style was created by Baccarat in the 19th century. Founded during the reign of Louis XV, the Baccarat crystal glassworks earned international fame through its participation in major exhibitions throughout the 19th century and up until 1937. During this period and beyond, the factory distinguished itself by the excellence of its production and its continuous search for innovation, winning numerous medals. Baccarat’s creations influenced other European glass and crystal manufacturers in the decades that followed, setting the standard for both craftsmanship and stylistic models. This chandelier reflects the Neo-Greek taste, which was prominently featured in the factory’s productions at the 1867 Universal Exhibition. Along the central stem, several friezes of meanders – a motif characteristic of ancient Greek architecture, often used in 19th-century decorative arts – are arranged. In the upper section, some pendants also feature this same motif. At the ends of the chandelier’s arms, meticulously crafted by the Baccarat workshop, five opaque globes are adorned with a frieze alternating between two different palmette designs, connected by graceful scrolls. These details were achieved through an innovative acid-etching and transfer process, developed by the chemist Kessler, which also allowed for the frosted finish on the lighting globes. The crystal pendants add a certain richness to the overall design, which remains elegant and restrained, true to the Neo-Greek aesthetic. The chandelier is signed at the base of the stem. This molded block-letter signature first appeared in 1875, allowing us to date this chandelier’s production to after that year. The 1907-1908 Baccarat catalog lists a second Neo-Greek chandelier. However, in this later model, the style is less pronounced, appearing primarily in the transparent globes surrounding each light source. This chandelier is a fine example of Baccarat’s Neo-Greek production in the 19th century, particularly highlighted at the 1878 Universal Exhibition.

Ref.5002
Napoleon III style mantel decorated with garlands of flowers carved in wood