Ref.11854
Pair of planters model "Diabolo" edited by Eternit, 1950s

These diabolo-shaped planters were designed by Willy Guhl, a famous Swiss designer and edited by Eternit in the 1950s. These planters are made of Eternit, a stable material with a fibrous texture made of cement.

Ref.13146
Exceptional pair of double Louis XV curved doorsn decorated on the two faces

This pair of double curved doors was made in the late 19th century od painted in white wood. They are adorned on their two faces with a very beautiful Rococo decor in low relief. The brass locks and handles on the sunck part depict a remarkable chiseled decoration made in a very fine way composed of plants also in a Louis XV style.

Ref.13321
Louis XVI style trumeau with friezes and flowers crowns

This Louis XVI style trumeau was made in the late 19th century in painted wood and stucco lightened up with gilding. The mounts depicts a paneled decor of friezes of gilt acanthus leaves and pearls, surmounted by a small crown of flowers. The pediment of our trumeau was supposed to receive a painting which was replaced by a night blue fabric. This frame is surmounted by a relief decoration depicting a knotted ribbon noticable by the precision given to the folds.

Ref.14864
Large Napoleon III style trumeau with garland of liere

Ref.15022
Théophile SOYER, Renaissance-Style Ornamental Dish, 1880

This enameled ornamental dish was created by Théophile Soyer in 1880. Théophile Soyer (1853-1940) learned his craft from his father, Paul Soyer, who was already practicing the technique of painted enamels, before joining the École des Beaux-Arts. He studied under Eugène Levasseur and Adolphe Yvon. He began working with enamel in Courbevoie, then joined his father's workshop, which he took over in 1896. He exhibited for the first time at the Salon in 1870, then regularly between 1875 and 1882, as well as at the Expositions of the Union Centrale des Beaux-Arts starting in 1876. His great technical mastery was rewarded with a silver medal at the World’s Fair in 1889, and then a gold medal in 1900. Soyer actively participated in the artistic life of his time: he was successively Vice-President of the Chamber of Ceramics and Glassware and President of the Société des Éclectiques, a humorous society founded in 1872 by etchers and poets. He married Eugénie Dejoux, a painter-enameler of Genevan origin, with whom he had a daughter, Jeanne, who worked with her parents before marrying in 1906. Théophile Soyer's work was part of the troubadour and Neo-Renaissance movements, at a time when past styles were in vogue.

Ref.13741
SÈVRES Manufacture, Louis-Philippe Period Vase Adorned with a Lush Floral Decoration, 1846

This porcelain vase, featuring rich floral ornamentation, was crafted at the Sèvres Manufacture in 1846. The Sèvres Manufacture was founded in Vincennes in 1740. It quickly gained the favor of Madame de Pompadour, King Louis XV’s mistress, and received royal privilege starting in 1745. In 1756, the manufacture was relocated to Sèvres, and in 1759, Louis XV became its main investor, placing it under the control of the Crown. The discovery of kaolin by two of its researchers in 1768 allowed the royal establishment to produce true porcelain (known as hard-paste porcelain). Between 1800 and 1847, the manufacture was directed by the scientist Alexandre Brongniart, who ensured its remarkable development. The manufacture continued to evolve up to the present day, where it remains a unique center of creation. This vase was made during the reign of King of the French Louis-Philippe (1830-1848). Its overall shape reflects the style in vogue at the time. Set on a flared foot, the body of the vase expands harmoniously towards the neck, first narrowing and then flaring out. The handles are attached to the widest part of the body. Two finely executed pinecones appear to be attached to them by a ribbon, while a large palmette decorates the base of each handle, which, after an elegant curve, connects to the neck of the vase with a scroll adorned with two antique profiles, inspired by Roman cameos. The decoration, highly precise and detailed, consists of multiple intertwined garlands of foliage and flowers. The base is adorned with a frieze of ivy leaves and their fruits; the body features garlands of roses on one side, asters on the other, along with more discreet flowers on both sides such as bindweed, horned violets, or pink evening primrose flowers; behind the garlands, other particularly delicate flowers emerge. Under the handles, where a crown of forget-me-nots encircles a small bouquet of roses, the neck is decorated with branches of wild rose. The whole piece, extremely decorative, is enhanced with gold detailing that transitions between the different parts of the vase and highlights the modeling of the handles. The piece bears two marks stamped by the manufacture under the reign of Louis-Philippe on the base: within a double circle, an intertwined L and P under a crown, framed by the inscriptions: “SÈVRES” on one side and “1846” on the other.