Ref.12630
Art Nouveau mahogany woodwork from Café Barjot in Paris, 1905

This woodwork characteristic of the Art Nouveau style comes from the Café Barjot located avenue Ledru-Rollin in the 12th district of Paris, it was made in 1905. It is composed on a first wall of a symmetrical set of seven beveled mirrors - one of which is large - framed by mahogany in the shape of a stylized tree with sinuous lines. The same assembly of mirrors is found on the wall facing it, with a decoration of enamelled flowers in relief on some parts of the mirrors. The third wall is composed in its center of an alcove with beveled mirrors and a clock in a mahogany and glass decoration enamelled with plants. On either side of this alcove is a set of mahogany-framed mirrors with a relief enamel decoration of stylized flowers interlaced with leaves on a white background. Two of the panels are also inhabited by ibis. To the left, the wall continues with an arcade flanked by mahogany-framed beveled mirrors, and to the right by the same decoration, but the arcade is replaced by a large beveled mirror. The decoration of this woodwork is characteristic of the Art Nouveau style that emerged at the end of the 19th century in Europe. This style contrasts with the creations of the previous period belonging to the realistic/naturalist style, sometimes considered dark and severe. Thus, the ousting of straight lines and right angles to emphasize instead curved lines inspired by plants is a recurring feature. Fundamental elements such as color and the use of materials such as glass help to create the effect of fantasy and a feeling of lightness. Many Parisian cafés and restaurants decorated at the beginning of the 20th century have seen their walls adorned with Art Nouveau woodwork with sinuous lines decorated with mirrors and stained glass windows with decorations inspired by natural elements. For example, we can mention the restaurant Le Vagenende, boulevard Saint-Germain in the 6th arrondissement or the restaurant Maxim's rue Royale in the 8th arrondissement.

Ref.13201
"L'Amour d'Hercule", beautiful Louis XV period cast iron fireback

This antique large fireback was made in the 18th century. In a beautiful Louis XV decoration composed of shells, acanthus leaves and scrolls, a scene is represented depicting Heracles's loves as indicates the inscription, there it is "Heracles and Omphale". After his works and the madness that made him kill his family, Heracles is submitted by the Delphi oracle to a a year of servitude, to pay for his fault. Thus, he is bought by Omphale, queen of Lydia. Heracles is here represented spinning the wool, spindle and distaff in hand, kneeling down in front of Omphale and another woman. A similar model is illustrated in Henri Carpentier's book "Firebacks", while an other one is visible in the Louvre Museum.

Ref.13644
André-Fernand Thesmar, Enameled ceramic gardener

This important gardener bears the monogram of the enameler André-Fernand Thesmar (1843-1912), and was made in the beginning of his enemaler career when he discovers the enamel work and starts his first tries in the 1870's. Andre-Fernand Thesmar first devoted himself to oil painting and was known as a painter of flowers. He was educated in drawing in a factory for printed-fabric in Mulhouse where he had been placed at fourteen years old to learn the trade of a draftsman. His teacher was a painter of flowers: he “drew and dissected the plant with fury, requiring an anatomical analysis of shapes and a meticulous copy of nature.” He left this industrial environment to go to Paris in 1860 and engaged in various activities. It was probably for his talent as a painter that Thesmar was noticed in 1872 by Ferdinand Barbedienne. With Barbedienne, later Thesmar succeeded to the management of the production of enamels. The productions of Thesmar and Barbedienne reflected the interest that they had for the decorative techniques and compositions of Japanese enamel. It was as “co-operator of the Barbedienne company” that Thesmar exhibited at the Exhibition of Decorative Arts in 1874, A cock pheasant from China. At the exposition in 1875, Thesmar exhibited two large enamel compositions on copper. In 1891, Thesmar turned to the decoration of porcelain and introduced himself to Charles Lauth who, since 1879, led the Factory de Sèvres. Its at this time that the collaboration with the Barbedienne company ended. Afterwards, he would be especially known for having invented the “plique à jour” technique, which numerous pieces of are kept in public collections. He creates here a very beautiful gardener with a brown and orange background on which is detaching on slight relief a flower decoration, favorite theme of the artist. He alternates a decor of wide flowers in a light pink shade with strips on a beige background with a motif composed of leaves and flowers scrolls.

Ref.14102
Alphonse Giroux, the Japonism style koi carp bowl

This very beautiful piece designed by Maison Giroux is an “Imari” style porcelain from 1880. It illustrates the very important taste for Japonism in 19th century society. Our cup is garnished with a gilded bronze frame, bearing the signature of Alphonse Giroux. The decoration of the frame, like the exterior of the cup, pays homage to the symbolic figure of the dragon. The colors adopted by Alphonse Giroux are typical of the Imari style: cobalt blue, dark red and saffron. The space is subtly exploited by a naturalistic and animal decor. The bottom of the cup is occupied by two large intertwined koi carp, symbols of strength in Japanese culture. The koi carp is legendary. According to an ancient legend, the bravest who manage to go up the mighty yellow river will transform into dragons with golden scales. This beautiful Parisian-made object dates from the Second Empire, a period of great activity for Maison Alphonse Giroux, a store famous for its luxury cabinetmaking, mounted objects and tablets in Paris.