Furniture

Paul SERUSIER (1864-1927) "Laveuse au Pouldu" circa 1890, Oil on canvas, studio stamp lower left, 94 x 60 cm Bibliography: Boyle-Turner, Caroline, Paul Sérusier, 1983, UMI Research Press, Anne Arbor, Michigan, reproduction of screen fig. 27. Guicheteau, Marcel, Paul Sérusier, tom I, 1976, Editions Sides, Paris, no. 38 p. 204, reproductions p. 20 and 204. Provenance: Private Collection Sale Brest, Thierry-Lannon Associés SVV, May 11, 2003, lot 226. ----------------------------------------------------------------------- "The Dutch painter Jan Verkade, who befriended Paul Sérusier in Paris in 1890 and followed him to Huelgoat, recalls the interest of his fellow members of the Nabis group in the applied arts (D. Willibrord Verkade, Le Tourment de Dieu. Étapes d'un moine peintre, 1923): 'Towards the beginning of 1890, a battle cry was raised from one studio to another: No more easel paintings! Down with useless furniture! Painting must not usurp a freedom that isolates it from the other arts. The painter's work begins where the architect considers his to be finished. Walls, walls to decorate! Down with perspective! The wall must remain a surface, not be pierced by the representation of infinite horizons. There are no paintings, only decorations! These phases well express the state of mind of Sérusier and his friends Maurice Denis, Pierre Bonnard, Édouard Vuillard, Ker-Xavier Roussel and Paul Ranson. He showed them Le Talisman (Paris, Musée d'Orsay) brought back from Pont-Aven and told them about the masterly lesson given by Paul Gauguin. They were fascinated by Gauguin's Breton works and eagerly discovered the art of Japanese prints, which were a hundred leagues away from the representational principles of Western painting. From their very first meetings and theoretical reflections, they asserted their desire to break down the boundaries between fine and applied arts, and set about creating wall decorations, screens, book illustrations, theater sets and costumes, posters and stained glass. Sérusier's Laveuse au Pouldu is a perfect example. It was conceived by the painter as the decoration for one leaf of a four-leaf folding screen, now dismembered (another leaf has been presented for sale by Thierry-Lannon & Associés in Brest on December 9, 2023). The choice of screen illustrates the painter's interest in Japanese art. He chose an untreated unbleached linen canvas as the colored background for the landscape, and for the sake of simplicity, he used only four colors sparingly arranged on this plain background. White is used to punctually represent the linen in a basket, the washerwoman's headdress and the piece of linen she is waving in the water, but it is also used, in the form of small juxtaposed dots, to improbably evoke the clouds on the horizon. The patches of green, scattered across the dune, correspond to the sparse vegetation that grows there. But the same green is used to represent the sea stretching over the edge of the dune, and even in the water of the washhouse. Sérusier focuses the eye on this subject, isolated in the vast emptiness of the composition. In this uncertain place, between dune and moor, as was the case at Le Pouldu, he imagined a spring and symbolically associated it with a weeping willow. A woman dressed in black with a red apron kneels at the water's edge in a wooden box, the "washerwoman's carriage". In Le Pouldu, there were several washhouses, and Sérusier rubbed shoulders with the women who used them. But he prefers to depict a simple pond where a single washerwoman works, as if there were a link between her solitude and the isolation of the place. This choice is part of an approach that consists in depicting, through symbolic means - theme but also shapes and colors - the relationship between a place and the people who live there. Fleeing the crowds of painters and tourists at Pont-Aven, Gauguin had clearly understood what an isolated place like Le Pouldu could offer him in his process of introspection. Guided by Gauguin, the young Sérusier radically evolved and progressed, in parallel with his formal research, in his reflection on the place of reality in his paintings and on the importance of symbolism in his representations. This Laveuse au Pouldu, with its formal audacity in the service of a banal theme, is one of the milestones in Sérusier's career, which was to unfold at Huelgoat and then at Châteauneuf-du-Faou. André CARIOU

RARE KÉPI DU GÉNÉRAL JOFFRE PORTÉ LORS DE LA BATAILLE DE LA MARNE EN 1914 - Kepi in madder-colored cloth with gold braid and soutache, headband in black cloth entirely embroidered with two oak leaf courses and edged at the top with a double cordonnet of gold thread and a baguette in gold sequins and cannetilles. Black waxed and varnished leather visor, lined with black embossed morocco, and trimmed with a black lacquered calfskin ruffle folded astride the outer edge. Unmarked black silk inner headpiece. Poor condition (holes and accidents, in need of restoration). First World War era. Total height with visor 11 cm, height of black headband 5.5 cm, height of madder headband 4.5 cm. Presented on a red velvet cushion adorned with seven silver-plated marshal's stars (stains). L. 33 cm. The attribution of this kepi is confirmed by a number of documents, including handwritten letters from Dr. Sichère and Paul Dubure, sales slips, period postcards showing the kepi worn by General Joffre, etc. It was worn by General Joffre from the start of the First World War until his elevation to the title of Marshal of France, when he donated it to Mr. and Mrs. Jozereau. Provenance - General Joseph Joffre (1852-1931), used in 1914, 1915 and 1916. - Given in 1917 by his wife to M. and Mme Gaston Jozereau as a token of friendship. - Sale to the estate of M. Jozereau, Maître Godeau, December 6, 1950, lot 63 (sold for 600 frs). - Collection Paul Dubure, military antiquarian in Paris. - Thierry de Maigret sale, Drouot, October 12, 2006, lot 47 (sold for €2,430). - Private collection, Paris. History Joseph Joffre, from a modest family in Rivesaltes, Pyrénées-Orientales, entered the École Polytechnique in 1869. His studies were interrupted by the war, and he first saw action at the siege of Paris in 1870. As an officer in the engineering corps, he helped to defend the capital in 1874, then the Pontarlier region in 1879. After the Franco-Prussian War came the period of colonial conquest. Joffre was to take part in this period, and for 15 years served with distinction in a wide variety of countries. Put at Admiral Courbet's disposal in 1885 during the war against China, he led the siege of Ba-Dinh, commanded the engineers in Formosa, then Hanoi, where he organized the defense of Upper Tonkin. In Sudan, in 1892, he supervised work on the railway from Kayes to Niger. Coming to the aid of the Bonnier column, massacred near Timbuktu in 1894, he seized the town, restored order and organized French rule. In Madagascar, he established the defenses of Diégo-Suarez and was appointed Brigadier General in 1901. Joffre's colonial career was over. Returning to France, he took on a number of high-level commands, becoming head of the French Army within 10 years. Director of Engineering, Commander of an Infantry Division, then of an Army Corps, he was a member of the Conseil Supérieur de la Guerre in 1910 and Chief of the General Staff of the Army in 1911. On August 2, 1914, Germany declared war on France, and General Joffre took charge of operations as Commander-in-Chief of the Northern and North-Eastern Armies. The invasion of Belgium forced him to modify his plan and shift his main effort northwards, but the French armies were forced to withdraw in the face of vastly superior forces. Joffre, gifted with uncommon self-control and strength of character, ordered the retreat and conceived the ingenious maneuver of resuming the offensive. This maneuver was admirably executed by both leaders and troops, and led to the famous victory of the Marne. The title of "victor of the Marne" adorned Joffre's name with immortal glory. From then on, the character of war changed, with continuous lines of trenches separating opposing armies. Joffre waged an active war of attrition. These were the offensives of Artois and Champagne in 1914 and 1915. During the Battle of Verdun, which absorbed all the French Army's vital forces, he gave his second-in-command, General Pétain, the means of victory, and launched the Somme offensive in July 1916, which relieved the citadel front. On December 26, 1916, Joffre receives the baton of Marshal of France. Marshal Joffre hands over command-in-chief to General Nivelle. After the war, he undertook diplomatic missions in America and Japan, and was elected to the Académie Française. He died in 1931 and is buried at his estate in Louveciennes, near Paris. Few army chiefs in our history have held France's destiny in their hands. Joffre was one of them, and one of the greatest. In the tragic hours of August and September 1914, he saved his country. (text repri

Pair of wall brackets in carved and gilded wood Decorated with a leafy base and foliage friezes. 18th century H. 17.5 cm - L. 21 cm (Restorations)

Set of teak veneered DINING ROOM FURNITURE comprising an extension table, a sideboard, a enfilade, two chairs and two armchairs, the door openings of the sideboards sliding on slats. Sideboards attributed to Svend Aage LARSEN, 20th century, for the publisher Faarup Mobelfrabrik. Armchairs and chairs by Thomas HARLEV (act.circa 1950), Farstrup Møbler. Scandinavian work, circa 1960.

Florence KNOLL circa 1960. Walnut veneer wall-mounted sideboard, leather pull handles, sliding doors. 183 x 48 x 46 cm (traces of moisture and wear).

Small signed Louis XV bureau plat by Antoine Criaerd rosewood and kingwood, veneered. Three-sided cambered body on curved legs. Three drawers of different sizes in the articulated front. Framed veneer panels with diamond motifs covering the entire surface. Rich bronze rocaille applications. Stamped sign. A CRIAERD and Parisian jury stamp JME. Some bronzes with so-called Couronné stamp in the form of a crowned C. Corresponding, profile-framed cover plate covered with tobacco-colored leather. H. 72.5 cm. 130 cm x 73 cm. Like his brother Mathieu (1689-1776) and his eldest son Antoine Mathieu (1724-1778), Antoine Criaerd belonged to a family of extremely successful Parisian ebenists. Antoine Criaerd's creative period was between 1720 and 1750, during which he created ornate furniture in the Régenve and early Louis XV style. Cf. Kjellberg, p. 211f. Provenance: from the liquidation of an important private collection in North Rhine-Westphalia. A small French rosewood veneered Louis XV desk. France. Paris. Circa 1745.

A flat desk in veneered wood with inlaid Greek decor. It opens with three drawers, two of which are slightly boxed. Sheath legs. Top upholstered in green leather. Rich ornamentation of gilded bronzes. Louis XVI style. H. 79 W. 149 D. 73 cm

Jacques ADNET (1900-1984) - Important suite of three nesting tables in curved wood panels entirely sheathed in parchment Circa 1935-1937 H : 50 cm W : 102 cm D : 50 cm (Loose parts and accidents)

Mahogany and mahogany veneer "tric-trac" game table; the reversible top reveals the game surface with natural or stained indexes; it opens with two opposing drawers and stands on tapered legs. Louis XVI period (insolate). Chased or knurled gilt bronze trim. Silvered bronze tokens and lights. H. 75 - W. 115 - D. 60 cm

BRDR WAHLBERG. Low table in rosewood, with a niche and drawers on one side and a small movable table on the other, by BRDR Wahlberg (Luna), Scandinavian work, circa 1960. 51 x 135 x 54 cm (traces of humidity).

Louis MAJORELLE (1859-1926) attr. à - An Art Nouveau burr walnut veneered table with cherry blossom branch decoration on the side legs. Weight: 25.00 kg Shipping unavailable Area: France Sizes: H 830MM X L 700MM Condition: At first glance: good condition

Gabriel VIARDOT (1830-1904) Bedroom consisting of a bed and two bedside tables. Stained and carved mahogany veneered bed topped by a canopy with openwork decoration of apple blossom branches and Sino-Japanese motifs. Headboards inlaid with mother-of-pearl elements and semi-reliefs of cartouches adorned with birds for the headboard and a dragon for the end of the bed. Corner base with four small scrolled feet (small missing parts and accidents). Castors added later? Stamped on the right-hand side of the headboard. Length 160 cm - Depth 200 cm Bibliography: Céline Béral Jérémie Cerman (sous la direction de), Gabriel Frédéric Viardot - Tomes I II, mémoire de master 1 recherches : histoire de l'art, Sorbonne Université, Paris, 2019, drawing presenting a variant of our model reproduced in the Annexes (Tome II) under n°21. Expert: Cabinet Marcilhac

Broken Duchesse with foliage decoration, red and white fabric upholstery, resting on four arched legs. Matching footrest. Louis XV period. Dimensions: armchair: 95 x 83 cm / footrest: 36 x 72 cm

Chest of drawers Mahogany and mahogany veneer chest of drawers, opening to three drawers, decorated with gilded bronzes: butterfly motif handles and key escutcheons decorated with butterflies and roses. The uprights feature two winged sphinxes, marble top. Empire period Height: 90, Width: 102 cm, Depth: 46 cm (transformed piece of furniture: it is a console under which a chest of drawers has been set)

Jacques ADNET (1901-1984) - Large modernist coffee table with rectangular top and lacquered wood frame enclosing a mirrored top resting on two thick glass panels H : 44 cm W : 166.5 cm D : 49.5 cm

Pair of wall brackets with flared profile, in gilded wood and carved with a shell at the base. Early 19th century. H: 21 - W: 27 - D: 13 cm

Ole WANSCHER (1903-1985) LIVING ROOM FURNITURE comprising a sofa and two armchairs, Senator model, by Ole Wanscher for France and Son Denmark circa 1950-60. 80 x 182 x 74 and 80 x 60 x 74 cm (traces of damp, scratches)

Rectangular carved and gilded wood (walnut) frame decorated with staples and foliage. The plate of the frame is matted. 18th century. 77 x 56 cm (inside) 90x75 (outside)

Maria PERGAY (1930-2023) (after). Chrome-plated metal TABLE with three swivel tops darkened with smoked glass. Circa 1970. 36 x 60 cm

Flat desk in black-stained wood. Cambered legs with foliate bronze sabots. The curved belt opens onto a row of three drawers. The top is encircled by a lingotière decorated with a rocaille cartouche in the spandrels, and upholstered in olive-green morocco decorated with petit fers. Partly Louis XV period H. 76 cm - W. 185 cm - D. 67 cm

Ivan Da SILVA BRUHNS (1880-1980) - Circular wool carpet decorated with geometric motifs Signed Circa 1930 Diameter: 300 cm

GIEN. Part of an earthenware dinner service decorated with the coat of arms of the Broch d'Hotelans family. Decorated with double crowned lions. Comprising: thirteen footed bowls, four large oval dishes, eight presentation platters, one dish, forty plates, ten dessert plates, and a few additional pieces. As is

Secretary desk in natural wood and burr veneer imitating bamboo, opening at the top with a drawer in the waist and a flap with three simulated drawers revealing two shelves, a niche and four drawers, it stands on straight legs and is topped with an inlaid white marble. Late 19th century (accidents, accidents to the lock, knocks, missing parts, chips to the marble) Height : 161.5 cm - Width : 86.5 cm - Depth : 44 cm

Eero SAARINEN (1910-1961) designer KNOLL éditeur Chair with tulip-shaped base in white-lacquered cast-iron, fiberglass shell, with brown patina. Marked "knoll international" under the leg 80 x 49.5 x 60 cm approx. Marks of use and wear

Tito AGNOLI (1931-2012) After - BONACINA Editor Garden furniture set comprising three straight and four corner seats in imitation rattan policore. H: 70cm; W: 85cm; D: 70cm (three upright armchairs) H: 70cm; W: 85cm; D: 90cm (four corner heaters) A round coffee table (diameter: 120cm) is included. (Good condition)

Charles (1907-1978) & Ray (1912-1988) EAMES Lounge Chair with ottoman Edition Herman Miller USA - 2009 Grained leather and rosewood Chair : H 82 x W 83 x L 83 Ottoman: 44 x 54 x 66 *Sold by designation

Jacques-Emile RUHLMANN, attribué à - White marble console with rectangular top resting on two wide, straight, curved uprights Circa 1930-1940 H : 90 cm W : 201 cm D : 50 cm Similar models, with the same curves and layout, can be found in the Jacques-Emile Ruhlmann reference book.

DRIMMER. Wool carpet decorated with rosebuds and leaves in reserve on a gray background, green border. Bolduc signed on reverse. Art Deco style. Year 2000. Length : 238 cm - Width : 172 cm

SAPPER Richard (1932 - 2016) - ARTEMIDE (publisher) Tizio desk lamp in beige-lacquered aluminum with articulated arms fitted with counterweights and resting on a cylindrical base. Signed and numbered 0006828 (accident to base, stains and scratches, lacquer chips, repaints, cracks) Total height: 116 cm

Secretary desk in rosewood veneer inlaid with butterfly wings in violet wood frames. and four drawers in front. Curved legs, marble top. Stamped J.B. Moreau Louis XV style 136 x 73 x 40 cm (Minor damage to veneer) ATTENTION: Collection of this lot by appointment only, on Thursday May 2 or Monday May 6 in Versailles (RER: Versailles Château Rive Gauche). Apartment located on first floor, with elevator. Removal at buyers' expense: please provide handling equipment for furniture. [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

China, Qing period, Large yellow wool carpet, decorated in blue with five five-clawed dragons chasing the sacred pearl. The border features Greek and swastika motifs. Five-character mark evoking the Pavilion of Supreme Harmony (the largest hall in Beijing's Forbidden City). 160x70 cm

[POKEMON]. Reunion of four boosters: - Three boosters from the XY-Offensive Vapeur expansion - One booster from the Sun and Moon - Unbreakable Alliance expansion Three packs of protective card sleeves (one incomplete) are included.

Poul HENNINGSEN (1894-1967) - Circa 1970 PH Artichoke suspension lamp Artichoke-shaped copper slats resting on a steel structure Louis Poulsen edition Dim.: 58 x 60 cm. Minor paint defects, metal slightly pitted, used condition. We do not guarantee working condition. EXPERT : Romain COULET References : - Jerryll Habegger & Joseph H. Osman, Sourcebook of modern Furniture, Norton & Company, 2005, similar model reproduced p. 360. - Bernd Polster, Dictionnaire du design Scandinave, Du Seuil, 1999, similar model reproduced on p. 205. NB: Metal plates sold separately

In the taste of SAARINEN for KNOLL A stool, an armchair and a chair with a tulip-shaped base in white-lacquered cast-iron, with white plastic shells. Armchair and swivel stool stool diameter: 42 cm armchair: 79 x 65 x 55 cm approx. Used condition, one trim piece added

* Pair of Scandinavian-style light wood chairs. Mismatched seats, one green and one red. Work from the 60's H. 76 x W. 40 x D. 45 Cm

Three-leaf folding screen in molded and carved natural wood, decorated with waves surrounded by flowers and acanthus leaves on the legs, the leaves decorated with character scenes in small dots. Late 19th century (small chips and scratches, a few worm holes, wear and scratches to the leaf trim) Height : 132 cm - Width : 153 cm

Rectangular carved and gilded wooden (walnut) frame decorated with foliate scrolls and clasps. 18th century. 118 x 58 cm

Roger CAPRON (1922-2006) - Vallauris Polychrome enameled ceramic navette pan with striated decoration. Bamboo handle. Signed (Chipping) L. 30 l. 13 cm

Importante paire de colonnes Louis XVI en marbre bleu turquin, - resting on a quadrangular molded white marble base. 18th century. H. 140 cm. Provenance - Charles de Beistegui (1895-1970) collection, Château de Groussay. - Private collection, Paris.

Console in molded, carved wood, cream lacquered and blue rechampi; half-moon shape, the belt decorated with scrolls centered on a perfume burner; dices with large rosettes; tapered legs with flutes and asparagus. Italy, 18th century. Grey-veined white marble top (small chips). H : 90 - W : 125 - D : 50 cm.

Mahogany and mahogany veneer oval dining table. Six Jacob legs. Drop-leaf top Circa 1800 Two mahogany extensions (later) H. 145 cm - W. 73 cm

LE CORBUSIER (1887-1965) ; Balkrishna DOSHI (XIX-XX) Indian teak console / desk 78 x 189 x 69 cm Provenance: Ahmedabad *Sold by designation

Oak refectory table opening with four large drawers. It stands on six straight fluted legs. H. 80 L. 349 D. 119 cm

Tanh QUANG (XX°) Six-leaf folding screen Lacquered decoration of stylized fish on a red background on one side, and birds and trees in bloom on the other. Vietnam, 20th century H. 151 cm. - L. 41 cm (one leaf) (Chips)

LARGE four-seater CANAPE entirely upholstered in cream-colored silk fabric with bangs covering the base. 20th century H. 74 cm, W. 245 cm, D. 87 cm Wear A wood and gilded stucco footrest decorated with shells and acanthus leaves, resting on four scrolled legs, upholstered in beige fabric (23 x 57 x 52 cm); and a wood and gilded stucco TABOURET with caned seat, the uprights decorated with satyrs, shells and acanthus leaves, resting on curved legs joined by an X-shaped brace (42 x 60 x 41 cm). Louis XV style Accidents

FERRAHAN - Cotton warp and weft, wool velvet - Central Persia circa 1930-1960 Gallery carpet decorated with geometric motifs on a blue background. (wear, restoration, fraying) Size: 509 x 99 cm

AUBUSSON Verdure with parrot Wool tapestry 123x126 cm

[THORGAL]. Reunion of forty albums. Éditions Le Lombard. Rosinski, Van Hamme, Y. Sente, F. Vignaux, Yann. Comprising: - Volumes 1 to 40.

Didier ROZAFFY, XXth for Meubles Oscar, circa 1950. Pair of oak veneered glazed LIBRARIES with sliding glass doors. 209 x 98 x 33 and 243 x 75 x 43 cm (traces of moisture, wear)

MAZARIN DESKTOP in BOULLE MARQUETRY Décor à la Berain. Top framed by a bronze lingotière, two lateral boxes with three drawers, joined by a drawer and a door, each resting on four legs linked by a brace. Late 19th century (Restoration, missing parts; good condition) 135 x 82 × 78 cm