Ref.9452
Senlis stone sink

Senlis stone sink from the 19th century.

Ref.10859
Paul ROUSSEL (1867-1928) - Pair of pewter lamps, cast by Eugène Soleau and globe signed Sèvres

This beautiful pair of lamps was made around 1900 out of pewter. Inspired by Art Nouveau, they bear the signature of Paul Roussel, sculptor, and Eugène Soleau, bronze manufacturer in Paris. A farandole of putti unfolds along the neck while the body of each lamp is adorned with flowers in slight relief. Paul Roussel is a major sculptor of the turn of the 20th century. Born in 1867, he entered the École des Beaux-Arts in Paris where he studied with Jules Cavelier, Louis-Ernest Barrias and Jules Coutan. In 1895, he won the Grand Prix of Rome for the bas-relief "David, winner of Goliath, brought in triumph to Saul". He won several medals at the Salons and exhibited Hors-Concours in London, Brussels, Turin, Liège, Amsterdam, Ghent. From 1906, he became a member of the jury of the Ecole des Beaux-Arts and member of the grand jury of the Salon des artistes français. He obtained many orders from the State, including several monuments of importance: "The Duke of Aumale", stone statue commissioned by the State and kept at the entrance of the Museum of Decorative Arts of Paris, for example. He is decorated Knight of the Legion of Honor in 1914 and is promoted officer July 23, 1920. Eugène Soleau, bronzier, was born in Buenos Aires, Argentina, in 1853. His foundry was located at 127 rue de Turenne in Paris. Secretary (1885-1889), then vice-president (from 1895 to 1899) and finally president (from 1900) of the Union of Bronze Manufacturers, he invested himself, at French and international levels, in the protection of Intellectual property.

Ref.14207
Set of Napoleon III-style floor lamps

Ref.14832
Impressionist decor, large earthenware vase by Louis Auguste LEPÈRE for Faïencerie LAURIN

Designed between 1875 and 1878, this large ovoid vase is a technical feat due to its size and decoration. In earthenware, the polychrome decoration is made with slip, following a process developed by Ernest Chaplet at the Laurin earthenware factory in Bourg-la-Reine in 1871. The technique of slip painting was favored for making impressionist ceramics, in particular by Auguste Lepère. This painter, close to Félix Bracquemond, is the author of the landscape decoration which adorns our vase. It represents a Norman maritime landscape, between Dieppe and Etretat, with characteristic cliffs. The decor develops like a panoramic canvas, magnifying the beauty of the sky and illustrating the activities of the fishermen. The touch, vibrant and free, evokes the style of Eugène Boudin. The body of our vase is decorated with two lion heads modeled in relief. It rests on a sculpted and stained walnut base simulating a swamp populated with frogs.

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.15406
Napoleon III table base in painted cast iron

Ref.13939
Medieval Stone Capital with Pinecone Decor, 12th Century

This capital was likely crafted in the 12th century. It features beautiful sculpted ornamentation alternating between foliated scrolls and pinecones. In the Middle Ages, as in Antiquity, the pinecone was still regarded as a symbol of eternity. As an incorruptible fruit, it could evoke eternal life, thus representing the Christian hope of resurrection. Dated to the first quarter of the 12th century, one of the capitals in the church of Saint-Pierre in Saint-Sever-de-Rustan, Occitanie, a former Benedictine abbey, also displays pinecones surrounded by foliage in its decoration.

Ref.5690
Napoleon III style mantel in carved oak

Ref.15994
Napoleon III style trumeau with palmette motif

Ref.16105
Art Deco hanging light fixture

This 1940s hanging light fixture features a main structure formed by a stained wooden drum. The band is fitted with opalescent glass panels set within a lead framework. The stylized geometric motifs recall the decorative vocabulary of the Art Deco movement. The upper section is enriched with a fringe of fine rods and translucent glass beads. Suspension is achieved through a combination of metal chains and twisted cords punctuated with light bulbs. A second circular drum forms the lower section, beneath which four bell-shaped shades house exposed bulbs. The two-tier construction gives the piece a light and theatrical silhouette. The aesthetic of this fixture lies midway between late Art Deco and the postwar modernist spirit.