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Chimera Grasping the Moon, by the Impressionist Painter Ernest Bonnotte

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  • Théodore Deck (1823-1891) Faience Paneled Fourteen-Tile Rectangular Wall Plaqu
    By Theodore Deck
    Located in Saint-Ouen, FR
    A Théodore Deck (1823-1891) Faience Paneled Fourteen-Tile Rectangular Wall Plaque Polychromic Earthenware very finely hand-painted, designed with a couple of pheasants among vegetat...
    Category

    Antique 1870s French Japonisme Decorative Art

    Materials

    Faience, Wood

  • "La Rupture", a 19th Century Bronze Figure by Ernest-Eugène Hiolle (1834 - 1886)
    By Jean-Baptiste Carpeaux
    Located in Saint-Ouen, FR
    "La Rupture" A 19th century two patinas bronze figure of a young woman with a score Resting on a Red Griotte marble base, Signed Hiolle circa 1884 This character belongs to the “...
    Category

    Antique 1870s French Napoleon III Figurative Sculptures

    Materials

    Marble, Bronze

  • Famille Rose Qianlong Period Enamel Inkwell by L'Escalier de Cristal C.1880
    By L'Escalier de Cristal
    Located in Saint-Ouen, FR
    A Famille Rose Painted Enamel inkwell set Qianlong Period (1736-1795) by l’Escalier de Cristal It consists of a fretworked tray with raised edges in blackened wood surrounded by a fine gilded bronze ring, on which rests two Famille Rose Qianlong Period (1736-1795) hexagonal inkwells with pierced tops, one with original glass container, decorated with polychrome stylised flower heads and foliate scrollwork. This inkwell is characteristic of the productions of the Maison de l'Escalier de Cristal, it shows a hybrid realization, using ancient Asian elements, used as a container for feathers and ink. Stamped «Escalier de Cristal Paris» Circa 1880 L’Escalier de Cristal, Parisian firm created about 1800 by Mme veuve Desarnaud, famous under the French « Restoration » for its decorative objects combining crystal and bronze. She was awarded a gold medal at the 1819 Paris Exposition des Produits de l’Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, L’Escalier de Cristal was bought out around 1830 by Boin, and then by Lahoche in 1840. The company owed its rise to a position amongst the most im-portant Paris decorative wares shops to Lahoche, who expanded considerably the business and entered later in partnership with his son-in-law to set up in 1852 Lahoche et Pannier...
    Category

    Antique 1870s French Japonisme Inkwells

    Materials

    Ormolu, Enamel

  • Pair of Porcelain Vases Ormolu-Mounted in Lamps by Gagneau Paris XIXth Century
    By Gagneau Paris
    Located in Saint-Ouen, FR
    Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Eu-rope, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...
    Category

    Antique 1880s French Japonisme Table Lamps

    Materials

    Bronze

  • "The Little Mermaid" a Danish Modernist Art Deco Inlaid Bowl by Just Andersen
    By Just Andersen
    Located in Saint-Ouen, FR
    Beautiful inlaid bronze patinated bowl designed by Just Andersen (1884-1943) Inlaid scene of the little mermaid. Designed by Danish bronze artist Just Andersen (1884-1943), circa ...
    Category

    Vintage 1930s Danish Art Deco Decorative Bowls

    Materials

    Bronze

  • A Théodore Deck (1823-1891) Enamelled Faience Soliflore Vase circa 1875
    By Theodore Deck
    Located in Saint-Ouen, FR
    Théodore DECK (1823-1891) A polychromatic enamelled earthenware soliflore and quadrangular shape vase with Sino-Japanese inspiration design of flowers and geometrical friezes all around. Impressed uppercase mark "TH.DECK" under the base. Circa 1875 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase...
    Category

    Antique 1870s French Japonisme Vases

    Materials

    Faience

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