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.13660
GUERET Frères - Splendid oak chest richly sculpted with a forest animal decoration

This splendid chest was made of oak by the Guéret brothers in the 1870. The sculpture work is truly remarkable and shows the virtuosity of its creator who makes a decor on the forest theme in which we can see a fox, a pheasant or even a bird with its wings spread out on the top, in a rocks and tree decoration. Denis-Désiré (born in 1828) and Onésime Guéret (born in 1830) create a factory of sculpted furniture in 1852 or 1853 at 7 rue Buffault in Paris under the name "Guéret Frères". Ten years later, the store is moved at 5 boulevard de la Madeleine, then at 216 rue Lafayette where it stays until the definitive closure. From 1877, the factory is managed by the youngest brother and becomes "Guéret Jeune et Cie", its activity continues until the end of the 19 th century.The Guéret brothers participate to each exhibitions from 1855, win a lot of rewards and acritic always eulogistic,like the one published in the Art Journal, about the InternationalExhibition of 1878 : “M. Gueret, a renowned cabinet-maker of Paris, contributed to theExhibition a large number of admirable works, designed with rare Art power, and executed with refined delicacy, in various woods – generally in satin-wood inlaid – all possessing thorough artistic merit”. The excellency of their work for the sculpted furniture making,often rewarded, increases their orders book. Rich bourgeois but also renowned personalities such as the Duke of Aumale, Napoléon III or even Mr Bryce, buyers of these sumptuous furniture, made some orders. Mr Bryce, for instance, ordered the realization of his whole furniture for his mansion on avenue Gabriel in Paris.

Ref.14204
Albert ANKER (painter), Théodore DECK (ceramist), Ornamental Dish “Cleopatra”, 1869

Biographies of Albert Anker and Théodore Deck The Swiss painter Albert Anker (1831-1910) joined the École des Beaux-Arts in Paris in 1855. Alongside his close collaboration with Théodore Deck, Anker distinguished himself in the genre of historical portraiture. Between 1866 and 1892, the two artists produced over 450 faience pieces together, combining their talents to create exceptional works. Théodore Deck (1823-1891) established himself in Paris in 1858. After manufacturing linings for heating systems, he turned to ceramics, a field in which he achieved rapid success. Constantly perfecting his technique, his production was highly acclaimed at the Universal Exhibitions. The ceramicist was made an Officer of the Legion of Honour in 1878 and directed the Sèvres Manufactory from 1887 until his death in 1891. His workshop frequently called upon renowned painters to design the decorations for his pieces. Description of the Work Executed in 1869, this Egyptian-style plate is the result of a long collaboration between Albert Anker and Théodore Deck. The center of the plate features a portrait of Cleopatra, depicted according to her image at the Temple of Hathor in Dendera. She wears the attributes of Egyptian nobility: the royal collar (ousekh) and the vulture, symbol of the goddess Nekhbet, protector of pharaohs and tutelary figure of Upper Egypt. Her posture and ornaments faithfully adopt the figurative codes of ancient Egyptian art. The decorations on the rim of the plate follow a precise archaeological style. Set against a yellow background characteristic of ancient Egyptian funerary objects, four scenes inspired by temple art stand out, punctuated by pseudo-hieroglyphs. These include a woman praying before a bearded god, the deity Seth carrying the was scepter, the god Anubis accompanied by a female worshiper, and a scene where Anubis is adored by a man. The subject and style of this decorative plate bear witness to Egyptomania, the fascination with ancient Egypt that spread through the 19th century and influenced European decorative arts. Deck and Anker produced several versions of this plate, examples of which are now held at the Gustav-Lübcke Museum in Hamm, the Kunstmuseum in Bern, and the Théodore Deck Museum in Guebwiller.

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.15678
Emile Hébert and Georges Servant, Egyptian Revival Clock, 19th Century

Biographies of Georges Servant and Emile Hébert Georges Servant (1828-1890) took over the family foundry on Rue Vieille du Temple in 1855. In response to the contemporary fascination with ancient Egypt in France, he focused his production on decorative objects inspired by Greco-Egyptian antiquity. His skill as a bronzier was widely recognized, notably through his participation in the 1862 London International Exhibition. Emile Hébert (1828-1893) trained under his father, Pierre Hébert, and Jean-Jacques Feuchère. He exhibited at the Salon des Artistes Français from 1849 to 1893, and at the Universal Exhibitions of 1855, 1867, and 1878, winning gold medals at the latter two. Neo-Egyptian subjects were a hallmark of his work and significantly contributed to his success. In 1878, the Universal Exhibition jury noted in its report that Hébert’s chasing was handled with a master’s hand. The two artists frequently collaborated to present joint works at these major international events. Description of the Work Attributed to Emile Hébert and Georges Servant, this clock is a refined Neo-Egyptian creation that blends exotic motifs with the aesthetic appeal of precious materials, including patinated and gilt bronze, rouge antico marble, and Belgian black marble. The piece is designed in the form of an Egyptian temple facade. The central black marble pedestal supports a gilt bronze statuette of Cleopatra, while the rouge antico marble elements serve as bases for two reclining lions, whose formal pose is characteristic of Egyptian sculpture. The depiction of the last Queen of Egypt reflects 19th-century sensibilities: a sensual queen whose drapery emphasizes her form. Shown in a slight contrapposto, she steps forward with a melancholic expression. She is recognizable by the pharaonic scepter (was) featuring the head of the god Seth and the lotus flower she holds in her left hand—a symbol of the cycle of life and renewal. The clock face is crowned by a gilt bronze appliqué reminiscent of a pectoral jewel bearing the image of the deity Nekhbet. The decoration is completed by pseudo-hieroglyphs engraved on the central body and a pair of outspread bronze wings adorning the cornice, centered around a sacred scarab.