Ref.1334
19th century stained glass window with profiles of Bretons

Charming stained glass windows from the 19th century representing a man and a woman from Brittany in traditional costume framed in medallions. The enameled painted glass technique let's the light shine brightly through. The yellow and blue colors are colours that are typically associated with Brittany.

Ref.15224
BACCARAT, Pair of Double Vases with Japanese-Style Decoration, circa 1880

This pair of Japanese-style double vases was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal manufacturer Baccarat showcased its excellence at the World’s Fairs throughout the 19th century. These ruby crystal double vases feature identical decorations: each part is adorned with branches of cherry blossoms (called “sakura”) and birds facing each other. Geometric friezes decorate the top and base of the vases. When the pair is assembled, the decorations mirror each other in two ways: the birds face each other between the two parts of each double vase, and the large vase of one features the same decoration as the small vase of the other, and vice versa. However, the mounts are different: one features cherries on their branches, while the other depicts poppy flowers. Both mounts bear the Baccarat factory stamp, used from 1875 onwards. In addition to the stamp, one of the two vases connected by the mount also carries an original label.

Ref.15609
Jacques Louis KESSLER, Pair of Vases Engraved with Greek Revival Decor Using the “Kessler” Process, mid-19th century

This pair of vases, crafted in the 19th century, was made using a technique developed by engineer Jacques Louis Kessler in 1855 and patented in 1858. The decoration of these two vases, made of double-layered crystal (blue on the outside and transparent on the inside), was achieved using Kessler’s engraving process. This innovative method utilized alkaline fluorides mixed with acids and a system of stencils, allowing for an immediate contrast between a bright, colored design and a matt background. The Baccarat crystal manufacturer later acquired exclusive rights to this patented process, which brought them widespread acclaim during the 1867 Paris Exhibition. These baluster-shaped vases feature neo-Greek ornamentation, alternating between blue-toned designs and matt crystal. Their clean, elegant lines are accented by several ornamental blue crystal bands. The decoration is composed of three primary scenes: the first depicts two combatants. The second portrays a winged Victory holding a palm in one hand while crowning a resting warrior with laurel in the other; the warrior stands before her. The third depicts three figures: a woman playing the lyre for a king holding a long scepter, with a young ephebe standing behind him. The scenes are separated by depictions of weapon trophies. The iconography draws inspiration from scenes commonly found on ancient Greek vases, while emphasizing the fluidity of the figures’ movements and features. Each vase rests on a circular mount supported by four spheres, with one vase bearing the number “2” engraved under its base. When Baccarat acquired the rights to Kessler’s technique, the company used it to create similar pieces, incorporating this innovative method into its repertoire. At the 1867 Paris Exhibition, Baccarat showcased a celestial blue crystal punch bowl and matching glasses engraved using this process; this set is now housed at the Corning Museum of Glass. The Galerie Marc Maison also presents an elegant neo-Greek vase made using the same technique (reference 15013). Due to Baccarat’s early acquisition of Kessler’s patent, vases like ours remain rare examples of the exceptional quality of pieces produced before the patent transfer, representing some of the earliest works created using Kessler’s revolutionary innovation.

Ref.15717
Gilt Bronze and Champlevé Enamel Table Mirror, Signed "Maison Alphonse GIROUX, Paris"

This elaborately decorated table mirror features a gilt bronze frame richly adorned with polychrome champlevé enamel work. The oval mirror is set within a detailed surround of floral and foliate motifs in vibrant hues of red, blue, green, white, and black. The base and arms are equally embellished with scrolling designs and stylized elements. The upper crest bears a crowned monogrammed medallion, while the reverse is inscribed with “Maison Alph. Giroux, Paris.” The piece exemplifies the ornamental craftsmanship associated with Parisian decorative arts of the 19th century.