Ref.10859
Paul ROUSSEL (1867-1928) - Pair of pewter lamps, cast by Eugène Soleau and globe signed Sèvres

This beautiful pair of lamps was made around 1900 out of pewter. Inspired by Art Nouveau, they bear the signature of Paul Roussel, sculptor, and Eugène Soleau, bronze manufacturer in Paris. A farandole of putti unfolds along the neck while the body of each lamp is adorned with flowers in slight relief. Paul Roussel is a major sculptor of the turn of the 20th century. Born in 1867, he entered the École des Beaux-Arts in Paris where he studied with Jules Cavelier, Louis-Ernest Barrias and Jules Coutan. In 1895, he won the Grand Prix of Rome for the bas-relief "David, winner of Goliath, brought in triumph to Saul". He won several medals at the Salons and exhibited Hors-Concours in London, Brussels, Turin, Liège, Amsterdam, Ghent. From 1906, he became a member of the jury of the Ecole des Beaux-Arts and member of the grand jury of the Salon des artistes français. He obtained many orders from the State, including several monuments of importance: "The Duke of Aumale", stone statue commissioned by the State and kept at the entrance of the Museum of Decorative Arts of Paris, for example. He is decorated Knight of the Legion of Honor in 1914 and is promoted officer July 23, 1920. Eugène Soleau, bronzier, was born in Buenos Aires, Argentina, in 1853. His foundry was located at 127 rue de Turenne in Paris. Secretary (1885-1889), then vice-president (from 1895 to 1899) and finally president (from 1900) of the Union of Bronze Manufacturers, he invested himself, at French and international levels, in the protection of Intellectual property.

Ref.13726
Pair of antique crystal lamps

This beautiful pair of lamps was made of crystal in the late 19th century. The lamps are composed of crystal pendants of different shapes and sizes attached together by iron strings, thus taking the shape of splendid vases flanked with two handles. Each vase is surmounted by an important crystal point and rests on a circular base made of Ver de Mer marble.

Ref.14850
Maison Bernard, wrought iron craftsman, pair of richly decorated floor lamps, circa 1889

These monumental floor lamps were made circa 1889 by the the wrought-iron craftsman Antoine Bernard. They each rest on three feet in the shape of lion's paws extending in the form of volutes covered with ornamental acanthus leaves; in the center, the scrolls join a central foot, masked by masks and leather straps. Higher up, the uprights are hidden by a large shell. The central part is thin, then a large, richly decorated prominence announces the crowning of the floor lamp. Finally, a vase receives the glass ball of the luminaire, itself crowned with a small radiant circle of algae. One of the original opaque glass balls was carved with harmonious streaks forming a translucent star; the same pattern was reproduced on the other, in order to restore the harmony of the pair and return the lamp to its original appearance. Bernard took part in the Universal Exhibitions of 1889 and 1900 in Paris. Several examples of this floor lamp were exhibited at the 1889 exhibition. They were listed as "Louis XIV candelabras" in La Construction Moderne of 21 December 1889, which, following on from the previous edition of 14 December, listed the "remarkable samples of [the] art [of ironwork]" at that year's Exhibition; this mention was accompanied by an engraving. Bernard also presented two "consoles in the Louis XIV style" at the exhibition, which are probably similar in style to our light fittings. The Bernard company responded to very prestigious orders. She notably executed the Honor Gate, or Rooster Gate, of the Élysée Palace, in 1900. This gate has many characteristics in common with the two lamps: the same monumentality, the same foliage ornaments bring them together.

Ref.11889
JULIUS GROSCHKUS (active in the second half of the 19th century), Walnut grandfather clock with exotic decoration

This walnut grandfather clock was made by the workshop of Julius Grotschkus in Berlin. This German master cabinetmaker of the second half of the 19th century is renowned for the quality and variety of his historicist creations. Supported by two atlantes with African features, this mahogany grandfather clock has two gilt-bronze weights. The brass dial is richly decorated with finely incised acanthus leaves. Above the dial, Cupid emerges from the clouds, his left foot on the globe, holding a cup. On either side are two inscriptions: "Time is running out" and "Time heals." The gold background of the engraved composition represents the dawning sunrise, a symbol of the passage of time. The African atlantes supporting the clock's body are of exceptional quality. Positioned on either side of a niche housing the clockwork mechanism's weights, their stooped posture conveys remarkable grace, and their facial features are rendered with lifelike realism. The depiction of this pair underscores the significance of the German Empire's colonial expansion during this period and may suggest that this imposing piece was created for a clientele whose wealth originated in these territories. Julius Groschkus's clientele consisted primarily of an urban bourgeois elite who had amassed fortunes through the rapid industrialization of the German Empire. Groschkus's talent was widely recognized in his time, as evidenced by the plaque affixed to the clock, which mentions his status as a master woodworker, "Hof Tischlermeister."