Ref.15871
Sphinx Table in oak, Napoleon III style

This Napoleon III style table was made in the 19th century in oak.The top is ornamented with an Arts & Craft tapestry, and has round molded corners.The jambs of this table are sphinx shaped. They are joined by two snakes, finely carved.

Ref.17931
Jean-François GECHTER (1796-1844) - Pair of candlesticks with warriors

This extraordinary pair of candlesticks was made out of bronze by Jean-François Gechter around 1850. Two warriors in armor are represented in Gechter's particular style. The Louvre Museum in Paris has a very similar pair of candlesticks. The rediscovery of these candlesticks is exceptional due to their extremely high quality and to the rareness of this model that was previously only known thanks to the Louvre Museum's model.The warriors strongly support the hefty flags topped with shields to which the lights are attached. Wearing chain mail and finely crafted armor, the warriors are also carrying their arms, a hatchet and a dagger, in their belts.The remarkable depiction of the warriors' armor, the attention to detail for the chain mails, the weapons, and the faces lead us to attribute this artwork to Jean-François Gechter . The sculptor accomplished incredible variations in texture for this piece: the roughness of the chain mail, the chiseling of the details on the armor and the faces, with a sense of Romanticism. A student of Bosio and Baron Gros, Gechter made these objects during the Romantic movement. He enjoyed historic themes that allowed him to express his talent for ancient scenes, featuring characters with elaborate, sometimes anachronistic and imaginative costumes, representative of his poetic side. In this way, this pair of candlesticks epitomizes Gechter's art.The pair that is kept at the Louvre Museum is made of silvered and gilt bronze, thus using the variations in color and effects. Based on the same design, these candlesticks are different, as they are topped off with an animal helmet that does not exist on the Louvre's pair.

Ref.11304
An antique trumeau made out of white wood and stucco

Ref.11963
Pair of antique granite columns

Pair of antique columns made in the 19th century, in french granite and base in Carrara marble.

Ref.12860
Large quadruple door with panes and mirrors

This large door painted in white is composed of 4 leaves with mirrors shaped as pane above a footing. The upper part is composed with small glass windows.

Ref.12691
Ernest LEVEILLE - Exceptional cracked glass vase with polychrome and gilt insert decor on a gilt bronze mount, circa1890

This exceptional cracked glass vase mounted in gilt bronze is a typical work of the late 1890’s production of Eugène Rousseau (1827 -1890) and Ernest-Baptiste Léveillé (1841-1913). Eugène Rousseau (1827 - 1890) merchant editor of porcelain and crystals established since 1855 on the 43 rue de la Coquillière à Paris, was a pioneer by going further that everybody else in the renewal of the glass art. Indeed, at the end of his life he starts to study the glasses coloration and obtains unexpected decorations by superposing colored and shady layers inspired bu the old Venetian techniques from the 16th century and practiced by the Chinese people during the 18th century. In 1884, he’s the first to exhibit cracked glass during the Exposition de l’Union centrale des arts décoratifs. Thus, he creates glasses with the aspect of gemstones. The following year in 1885, he gives his stock to his old student Ernest-Baptiste Léveillé, then also merchant editor of porcelains and crystals who had opened on the 74 boulevard Haussmann in Paris in 1869 la Maison Léveillé. Renamed « Maison Rousseau-Léveillé réunies », the production keeps the developed technical characteristics until the death of the master in 1890. The models then become more bold and the decors follow the trend of the curved line. Named again « Maison E. Léveillé », the store is moved nine years later on the 140 Faubourg Saint-Honoré in Paris. In 1902, Ernest Léveillé merges with the maison Toy, also a crystals and porcelains stores, under the name « Maisons Toy et Léveillé réunies ». The establishment is then located on the 10 rue de la Paix. He participates to many Parisian Salons between 1892 and 1897 and also to the World’s Fairs of 1889 and 1900 in which he wins the gold medal. Our slender shape vase takes all the characteristics of the technique developed by Eugène Rousseau then exploited by Ernest Léveillé. Indeed, the cracked glass is decorated with an inclusion decoration of red, blue and gold powder, forming beautiful marbled mottled effects. Louis Vauxcelles speaks in these words about these characteristic on his book Histoire de l’art français de la Révolution à nos jours, published betweent 1922 and 1925 : « Without overloading the crystal with gold motifs as many others, without daubing it randomly with bright colors, without trying to assign a role for which it is not made for, or making it look like marble, porcelain, lacquer, bronze, he has for ambition to only create effects that are conform to its nature and to let it be enough by itself, and giving elements of its own decoration. Under the localized action of the oxides, he succeeds to mottle it and braids a net of blazing cracks thanks to a projection of cold water between two fires. Léveillé had the art of the unexpected projections, vigorous reliefs and capricious details. » Our vase also shows an impressive Napoleon III style gilt bronze mount with a remarkable quality of carving. The circular base rests on four feet, it is adorned with a round roses frieze and a torus of coiling acanthus leaves surmounted by flutes. A beautiful decor composed of small flowers bouquets and intertwined acanthus leaves comes to lightened up the lower part of the vase. The neck is encircled by a splendid knotted cord in gilt bronze falling on each side. This mount seems to have been made by the sculptor and bronze maker Paul Louchet (1854-1936) old student of Jules Lefebvre and Henri Harpignies. He signs by the mark « Louchet Fondeur Paris » a certain number of his Art Nouveau creations that he makes in his workshop located on the 3, rue Auber in Paris and that he exhibits in the Parisian Salons. The attribution of our mount to the work of this bronze maker was made thanks to a comparison with a similar mount on another vase signed by the artist.

Ref.15271
Sarreguemines Pottery Works for Vermont Brothers, Dinnerware set with "Views of Paris", circa 1890

This cream-colored earthenware set decorated with the arms and monuments of Paris was made by the Sarreguemines Pottery Works around 1890 and distributed by the Vermont Brother store in Paris. The stamp on the base of each piece in the set indicates that it was a Parisian company, located near the Opera. It also indicates that this set is made of “ironstone”, a term for fine earthenware mixed with feldspar and kaolin to make it whiter and more durable; thus, it is very close to porcelain. The pieces in the set are marked with numbers and letters to individualize them on the reverse side. The set includes thirteen large dinner plates, fourteen small plates, six soup plates, three serving dishes, and three compotes. In total, the set features sixteen different designs, as some motifs are repeated on different pieces. It includes representations of the Pantheon, the Carrousel Arc de Triomphe, the Church of the Trinity, the Opera, the Madeleine, the Eiffel Tower, Notre Dame Cathedral, the Étoile Arc de Triomphe, the Medici Fountain in the Luxembourg Gardens, Saint Augustin’s Church, Saint Lazare’s Station, the Louvre Palace, Saint Michel’s Fountain, the Palace of Justice, and Saint-Jacques’ Tower. It also depicts the Palace of Industry, which was demolished in 1896 and replaced by the Grand Palais, indicating that the set likely dates from before its demolition. The monuments are painted like watercolors on a blue sky with pastel colors. The top of the pieces is adorned with the coat of arms of the city of Paris standing out on a laurel branch, while the decorations are underlined by a chestnut branch at the bottom, intertwined with scrolls bearing the name of the depicted monument. Two other sets of the same model, sold at Drouot in 2012 and at Thierry de Maigret in 2023, provide additional representations of the monuments initially depicted in this set: the Central Halls (now demolished), the Pont Neuf, Longchamps, Saint Sulpice’s Church, the Buttes Chaumont Park, the Bastille (although already destroyed when the set was made, it remains a strong symbol of Paris), the Luxembourg Palace, the Longchamps Hippodrome, etc. This set gives a beautiful overview of the most beautiful monuments of the capital. These are represented in a state contemporary to its creation, thus evoking the Parisian landscape at the very end of the 19th century while allowing the viewer to recognize buildings that are still famous today.