Ref.10867
Léon MESSAGÉ (1842-1901) (att. to) - Antique Louis XV style clock

This Louis XV style clock in gilt bronze was made around 1900. Identifiable by its rococo-inspired style made of curves and twists, this cmock is attributed to Léon Messagé who made of this original aesthetic his signature. The mechanism of the clock is modern and the dial is signed « S. Colin & Cie » then « Paris 17, rue des Tournelles ». The decoration of these elements is very rich and complex and the ornamental repertoire is characteristic of the Rococo style. The dial is adorned with acanthus and laurel leaves curled like a crown. The lower part is devoted to the marine theme with shells, including a large overturned in the center, and two dolphins on each side, a motif often used by Léon Messagé. Remember that the French term « Rocaille », from which comes from « rococo », originally refers to ornamentation imitating rocks, natural stones and shells. Typical large curves of this aesthetic, set back on either side of the dial, support the structure of the object that ends with four sinuous feet on a finely decorated tray. A bearded man mask similar to a faun merges in the center into the decor. A certain extravagance emanates from this clock with very tormented lines. This impression of movement, already present in the Rococo style, takes a certain scale at the end of the 19th century when Art Nouveau imposes a quasi-organic aesthetic that is not unrelated to the Rococo style. But Léon Messagé remains above all a historicist artist and great interpreter of the Louis XV style as confirm the motifs used: acanthus leaves, laurel branches, curves and a winged putto with bow and quiver enthroned at the top of the clock.

Ref.14144
Large Empire period frame

Rare large Empire period frame with several decorative friezes. The first band decorated towards the inside is adorned with alternating bees and stars, and palmettes in the corners. The upper frieze is decorated with a frieze of palmettes and plant motifs. The frame is made of wood and is keyed.

Ref.14019
Pair of neo-Gothic lanterns with fleur-de-lis and dolphins, circa 1895

This pair of neo-Gothic lanterns fits perfectly into the architecture of the Château de la Cordelière for which it was designed. Commissioned by Viscount Frédéric Chandon de Briailles (the son of the founder of the famous champagne house Moët & Chandon), the castle was built by the architect Raphaël Nicolas Sauger, between 1895 and 1900. The lights are suspended from a long wall bracket ending with a fleur-de-lis at each end and extending into a volute decorated with acanthus leaves ending on a dolphin's head. The lights themselves are crowned with fleur-de-lis as well as clovers evoking the family coat of arms (silver, with a fess gules, accompanied by three sable clovers). The lantern bulbs are protected by yellow and blue stained glass windows. A few underlying scrolls complete this very homogeneous decor. The decoration of these lanterns reveals the ambition of the commissioner: the fleur-de-lis and the dolphins are originally symbols reserved for the royal family; the Chandon de Briailles are counts, therefore close to the royal family, which they do not hesitate to affirm through these symbols.

Ref.15113
DAUM, Émile ROBERT (attributed to), Lamp in delicately openwork wrought iron and glass, circa 1900

This lamp is the result of a collaboration between the Daum company, for the glass lampshade, and Émile Robert, for the wrought iron base. Founded in Nancy in 1878 by Jean Daum, the Daum glassworks was quickly taken over by his sons, Auguste and Antonin. From that moment on, increasingly complex creations from a technical point of view were designed there. Émile Robert (Mehun-sur-Yèvre, 1860-1924) quickly became skilled in artistic ironwork. When he arrived in Paris in 1878, he joined the workshop of locksmith Alphonse Gabriel Moreau, where his talent was quickly recognized, before becoming independent. At the 1900 Universal Exposition, he contributed to the decoration of the Metals Hall of the decorative arts pavilion, and even set up a workshop there to present the blacksmith's craft to visitors. In 1914, he founded a workshop in Enghien-les-Bains to undertake personal projects; in the same year, he was named a Knight of the Legion of Honor. This table lamp, with a base forming openwork wrought iron arms, is inspired by the Gothic style. It rests on an openwork circular base providing great stability. Four equidistant spheres topped by feet in the shape of stylized lion paws join to form a single base. Above, a slight bulge reflects Émile Robert’s interest in Art Nouveau and its vibrant vegetal vitality. The upper part, forming an arm, is decorated with delicate openwork scrolls and ends with a bird head from which the lamp is suspended. The lamp itself is conical, in orange glass tinged with yellow, held in place by four wrought iron scrolls also inspired by Art Nouveau forms. It is signed: “Daum Nancy ☨”.