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

Japan - Gilt-leaf screen with floral decoration. Weight: 3.56 kg Shipping unavailable Area: Japon Sizes: H 810MM X L 1920MM Condition: At first glance: good condition

Japan - Gilded folding screen with bamboo landscape. Weight: 3.30 kg Shipping unavailable Area: Japon Sizes: H 855MM X L 1620MM Condition: At first glance: good condition

Carlo BUGATTI (1856-1940) & Riccardo PELLEGRINI (1863-1934), attribué à - Cabinet in natural wood and blackened wood inlaid with pewter, copper and bone and partially covered with painted parchment. The upper part features a columned arcature flanked by two doors depicting oriental-style playlets featuring figures on carpets under flowering branches, topped by a spinning top arcature. The copper colonnade base features a crotch tray and a pewter-rimmed locker. Circa 1902 H: 165 cm W: 75 cm D: 38.5 cm (Wear) Bibliography: - "Carlo Bugatti", for a variant of similar form and decoration reproduced p.85 - Carlo Bugatti au musée d'Orsay, Catalogue illustré du fond d'archives et des collections", published by the Réunion des Musées Nationaux, Paris 2001. A similar model is reproduced on pages 85 under reference 7.34 and 86 under reference 7.44. Our piece of furniture is one of the few made in collaboration with Ricardo PELLEGRINI. An Italian Orientalist painter, PELLEGRINI had a long collaboration with Carlo BUGATTI. He incorporated paintings with exotic subjects into his furniture. In return, the cabinetmaker would custom-make precious frames for the painter. Exhib. cat. Die Bugattis, Museum für Kunst und Gewerbe, Hamburg 1983, p.56, C6 CARLO BUGATTI A draughtsman, cabinetmaker, decorator and architect, Carlo Bugatti, father of the great sculptor Rembrandt Bugatti, was born in Milan in 1856 to a sculptor father who taught him the rudiments of art, which the young man completed in 1875 at the Brera Academy, then at the Académie des Beaux-Arts in Paris in 1870, and finally by studying cabinetmaking with Mentasti before opening his own workshop around 1880. He is considered one of the representatives of European Art Nouveau, or "Liberty style" in Italy. The artist always followed his own visions and ideas, both plastic and formal, which are so atypical that they are immediately recognizable. Carlo Bugatti achieved his first successes at the 1888 Italian Fine Arts Exhibition in London. In the same years, he won a silver medal at the 1900 Paris Universal Exhibition and a grand jury prize at the 1902 International Exhibition of Modern Decorative Art in Turin. At the turn of the century, Bugatti's work became simpler, and the influence of Art Nouveau was felt in his many creations. At the same time, Bugatti left Milan to set up his workshop in Paris, where he became more interested in sculpture and, above all, goldsmithing. In 1910, Bugatti moved to Pierrefonds in the Oise region and became mayor of Pierrefonds during the First World War. Carlo Bugatti died in 1940 at the Château de Dorlisheim in Alsace, the home of his son Ettore, the great carmaker. From the very start of his production, Carlo Bugatti integrated decor and painting into his creations. Two repertoires follow one another in Carlo Bugatti's work. The first is characteristic of his work. It's a geometric approach, mainly represented by a Moorish style with arcatures, circles with embossed copper medallions and wood and/or mother-of-pearl inlays. The second repertoire is more naturalistic, drawing inspiration from the plant world such as plants and insects. This piece of furniture is a synthesis of his work. The palette of his repertoires can be found in the sculpted and inlaid decor and in the paintings that adorn the parchment. These multiple sources of inspiration enable him to build a unique style, full of fantasy, freedom and imagination.

Hans OLSEN (1919-1992) for FREM ROLJE. Extendable dining-room TABLE and its four stackable tripod CHAIRS in teak and black skai. Circa 1960. D. 106 cm

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.

Atelier MARTINE Paul POIRET, attribué à - Small desk in cream lacquered wood with a rectangular top with rounded edges, opening at the waist with a drawer and resting on four straight curved legs at the bottom. Originally lacquered in red, the wood has been repainted in cream Circa 1920 H : 70 cm W : 80 cm D : 50 cm (cracks and wear)

"Peter Karl Fabergé (1846-1920) Circular desk clock in gold with white enamel fillet. The body in translucent anise-green enamel on a gold ground with a guilloché pattern (accidents) encircled by fine pearls. White enamel dial (minor accidents) with Arabic numerals, gold openwork hands. Ivory plate on the back, held in place by gold screws, silver hinged support, silver mechanism case engraved with "Heg - zab". Gold winding mechanism. Title hallmarks: 56 Saint-Petersburg. Master goldsmith's hallmark: Mikhail Perkhine (1860-1903). Goldsmith's hallmark: Fabergé. Work of the House of Fabergé, Russia, Saint - Petersburg circa 1896. Gross weight: 218.5 g. Diam. 8.5 cm "

Poster for the film "GOLDORAK Au Cinéma", produced by Jacques Canestrier. Original poster, offset. Framed. Sight size: 150 x 110cm

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

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)

Gabriel VIARDOT (1830-1904) Cabinet in stained and carved mahogany veneer with two quadrangular bodies, opening on the right with a full door incorporating a full-length mirror, and on the left with two full doors topped by a waisted drawer and a bronze ornament representing a crane on the back of a turtle. Inlaid mother-of-pearl decoration of birds and plants in a Sino-Japanese style. Slightly overhanging legs with small scrolled feet (small chips, scratches, accident to the bronze). Stamped on the base. Height 222 cm - Depth 50 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°34. Expert: Cabinet Marcilhac

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

late 19th - early 20th century Restoration-style desk armchair in mahogany and green leatherette, openwork back finished in a scroll, resting on fluted feet at the front. Size: 77.5 x 61 x 50 cm. approx. Scratches, rubbing and minor dents to the wood, discrete day to assembly, used condition

Jean PROUVÉ (19001-1984) BS standard desk and chair Folded, white-lacquered sheet steel and suspended oak pedestals Manufactured by the Jean Prouvé workshops Circa 1948 74 x 160 x 80 cm *Sold by designation Bibliography: Jean Prouvé catalog, Patrick Seguin gallery Paris 2007, similar model reproduced on p118

Eero SAARINEN (1910-1961) - KNOLL INTERNATIONAL Side table with oval marble top, signed dim 52x57x38 cm (slight deformation at the foot)

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

BLOOMINGVILLE. Pair of armchairs in white bouclé fabric. Wooden frame. Dimensions: 80 x 70 x 90cm

Eugène DELACROIX (Charenton Saint Maurice 1798 - Paris 1863) Sheet of studies of various figures in medieval costumes Pen and brown ink. 22 x 17.5 cm Bears the studio stamp (Lugt n°838a) in the lower center. Our drawing is probably based on one of the collections of engravings by Hans Burgkmair (Augsburg 1473-1531). The Louvre owns several sheets from the same series. Delacroix is said to have made partial use of the collection of engravings belonging to Abbé Marolles, assembled in a dummy collection under the title Vieux maîtres en bois, kept at the Bibliothèque Nationale. Claudine Ganeval has written an article on these drawings.

Alberto GIACOMETTI (1901-1966) D'après, Wool carpet, "people" model with geometric figures, 235x176 cm (soiling and stains)

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].

Important, fine Aubusson tapestry in wool and silk. Beautiful verdure with wading birds in the foreground, swan on a river in the center, surrounded by rich, luxuriant, finely drawn vegetation. Borders with cones and basins of fruit and flowers surrounded by banners with pompoms and stylized escutcheons. France. Late 19th century. Dimensions: 286 x 392 cm As is. Maintenance restorations. Expert: Frank Kassapian

Arne JACOBSEN (1902-1971) Series 7 Suite of four chairs in rosewood and chromed steel Edition Fritz Hansen Marked H. 77 cm Antique edition

Art Nouveau étagère table by Louis Majorelle Mahogany, partially carved in relief, and marquetry made of various precious woods such as rosewood, walnut, maple and yew burl. Open frame made of curved struts set against each other in vegetal relief, connected by straight bars. Profiled storage compartment and slightly hollowed top plate with full-surface depictions of water lilies and flowering aquatic plants, marked L. Majorelle. Bronze handles with floral designs on the sides. H. 82.5 cm. 88 cm x 59 cm. Cf. Alastair Duncan, fig. 58. A French mahogany Art Nouveau side table with rich maquetry by Majorelle. France. Nancy. Louis Majorelle. Circa 1900.

Manufacture DAGOTY, Paris. Attributed to. Porcelain and blue and gilt cookie centerpiece decorated with caryatids supporting the bowl, quadripod lion-leg base. 19th century. Dimensions: 35 x 40 x 19 cm. Two slight chips on the underside of the bowl.

Ghoum carpet (cotton warp and weft, wool and silk pile), central Persia, circa 1940-1980 207 x 140 cm The rug is enhanced by numerous flowering trees with birds and animals nesting on a navy blue background. A tobacco border with the same design is framed by numerous counter-borders. (slight wear)

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

Portable clock. Signed THOMAS in Paris. Diameter: 9 cm. Non-functional. To be overhauled.

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

Glass table with floral wrought iron base, Art Nouveau period. Weight: 25.00 kg Shipping unavailable Sizes: H 850MM X D 700MM Condition: At first glance: normal wear / patina of use

VALLAURIS TABLE in brass and yellow and black enameled terracotta with incised portraits of women. 78 x 47 x 35 cm (worn gilding).

Transitional chest of drawers by Jacques Bircklé (1734-1803) French cabinetmaker, Maîtrise obtained July 30, 1764. Beautiful chest of drawers in veneered wood marquetry with geometrical Greek fillet framing. It opens into two rows of drawers without crosspieces. The lower row features a scalloped apron. The uprights are rounded and protruding. It stands on four high curved legs. Gilt bronze and chased ormolu pull handles, drop fittings and wrap-around sabots. Royal Belgian red marble top. Parisian work, stamped Jacques Bircklé 18th century Restoration due to use and maintenance. Dimensions: H: 85; W: 94; D: 49.5 cm Jacques Bircklé (1734-1803) Furniture supplier under Louis XVI. Jacques Bircklé practiced his profession on rue de Charenton and then rue Saint-Nicolas. Between 1785 and 1789, he was commissioned by Marie-Antoinette at the Château de Saint-Cloud, Madame Elizabeth in Montreuil, the Duc d'Orléans and the Princesse de Lamballe. Bircklé's production is dense, varied, of high quality and easily adapted to the evolution of styles. He is a conscientious cabinetmaker, who does not seek luxury or preciousness, but rather decorative effect. Bircklé excels in this field thanks to his talent as a marker. In the majority of his furniture, virtually devoid of bronzes, marquetry predominates, in vivid, contrasting tones, designed with simplicity and without superfluous detail. Made of light-colored wood, they usually stand out against a background of dark veneer. Their effect is further enhanced by the choice of themes, such as flower vases, urns, draperies, ribbons, music trophies, various attributes and even landscapes of antique-style scenes, framed with Greek-style fillets.

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

Elegant Belle Epoque bureau plat with cartonnier rosewood and mahogany veneer. Cambered body on all sides, flanked by narrow corner pilaster strips, merging into curved legs. Five drawers of different sizes in the articulated front and corresponding drawers at the back. Profile-framed top panel with inlaid work surface of gold-embossed leather. Corresponding, tapered cartonnier on the sides, with leather-covered drawers of different sizes on the front. Mirrored veneer panels on all sides and rich applications of gilt bronze. Rest; h. 143.5 cm. 175 cm x 90 cm. Working height: 76 cm. An elegant French rosewood veneered Belle Epoque bureau plat. Restored. France. Around 1900.

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.

Jacques QUINET, dans le goût de - Pair of brushed metal andirons H: 32 cm W: 8 cm D: 46 cm

Persia/Iran - Oriental rug in beige and blue natural silk, Karimi. Weight: 5.45 kg Shipping unavailable Area: Perse Sizes: H 2000MM X L 1370MM Condition: At first glance: good condition

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)

Mahogany and mahogany veneer bookcase The projecting front opens to four glass doors at the top and four leaves at the bottom. Good condition H.235 W.250 - D.43 cm Sold by designation

Moulded mahogany veneered storage unit, opening in front with two leaves revealing twelve drawers arranged in six rows, it rests on a plinth hemmed with gadroons in the top rail. English work, late 19th century, early 20th century (wear and scratches on the top) Height : 74 cm - Width : 78.5 cm - Depth : 40 cm

Six-leaf folding screen decorated with petit point tapestry. Ivory field with foliage and garlands of flowers surrounded by fine twisted branches. 18th century H: 165 cm Leaf width: 65 cm (restorations)

3 volumes:" Le Mobilier Français, époque de Louis XIV et de Louis XV", Carle Dreyfus, Ed. Albert Morancé, 1921 / "Le Mobilier Français, époque de Louis XVI", Carle Dreyfus, Ed. Albert Morancé, 1921 / "Le mobilier Louis XVI, commode, secrétaire, bonheurs-du-jour, encoignures, serre-bijoux", Ernest Dumonthier, Ed. Albert Morancé, 1922

Veneered wood cylinder desk with leaf inlaid decoration in fillet frames. It features an upper doucine top decorated with scrolls and vine shoots, hemmed by a brass gallery underlined by scalloped drapery. The middle section features a floral basket flanked by interlacing, fleur-de-lys in the spandrels revealing a niche, three drawers and three simulated drawers and a sliding top. The lower section features three drawers, two of which are boxed on the outside. The sides are decorated with branches and painting attributes, and it rests on four tapered legs with square sections ending in bronze sabots. Louis XVI style, late 12th/early 20th century (accidents, missing parts, missing veneer, bronze parts to be refixed and one locked drawer) Height : 115 cm - Width : 101.5 cm - Depth : 58 cm

Important lot of books on architecture (Frank Lloyd Wright, Yona Friedman, Le Corbusier, Jean Prouvé, Zaha Hadid, etc.).

Mahogany veneered pedestal table, the round top is topped with a double-groove marble, the baluster shaft rests on an inverted tripod console base finished with lion claws and casters. 19th century (restorations and cracks) Height 75.5 cm - Diam. 97.5 cm

Adrian DUCERF Furniture Johanna Oval table in veined white marble on a conical base in patinated metal (Marble damage) H. 78 W. 170 D. 90 cm

Moulded and carved wooden bed, the headboards with detached fluted columns, standing on six small tapered and fluted legs. Louis XVI period. Height Height : 87x174x79 cm

Napoleon III period Regency-style console table in carved natural wood with 4 legs. Marble top. H. 90 L. 128 P. 61

Carved, molded and white and gold lacquered wood console with acanthus leaves and trellises in reserves. The legs are curved. Work from the South of France. 18th century H. 75 W. 120 D. 60 cm Green marble top

Commode - in mahogany and flamed mahogany veneer, rectangular in shape, opening with four drawers, the top of which is recessed at the waist, adorned in the center with a bouquet of gilded bronze flowers. Columns with bronze capitals and rings surmounted by Antique-style subjects. Mobile handles in the shape of cornucopias supported by claws, keyholes decorated with fan-shaped palms. Black granite top First half of the 19th century H: 91.5 - W: 130 - D: 63.5 cm Wear, small accidents