Pair of Louis XVI "Sèvres" Porcelain Glass-Coolers, France, Circa 1880

Large pair of baluster-shaped candelabra vases with seven lights, in gros bleu porcelain and chiselled and gilded bronze. The sconces, adorned with fol...

Pair of Louis XVI style commodes attributed to Krieger, in veneered wood and gilded bronze ; opening with three drawers, including one on the belt forming a writing desk and concealing two small side drawers. The commodes are decorated with an interlacing marquetry set with a double net on a green tinted wood background decorated in its center with florets. Rich ornamentation of chiseled and gilded bronzes decorated with acanthus friezes on the belt and garlands of flowers and frieze of posts at the corners, molded frames of water leaves on the side panels. They rest on four fluted feet surmounted by Corinthian capitals, and with a Griotte marble top. These commodes are inspired by those created by Jean-François Leleu delivered by order n° 32 of May 1st, 1773, with a third commode kept in London (Wallace Collection) for the bedroom of the Princesse de Condé at the Palais Bourbon in Paris. The central diamond, originally inlaid with a lily flower pattern, was changed during the Revolution. The pair is now exposed in the Petit Trianon in Versailles (see photo n°1 attached). Jean-François Leleu (1729-1807), Parisian cabinet-maker, began his career as an apprentice in Jean-François Oeben’s workshop. Installed on the chaussée de la Contrescarpe, he became Maître ébéniste in 1764 and moved to rue Royale-Saint-Antoine. He worked for an aristocratic private clientele, including the prince de Condé for whom he delivered furniture between 1772 and 1777, or the comtesse du Barry...

A very fine Louis XVI style upright secretary, executed in veneered wood, finely decorated with painted medallions representing mythological scenes. Fine chiseled and gilded bronze m...

A Louis XVI style wall-side veneered wood pedestal, mounted with fine gilt-bronze ornaments. Topped with “Brèche” marble.

Pair of Worcester Porcelain Covered Fruit Coolers Circa 1813. The painted waists of violets, morning glories, roses, and crabapple blossoms within a gilt border flanked by burnished...

Pair of English porcelain Bengal tiger pattern fruit coolers, liners and covers, chamberlain Worcester, circa 1820.

Each decorated with a central band of slanted acanthus leaves with beaded borders, flanked with fearsome lion mask handles, the base and rim with similar beaded borders.

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...