Le Trianon

An unusual “Specimen Petra Dura” marble top table Resting on very rare shell form support bases Possibly Florence, Italy 19th century Measures: Height...

A neoclassical style painted Wrought-iron console with slate top Measures: Height 40 inches, width 53 inches, depth 13 inches. Provenance: Richard Kazarian, Providence, Rhode Island. Property from a Private Collection, Southampton, New York Le Trianon...

A fine pair of small Louis XVI Carved giltwood console tables 18th century Each with a D-shape white Carrara marble top, above the guilloche-carved frieze, one centered by a wove...

Lucien Adrion French, 1889-1953 Figures in a Landscape Oil on canvas Signed lower left 22 by 33in. w/frame 29 ½ by 39 ¾in. Lucien Adrion was born in Strasbourg, France in 1889 and died in Cologne 1953. Post-Impressionist Lucien Adrion is considered an engraver, watercolorist and painter from the French school. He began his initial studies in Strasbourg as a draftsman. In 1907, at the age of 18, Lucien traveled to Paris to work for a large drafting company but changed his mind upon arrival. Rather than working for a large company, he decided to peruse his dreams of becoming an artist. Traveling like a vagabond, Lucien would leave Paris for London, Munich and to Frankfort, when the war ended to study. After the demobilization of Berlin, Lucien would study engraving under Franz Ritter von Struck...

A Pair of Large Porcelain Vases Kutani Period Japan, Circa 1830 The covered baluster vases decorated in polychrome enamels and gilt over a clear glaze with panels of courtiers, the ...

A fine pair of empire patinated & gilt bronze Candelabre, mounted as lamps 1st quarter of the 19th century Each reeded stem above drum base relief-cast with four putti on leaf-b...

A rare Italian Sicilian red scarlet and polychromed Rococo style commode 19th century. The shaped top over three graduated drawers above a sh...

A Fruitwood & Ebonized Parcel Gilt Neoclassical Pier Mirror Circa 1800 Height 67 in. Width 33 in. Provenance: Property of a Gentleman Boston M...

Fine & Rare Gilt-wood Mirror Mid 18th Century (possibly English ) The oblong arched mirror plate within a molded frame carved with C-scrolls and foliage, surmounted with an elaborat...

A Russian Neoclassical Brass Mounted Mahogany Commode Early 19th Century The rectangular faux marble top with outset square corners, above a conforming case fitted with three long graduated drawers, flanked by fluted stiles headed by roundels and ending in tapering square feet. Height 31 1/4 in. Width 41 in. Depth 20 1/2 in. Provenance: Private Collection, New York Le Trianon Fine Art & Antiques...

A fine Empire style gilt bronze mahogany gueridon or centre table  With a verde antico marble top.  In the manner of Jacob-Desmalter,  circa 1880 Height 31 1/4 Diameter 35 in.   A very fine Empire style gilt bronze-mounted mahogany guéridon after a model by Jacob-Desmalter, the circular verde antico marble top above a mahogany frieze mounted with laurel leaf banding in between rosettes and anthemions, supported of the heads of three finely cast gilt bronze female caryatids, each facing outward with hair in plaits, bare feet and arms crossed, wearing arm bands and a low cut diaphanous dress gathered up toward her breast, the stretcher centred by a chased covered urn flanked by three elegant crouching winged sphinxes wearing Nemes headdresses and plaits tied at the front. The design for this superb guéridon is based on a famous table-console or ‘console double face’ by the celebrated firm of Paris ébénistes Jacob-Desmalter which was itself based on designs by Napoleon’s chief architects and ornamentalistes Charles Percier (1764-1838) and Pierre François Léonard Fontaine...

Gaston Sebire French, 1920-2002 Landscape with figures Oil on canvas 31 by 41 ½ in. With frame 38 by 48 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and Frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...