Ref.11017
Louis XV style cage chandelier in rock crystal and gilded metal

This elegant cage chandelier was made in the 1970s. The frame is made of gold painted metal, decorated with many carved rock crystal pendants. The lights are decorated with sheet metal sheets painted in gold.

Ref.13521
Gilt and sculpted wood bed with a very rich Rococo decoration and dragons coming from Marlène Dietrich's Parisian appartment

This bed with an impressive decor was made of gilt and sculpted wood in the 20th century and comes from the old apartment of the French actress Marlène Dietrich (1901-1992). The headboard is adorned with an opulent Rococo decoration with curved edges, showing stylized shells with acanthus leaves coilings. The whole is lightened up with two small dragons put on each side threateningly and with a winding body. The foodboard also shows a very rich sculpted decoration composed of impressive volutes with acanthus leaves put all around a stylised shell. On the bed's frame a gadrooned frieze and an interlaced one are running, while the sides each receive splendid shell decor from where are escaping acanthus leaves and flower garlands.

Ref.15341
japonesque frame in carved wood and mother-of-pearl marquetry, decorated with a bronze dragon, with its silk painting depicting a winter landscape

Japonisme in French decorative arts The Japonisme movement, which developed in France from the Universal Exhibitions of 1867 and 1878 onwards, shaped European decorative arts during the late 19th century. Several Parisian workshops, among them Gabriel Viardot and Perret & Vibert, specialised in the production of furniture and decorative objects blending Chinese and Japanese ornamental codes. Stained wood, mother-of-pearl marquetry, chiselled bronzes depicting dragons and chimeras, along with motifs of plum blossom or cranes, characterise this production intended for a wealthy bourgeois clientele. Description of the work This Japonesque frame adopts a rectangular shape in stained wood, whose upper and lower transoms rise into recurved points evoking the eaves of Far Eastern pagodas. The structure is articulated by openwork carved panels, in the upper and lower bands, displaying scrolls and Greek fret motifs drawn from the Chinese repertoire. Along the side uprights as well as in the lower band runs a frieze of mother-of-pearl marquetry depicting a flowering plum branch, a recurrent motif of Japanese iconography. The uprights are accented in their upper part by an engraved cartouche in the form of a stylised flame. At the centre of the upper transom, a small bronze dragon with copper and gilt patina emerges from a wooden cartouche, jaws open, with a long pendulous moustache, its clawed paws resting on the band. At the opposite corner responds a second bronze element depicting the serpentine tail and fins of the creature, suggesting its passage through the frame. The centre houses a silk painting representing a winter landscape in grisaille: snow-covered undergrowth, bare trees, two figures in traditional costume at the foot of the tall trunks. The work is to be restored, the silk showing wear and tears in places.