Works of art

Rare pendule - in chased and gilded bronze, in the form of an ovoid vase, the neck decorated with loves holding a sheaf, the body with laurel branches, military trophies and pelts, the handles with helmeted warrior heads. It features an enameled dial with Roman numeral hour markings, signed Bourdon in Lille, and stands on a square base decorated with a sword and supported by small ball feet. Based on a model by André RAVRIO, a bronze-smith active during the Empire period. See "La Pendule Française, de Louis XVI à nos jours Tardy, tome 2, page 382." H: 43.5 cm Minor wear, pierced at the back under the pendulum part. André-Antoine Ravrio (1759-1814), from a family of bronze and gilders, married one of François Van der Cruse's daughters, becoming the brother-in-law of cabinetmaker Jean-Henri Riesener. He worked for the Comte d'Artois in 1774, and was one of the best gilders active under the Directoire and Empire, such as Galle and Feuchère. In 1803, he produced a phloscope for the Spanish court, then supplied Prince Murat in 1809 for the Palais de l'Elysée, as well as King Frederick of Wurtenberg. He was also one of the suppliers to the Imperial Garde-Meuble.

DAUM Nancy Vase en verre dégagé à l'acide et émaillé à décor d'ancolies sur fond jaune orangé Signé "Daum Nancy France" et Croix de Lorraine Hauteur: 12 cm

DAUM Nancy Vase en verre dégagé à l’acide à décor de paysage sur fond vert Signé à la base "Daum Nancy" et Croix de Lorraine Hauteur : 20 cm

Georges JOUVE (1910-1964) Chouette pitcher, circa 1952, in white glazed ceramic, black interior. Signed Jouve and bears the artist's alpha initials on the reverse. H. 18.5 cm. References - Georges Jouve, Jousse entreprise, 2005, model to match reproduced p. 136 - Michel Faré, Georges Jouve, Art et Industrie, 1965, close-up model reproduced on p. 71. Expert : Romain Coulet

Georges JOUVE (1910-1964) Large ear vase, circa 1949, decorated with stylized birds, in white, green, burgundy and yellow glazed ceramic. Bears the artist's alpha initials on the reverse. H. 29.5 cm. - L.: 32 cm. References - Georges Jouve, Jousse entreprise, 2005, model to match reproduced p. 131 - Michel Faré, Georges Jouve, Art et Industrie, 1965, close-up model reproduced on p. 56. - Catherine Stéphane de Beyrie, Georges Jouve, A la lumière d'Apollon, model to match reproduced on p. 99. - Pierre Staudenmeyer, La céramique française des années 50, Norma, 2004, model similar to p. 205. Expert: Romain Coulet

RARE ASSIETTE EN PORCELAINE DE SÈVRES DU SERVICE DIT “DU PAPE”, - DELIVERED TO HIS MAJESTY NAPOLEON BONAPARTE AT FONTAINEBLEAU ON THE OCCASION OF POPE POPE VII'S VISIT FOR THE CORONATION Hard porcelain plate, the center painted with an allegory of the Earth (Gaia) in white monochrome on a brown background, she is shown seated, holding a cornucopia and a globe, in a medallion surrounded by a polychrome wreath of flowers; the nankin-back marli with alternating polychrome decoration of medallions each containing a Gorgon's head and an antique-style figure in patinated bronze bas-relief on a veined white marble background, encircled by a wreath of leaves and separated by winged lightning bolts and palmettes. Old restorations. Manufacture nationale de Sèvres, Consulate period, year XI (1802-1803). Mark in red on reverse "Sevres / I I " for 11 (an XI). D. 24 cm. Provenance Service called "fond nanquin, figures bas-relief, garlands of flowers" delivered "à Sa Majesté" on 24 brumaire de l'an XIII (15 novembre 1804) "pour Fontainebleau". The Sèvres archives specify that it was one of the "Pièces choisies par M. de Luçay, premier Préfet du Palais de Sa Majesté" (Arch. Sèvres, Vbb 2, 2). History Quelques jours avant l’arrivée du Pape Pie VII à Fontainebleau, Alexandre Brongniart, administrateur de la Manufacture impériale de Sèvres, écrivit à M. de Fleurieu, intendant général de la Maison de l’Empereur : « Mr le maréchal Duroc est venu lundi voir si la Manufacture pourrait envoyer de suite à Fontainebleau des services de table, et Mr. Mr. de Luçay, Prefect of the Palace, came on Tuesday evening to choose these services and recommend that we make sure they could be in Fontainebleau on the 30th of Brumaire without fail (...)". Time was indeed of the essence, as the Emperor was due to arrive in Fontainebleau on Frimaire 1 (November 22) to welcome the Holy Father. M. de Luçay thus chose two dessert services, one quite simple, decorated with a frieze of gold reeds, intended for the Grand Maréchal's table, the second much richer, intended for the table of the not-yet-sacred Emperor, with a nankin background, figures in bas-relief and garlands of flowers, of which our plate is a part. Costing a total of 7,976 francs, it comprised 110 pieces: 72 plates, 24 compotiers (8 round, 8 oval, 8 octagonal), 2 sugar bowls, 2 jam dishes, 2 tripod iceboxes, 4 two-part baskets, 2 Jasmine baskets, 2 strawberry or cream bowls; it was also accompanied by a 14-piece cookie set. Begun in Vendémiaire year XI (September-October 1802), the service entered the Manufacture's sales warehouse on 13 Messidor year XII (July 2 1804). The painting of the figures was entrusted to Claude-Charles Gérard for 48 plates and to Etienne-Charles Leguay for the remaining 24, each receiving 30 francs per plate. The flowers were painted by Jacques-Nicolas Sinsson, Gilbert Drouet and Charles-Théodore Buteux. The service was used on the imperial table in Fontainebleau during the Pope's stay, hence its sometimes-used name "service du Pape", from 4 to 7 frimaire an XIII (November 25 to 28, 1804), a few days before Napoleon I's coronation. It then remained in Fontainebleau until 1814, although it is described as "mismatched" in the inventories, which explains why the Grand Maréchal did not take it to Elba. No one knows what happened to it afterwards, with the exception of three plates forgotten in a cupboard in the château's conciergerie, which were found in 1884. Today, the Château de Fontainebleau holds a few rare pieces in its collection: twelve plates (including one decorated with the same allegory of the Earth) and an octagonal footed compotier, from this service considered one of the most iconic of the First Empire. Note The Earth figure is based on an engraving published in Cesare Ripa's Iconologia in 1593 as one of the four allegories of the Elements, with the comment: "Elle que vous voyez icy assise & couronnée de fleurs, vous représente la Terre. She holds in her right hand a Globe & in her left a Horn of Plenty, full of all kinds of fruit..., she is painted as a Venable Lady, or if you like, fecund, to be, as the Poets say, the Mother of all animals and with a globe in her hand, to show that she is spherical and immobile. As for the Garland & the Horn of Plenty she bears, both signify that she abundantly produces all kinds of flowers and fruits, for the nourishment of living creatures."

* VENINI - Pair of chandeliers and a wall light, made of Murano glass tubes Dimensions of frames alone: - Chandeliers - H: 62 cm - diam: 45 cm - Wall lamp - H: 37 - W: 18 - D: 12 cm Wear, accidents, missing parts, incomplete

Georges JOUVE (1910-1964) Large free-form bowl, circa 1955, in black glazed ceramic Signed Jouve and bears the artist's alpha initials on the reverse. H. 7.7 cm. - L.: 31.5 cm. - D.: 13.5 cm. Reference: - Georges Jouve, Jousse entreprise, 2005, similar model reproduced on p. 288. Expert : Romain Coulet

Large wood and gilded stucco mirror, openwork pediment decorated with a shell. Regency period frame, 18th century 180 x 124 cm (mirror changed)

Camille GAUTHIER (1870 - 1963) Cabinet in burr walnut and carved walnut veneer, opening on the left with a glass door topped by a niche, a drawer and a music rack, and on the right with a recessed drawer topped by a side box with a solid door decorated with a chrysanthemum inlaid with different woods. Corner base with four small molded and curved legs. Triangular gilded metal handles. Signed, located Nancy and dated 1901. 172 x 73.5 x 37 cm Expert : cabinet Marcilhac

PAIR OF VASES in copper and cloisonné enamel, with floral "mirror" decoration of flowers and butterflies on a turquoise-blue background. Small brass detachment. China, 20th century. H. 35.4 cm

Paolo VENINI (1895-1959) Ovoid vase in lady-blown glass, black-shaded red. Signed Venini Murano Italia. Circa 1953. H. 16.5 cm

Art Déco vase with thistle decoration by Sabino Ovoid shape. Bluish opalescent glass, partially cut and polished. Relief decoration in the style of René Lalique. Designed by Marius Ernest Sabino. Diamond-carved sign "Sabino Paris". H. 18.2 cm. A French opalescent glass vase with decor of thistles by Sabino. Signed "Sabino Paris". France. Noisy-le-Sec near Paris. Marius Ernest Sabino. Circa 1925-1940.

Pablo PICASSO 1881-1973 Édition Madoura - CHOUETTE VISAGE DE FEMME, 1952 White earthenware vase with polychrome engraved decoration in green, blue and black oxides. Edition of 300. N° 299/300 Stamps "Édition Picasso", "Madoura Plein feu", inscription édition Picasso Madoura Height: 30 cm - Width: 35.5 cm - Depth: 20 cm Provenance: Private collection Bibliography: Alain Ramié Picasso, "Catalogue de l'Oeuvre Céramique", published 1947-1971, Madoura Vallauris, 1968 n° 144

Japan Edo period , Curved case, inlaid and lacquered wood and mother-of-pearl inlays, engraved brass trim Namban style 19th century. H: 31- W: 60 - D: 25 cm (missing marquetry, missing part of brass mounting)

China - Imposing famille rose porcelain vase decorated with nine peaches, Qing dynasty. The vase is decorated with leafy branches of a peach tree bearing nine large fruits and slender leaves in two shades of green, a pair of iron-red bats on the neck. Unmarked (100 cm high) Weight: 40.00 kg Shipping available Area: Chine Sizes: H 1000 mm x L 530 mm Condition: At first glance: very good condition

Mithé ESPELT (1923-2020) Round wall mirror, circa 1967, Fleurs model in stamped and enameled earthenware in blue, green and black, and crackled gold D. 30 cm. Reference: - Antoine Candau, Mithé Espelt - le luxe discret du quotidien, Odyséee, 2020, similar model reproduced on p. 148. Expert : Romain Coulet

Georges JOUVE (1910-1964) Pitcher, circa 1950, black glazed ceramic, white interior Signed Jouve and bears the artist's alpha on the reverse. H. 20.2 cm. References - Georges Jouve, Jousse entreprise, 2005, similar model reproduced on p. 139.s - Michel Faré, Georges Jouve, Art et Industrie, 1965, similar model reproduced on p. 70. Expert : Romain Coulet

Carved oak wedding chest. The richly carved front features a central cartouche with scrolls and mascaron depicting Venus holding Adonis in a laurel wreath, surrounded by angels and hybrid beings. The cartouche is flanked by four caryatids with attributes and animals surrounding two niches housing two allegories. The sides are decorated with rosettes, flowers, shells and foliage. Each upright is carved in high relief with an allegory and animal in front of a Corinthian column. The top belt and plinths are richly decorated with shells, court scrolls, leafy interlacing and mascaron. It opens through the top and a drawer in the lower part. Normandy, late 16th century. H. 82.5 L.138. D.66 cm. Restoration; accidents, missing parts and woodworm. Provenance: Eure private collection Ref. Our chest is to be compared with the rich David and Bathsheba chest, kept at the Musée d'Ecouen under inventory number ECL9392.

Théodore DECK (Guebwiller, 1823 - Sèvres, 1891) Soliflore "à la Salamandre - circa 1875 Turquoise glazed ceramic Monogrammed "THD" on reverse 19 cm Also included: Théodore DECK (Attributed to) Japanese cup - circa 1875 Turquoise-glazed ceramic depicting a carp and water lilies 18 × 21 × 23 cm (Cracks) Théodore DECK (Attributed to) Vase Turquoise glazed ceramic 14.5 cm (Baking pans) A blue enamelled stoneware salamender vase by Théodore Deck; 7.4 in. A blue enamelled stoneware vase attributed to Théodore Deck; 5.5 in. A blue enamelled stoneware japanisan cup attributed to Théodore Deck; 7 in. Circa 1875 Exhibitions : Fay͏̈-Hallé, Antoinette, Fournier, Françoise, Grenier, Brigitte et al. (dir), cat. exp., Théodore Deck ou L'éclat des émaux, 1823-1891, Musée Grobet-Labadié, Marseille, 1994, p. 58 for an identical model Théodore DECK (Guebwiller, 1823 - Sèvres, 1891)

Établissements GALLE - Important and rare ovoid vase with flared neck and flat circular pedestal in multi-layered glass with acid-etched decoration of chr ysanthemum flowers in burgundy and mauve tones on an orange-tinted opaque ground. Signed "Gallé". Circa 1920 H : 57,5 cm

PARIS - Set of 2 hard porcelain litron cups and saucers, one with a green and gold background and the other with a purple and gold background, with polychrome decoration of flowers, neoclassical motifs and foliage in gold burnished to effect, gold fillet on the edges. Good condition. Empire or Restoration period. Manufacture DARTE Frères (1804-1829), Paris, Palais Royal. Saucers marked with a red stamp "DARTE Pal. Royal N°21" on the reverse. H. 6 cm (cups) x D. 13 cm (saucers).

ANNÉES 1930 - 1930'S Modernist three-leaf folding screen with overhanging projections of different heights, decorated with a geometric composition in burr walnut and stained oak veneer, double-turn brass hinges. (Minor scratches). Max. height 160 cm x W 150 cm

Circular box in gray marble with gold rim Lid adorned with a warrior bust cameo. Souvenir du Grand Tour D. 6.5 cm

Jean GODEFROY (1771-1839), d’après François GÉRARD (1770-1837). - "Battle of Austerlitz". Large etching, marked "F. Gerard Pinxt 1810" and "J. Godefroy Sculpt 1813". Published in Paris by "J. Godefroy rue Bellefond n°37 F B Montmartre", circa 1813. In a large gilded wood frame with palmettes. H. 99 x W. 54 cm (as seen). H. 114 x W. 70 cm (frame).

Pablo PICASSO (1881-1973) MADOURA (ceramist) "Vase au bouquet", model created on January 22, 1956. Round square plate in white earthenware, etching covered with underglaze oxidized kerosene, brown-green and blue. Original print limited to two hundred numbered copies (damaged, reattached, small chips). Signed with Picasso's original imprint stamp and Madoura full fire stamp and justified 145/200. 2.7 x 24.5 x 25 cm Bibliography: Alain Ramié, Picasso, catalog de l'œuvre céramique édité 1947-1971, éditions Madoura, Vallauris, 1988, model referenced under no. 304 and reproduced on p. 156. Expert: Cabinet Marcilhac

Établissements GALLÉ - Important and rare baluster vase on circular pedestal and flared neck in multi-layered glass with acid-etched decoration of flowers and rosebush leaves in red tones on a yellow ground. Signed "Gallé". Circa 1920 Height: 60 cm

Charlotte PERRIAND (1903-1999) Tripod ash "shepherd" stool. circa 1960 28 x 31 cm

Ercole BAROVIER (1889-1974) & Ermanno TOSO (1903-1973) Conical vase in transparent white glass with "Graffito barbarico" decoration, inclusions of interleaved gold flakes. Signed and located Murano. Circa 1950 H. 21.5 cm

Pair of short-necked vases in black and gold lacquer Decorated with bamboo and flowering branches. Japan, late 18th century, early 19th century H. 19 cm (A chip on the neck)

SÈVRES - Pestum-shaped sugar pot and lid in hard porcelain, yellow ground, with polychrome decoration of a frieze of pink daisies and inverted foliage, edged with gold fillets. Good condition, one chip restored to the lid. Manufacture impériale de Sèvres, 1813. Red stamp mark with imperial eagle (1813-1814), gold mark dated "30 mai TZ" for 30 mai 1813. H. 11 x D. 8 cm. Provenance This sugar pot comes from the cabaret entered in the Sèvres sales store on July 21, 1814 (Arch. Sèvres, Vv1, 22 v°), including 12 litron cups for a total price of 201 francs. Unfortunately, we still don't know who the recipient was. The milk jug from this cabaret recently sold at Thierry de Maigret, May 1, 2020, lot 320.

RARE SCEAU À CACHETER PERSONNEL DE CAMBACÉRÈS - Important oval-shaped brass die stamp, engraved with his monogram "JC" in a shield surrounded by two collars of the Order of the Legion of Honor and the Order of the Black Eagle of Prussia (thanks to Jean Christophe Palthey, expert), on a background of the great coat of prince of the Empire, his crown of Duke of Parma was removed during the Restoration. Turned baluster-shaped ebony handle. First Empire period, modified under the Restoration. H. 9 cm. H. 3.2 x W. 2.6 cm (seal). Provenance Jean-Jacques-Régis de Cambacérès (1753-1824), archchancellor of the Empire. History Born into a family of magistrates from Montpellier, Jean-Jacques Regis de Cambacérès was a deputy to the Estates General and then to the Assembly, and a key figure in Napoleon's rise to power and the establishment of major political institutions. Minister of Justice, he was chosen as Second Consul in 1799 with special responsibility for the organization of judicial powers and the preparation of laws; he played a no less important role in the drafting of the Civil Code. Under the Empire, Cambacérès became the leading figure of the State, and Napoleon honored him with the title of Archchancellor of the Empire in 1804, and made him Prince and Duke of Parma in 1808. Related works The Cambacérès seal with his monogram only, Millon sale, Souvenirs Historiques, May 26, 2023, lot 111 (sold for €1,800).

Kim Khánh box, in exotic wood engraved on the lid with ochre inscriptions meaning "Era of Emperor Khải Định - Kim Khánh of great class", the interior covered with green fabric with the location of the Khánh. 165 x 95 mm

Rare, large Art Nouveau vase with Christmas rose decoration by Daum Frères Conical foot, ovoid body, tapered narrow neck with flaring mouth. Cased glass, clear, red and dark green. Etched decoration with blossoming stems of the red Christmas rose (Helleborus), signed "DAUM NANCY", Lorraine cross. H. 29.8 cm. A rare and large French Art Nouveau acid-etched and martelé cameo glass vase with decor of red Christmas roses. Signed. France. Nancy. Daum Frères. Circa 1898.

Hydria with red figures, decorated with palmettes and two figures. 4th century B.C. Height: 27 cm. Expert : Mr. Daniel Lebeurrier

SÉRIE DE SIX ASSIETTES DE LA TABLE DU ROI LOUIS-PHILIPPE EN MÉTAL DOUBLÉ D'ARGENT PAR L’ORFÈVRE GANDAIS - Rare set of 6 doubled metal dinner plates with gadrooned edges. Marked on the reverse with an engraved King Louis-Philippe figure. By Gandais, Paris, 1830-1834. D. 25.5 cm. Provenance - Louis-Philippe I, King of the French (1773-1850). - His daughter Princess Clémentine d'Orléans (1817-1907). - Then by descent. History Of the silver services produced for King Louis-Philippe, we are mainly familiar with the large ceremonial service, used only on special occasions, known as the "Orléans-Penthièvre service". This 18th-century silver service was inherited from the King by his mother, the Duchesse douairière d'Orléans, Louise Marie Adélaïde de Bourbon-Penthièvre, who in turn inherited it from her father, the Duc de Penthièvre, and some pieces from the Comte de Toulouse, the legitimate son of King Louis XIV. We know that this service was completed at the request of Louis-Philippe to the goldsmith Odiot, on his return from exile, around 1817. Another platerie service, in silver and vermeil, was commissioned from Odiot during the Restoration. Very classical, with a frieze of Empire water leaves, it is known to have appeared several times in public sales in recent years. Finally, the service most familiar to connoisseurs is that of the major order of over 5,000 pieces placed by King Louis-Philippe with the silversmith Christofle for his Château d'Eu, in the last years of his reign, around 1845-1846, and regularly supplemented thereafter by the d'Orléans family. This huge commission from the King to Charles Christofle launched the silversmith's house, thanks to its revolutionary new electrolytic silver plating process. As a result, cheaper silverware was to meet the growing demand, at lower cost, of the new bourgeoisie in the mid-19th century. Apart from these three important services, no services dating back to the beginning of Louis-Philippe's reign were known. That was until the reappearance of a large-scale service in silver-lined metal, with gadroon decoration, commissioned by the King in the early years of 1830 from the silversmith Jacques-Augustin Gandais. An important piece of royal service, it was preserved until then by the King's daughter, Princess Clémentine. Only one other part of this service seems to have appeared on the market, sold rather discreetly by another branch of the Orléans family (see below). Doubled metal has been used since the early 18th century to replace solid silver, before the mid-19th century introduction of electrolytic silver plating, a process also known as "Ruolz", an exclusive patent acquired by Charles Christofle from the Ruolzes and the Englishman Elkington. Doubling left us with better-quality pieces, as the silver leaf applied was thicker than that left by electrolysis, giving the pieces much greater resistance to wear, which explains the exceptional condition of our service section. The style of the silverware is similar to that of English silver, and was most probably chosen by Louis-Philippe to remind him of his life as an exile in England. This is remarkably illustrated by the tureen presented here, whose gadrooned scroll is representative of the style favored by the silversmith Gandais. Jacques-Augustin Gandais founded his factory under the Restoration in 1819. His production is mainly based on the doubled or silver-plated technique imported from England. The quality of the goldsmith's services he produced made silver-plated metal famous in France. Gandais used strips of pure silver to cover the copper on the protruding parts of his models to counteract wear, just as he used solid silver for the feet and other ornaments on his pieces. In 1834, probably as a result of this commission from King Louis-Philippe, which leads us to believe that our service was produced before this date, Gandais was awarded the brevet d'orfèvre-plaqueur du Roi by the sovereign himself, who made him a chevalier de la Légion d'honneur. In 1834 and 1844, the jury of the Exposition des Produits de l'Industrie awarded him a silver medal, and the Société d'Encouragement pour l'Industrie Nationale awarded him a silver and gold medal. He traded under the arcades of the Palais-Royal, temple of luxury under the Empire and Restoration, at no. 118 Galeries de Valois, with workshops at 42 Rue du Ponceau. Gandais also supplied other European courts, such as Queen Maria II of Portugal. The hidden arms of King Louis-Philippe The special feature of this service is that the King chose to have his crowned LP figure engraved on the reverse of each pi

Carved and gilded wood and stucco mirror decorated with laurel bundles and crossed ribbons, the carved pediment topped by a shell and scrolls flanked by laurel branches and topped by bellows. Beveled glass. 19th century (accidents, missing parts, gilding, mirror slightly pitted) Height : 170 cm - Width : 91 cm

VAL SAINT LAMBERT (Belgique) - Thistles Double glass baluster vase with flared neck and base. Blue-green thistles in bloom and buds and leaves engraved in reserve on a contrasting white-yellow and green background. Signed "VSL". H: 42.5 - D: 14 cm (Small accident or firing defect on the neck)

FAMILLE ROYALE DE FRANCE - Engraved triple-profile portrait of the Royal Family in an oval medallion, depicting Louis XVI, Marie-Antoinette and Louis XVII in right profile. Wear and tear. In its period wood and gilded stucco frame with cherub head. H. 17.5 x W. 15.5 cm (frame).

Slipware set comprising nine polychrome enameled ceramic plates with strawberry decorations (Damage to one of them) D. 21 cm

*Colonne en marbre - Square-shaped, in veined white marble, decorated with moldings, fluting and architectural motifs. H: 107 cm - W: 30 cm Chips under the top

Elisabeth Louise Vigée Le Brun (1755-1842), d’après. - Portrait of Marie-Antoinette, Queen of France (1755-1793). Rectangular miniature, after the painting in the Château de Versailles (inv. MV 2097), which remained in the artist's studio until 1818, when it was purchased by King Louis XVIII. Traces of humidity around the edges. In a blackened wood frame. 19th century. H. 13.5 x L. 10 cm (when viewed).

Etablissements GALLE. Small soliflore vase in multi-layered glass with acid-etched decoration of mauve flowers. Signed. Height Height : 17 cm

MANUFACTURE NATIONALE DE SEVRES A. LEDUC et DECOEUR - Domed vase with straight neck in almond green enameled porcelain with aquatic decor in light relief. Factory stamp Signed and dated 1945 Height: 50 cm

Charles SCHNEIDER (1881-1953) - FRENCH GLASS "Oaks". Conical vase on pedestal with flared neck. Proof in orange-yellow marbled glass and purplish-brown powdered glass with green flecks. Acid-etched cameo of oak trees. Signed on the pedestal. Height: 48 cm Bibliography: Marie-Christine Joulin Gerold Maier, Charles Schneider Le Verre Français - Charder - Schneider, Wibner-Verlag, 2004, decor referenced and reproduced on p. 108. Expert: Cabinet Marcilhac

René LALIQUE (1860-1945) Penthièvre" vase - the model created in 1928. Blown-molded glass, matte and glossy amber-red. Signed "R Lalique France" on the reverse. Height: 26 cm History: designed after a drawing by Suzanne Lalique. Bibliography: Félix Marcilhac, René Lalique - catalog raisonné de l'œuvre de verre, Les éditions de l'amateur, Paris, 2004, "Vases" section, model no. 1011, reproduced on p. 441. Expert: Cabinet Marcilhac

Edouard DETAILLE (1848-1912) - Napoleon III's visit to the Châlons camp in 1857-1858. The Emperor is shown accompanied by his aide-de-camp, Colonel de Castelnau, and Marshal Canrobert. Pencil and watercolor on paper originally mounted on canvas, signed and located lower right. H. 73 x W. 66 cm (when viewed). In a giltwood frame, under a blue marie-louise. H. 106 x W. 87 cm (frame). History Camp de Châlons, created as a maneuvering ground to compensate for the shortcomings in the organization of the French army during the Crimean War, was inaugurated by Emperor Napoleon III in 1857. It also served as the imperial army's propaganda theater, with numerous parades in front of the Tsar, the King of Spain and others. It marked the beginning of large-scale photography: an official reportage was commissioned from Gustave Le Gray: "S. M. charge ce monsieur de reproduire, par la photographie, les principales scènes militaires dont le Camp aura été le théâtre". Some thirty copies of this photographic work were printed for general officers. Provenance - De Baecque sale, Drouot, November 12, 2015, lot 32 (sold for €6,500). - Private collection, Paris. Literature - Jean Humbert, Detaille, l'héroïsme d'un siècle, Paris, 1979. - Frédéric Masson, Edouard Detaille (1848-1812), Paris, 1912. - Marius Vachon, Detaille, Paris, 1898.

Extremely fine Louis XVI gold enamel tabatiere in red and yellow gold, partially enameled. Oval body with fine wave and dot guilloché decoration on all sides. Hinged lid, sides and base decorated with olive green translucent enamel. Surrounding frame in the form of stylized floral wreaths of fine polychrome and white opaque enamelled foliage and dot frieze. The wall divided by antique green vase decoration. On the lid a central, high oval enamel plaque with scenic, antique depiction. Marked with Hanau prestige marks in the style of French foam marks, such as those of the Parisian tenant Julien Alaterre. Master's mark Les Frères Toussaint (active ca. 1752). Weight approx. 170 g. H. 2.2 cm. 8 cm x 6 cm. Provenance: from the important collection of the Frankfurt banking family von Bethmann, which grew over generations. This tabatiere is a typical example of 18th century gold boxes made in the style of the Parisian and Swiss goldsmiths; Paris was considered the center of European goldsmithing at this time. However, Hanau also developed into an important production site for gold tabatiers in the 1760s, partly due to the influence of French goldsmithing in Europe and a large number of goldsmiths of Huguenot origin who moved to the region, and was able to keep up with the high quality and fine design of France. Today, works by the Hanau goldsmiths can be found in renowned museums such as the Metropolitan Museum in New York, the Musée Cognac-Jay in Paris and the Thurn und Taxis Princely Treasury in Regensburg. Charles (active 1720-1790) and Pierre-Étienne Toussaint (active 1726-1805) came to Hanau from Berlin and founded their company Les Frères Toussaint in 1752. Comparable gold enamel boxes by the brothers can be found in the Metropolitan Museum in New York (inv. no. 17.190.1173) and in the Victoria & Albert Museum in London (inv. no. 911-1882). Cf. Lorenz Seelig, "Eighteenth Century Hanau Gold Boxes" in the Silver Society of Canada Journal, p. 36, figs. 3, 4. A very fine German Louis XVI gold snuff box by Les Frères Toussaint (active since 1752) with an enamelled plaque. Hanauer prestige marks in the manner of French hallmarks. Master's mark. German. Hanau. Around 1780.

SÉRIE DE SIX ASSIETTES DE LA TABLE DU ROI LOUIS-PHILIPPE - IN SILVER-LINED METAL BY THE GANDAIS SILVERSMITH Rare set of 6 plates in lined metal, with gadrooned edges. Marked on the reverse with an engraved King Louis-Philippe figure. By Gandais, Paris, 1830-1834. D. 25.5 cm. Provenance - Louis-Philippe I, King of the French (1773-1850). - His daughter Princess Clémentine d'Orléans (1817-1907). - Then by descent. History Of the silver services produced for King Louis-Philippe, we are mainly familiar with the large ceremonial service, used only on special occasions, known as the "Orléans-Penthièvre service". This 18th-century silver service was inherited from the King by his mother, the Duchesse douairière d'Orléans, Louise Marie Adélaïde de Bourbon-Penthièvre, who in turn inherited it from her father, the Duc de Penthièvre, and some pieces from the Comte de Toulouse, the legitimate son of King Louis XIV. We know that this service was completed at the request of Louis-Philippe to the goldsmith Odiot, on his return from exile, around 1817. Another platerie service, in silver and vermeil, was commissioned from Odiot during the Restoration. Very classical, with a frieze of Empire water leaves, it is known to have appeared several times in public sales in recent years. Finally, the service most familiar to connoisseurs is that of the major order of over 5,000 pieces placed by King Louis-Philippe with the silversmith Christofle for his Château d'Eu, in the last years of his reign, around 1845-1846, and regularly supplemented thereafter by the d'Orléans family. This huge commission from the King to Charles Christofle launched the silversmith's house, thanks to its revolutionary new electrolytic silver plating process. As a result, cheaper silverware was to meet the growing demand, at lower cost, of the new bourgeoisie in the mid-19th century. Apart from these three important services, no services dating back to the beginning of Louis-Philippe's reign were known. That was until the reappearance of a large-scale service in silver-lined metal, with gadroon decoration, commissioned by the King in the early years of 1830 from the silversmith Jacques-Augustin Gandais. An important piece of royal service, it was preserved until then by the King's daughter, Princess Clémentine. Only one other part of this service seems to have appeared on the market, sold rather discreetly by another branch of the Orléans family (see below). Doubled metal has been used since the early 18th century to replace solid silver, before the mid-19th century saw the introduction of electrolytic silver plating, a process also known as "Ruolz", an exclusive patent acquired by Charles Christofle from Ruolz and the Englishman Elkington. Doubling left us with better-quality pieces, as the silver leaf applied was thicker than that left by electrolysis, giving the pieces much greater resistance to wear, which explains the exceptional condition of our service section. The style of the silverware is similar to that of English silver, and was most likely a choice made by Louis-Philippe, reminding him of his life in exile in England. This is remarkably illustrated by the tureen presented here, whose gadrooned scroll is representative of the style favored by the silversmith Gandais. Jacques-Augustin Gandais founded his factory under the Restoration in 1819. His production is mainly based on the doubled or silver-plated technique imported from England. The quality of the goldsmith's services he produced made silver-plated metal famous in France. Gandais used strips of pure silver to cover the copper on the protruding parts of his models to counteract wear, just as he used solid silver for the feet and other ornaments on his pieces. In 1834, probably as a result of this commission from King Louis-Philippe, which leads us to believe that our service was produced before this date, Gandais was awarded the brevet d'orfèvre-plaqueur du Roi by the sovereign himself, who made him a chevalier de la Légion d'honneur. In 1834 and 1844, the jury of the Exposition des Produits de l'Industrie awarded him a silver medal, and the Société d'Encouragement pour l'Industrie Nationale awarded him a silver and gold medal. He traded under the arcades of the Palais-Royal, temple of luxury under the Empire and Restoration, at no. 118 Galeries de Valois, with workshops at 42 Rue du Ponceau. Gandais also supplied other European courts, such as Queen Maria II of Portugal. The hidden arms of King Louis-Philippe The great uniqueness of this service lies in the King's choice of engraving

SÈVRES - Calibrated plate in hard porcelain, the blue border decorated with a gold Moorish frieze, the basin with beehive motifs and centered with a stylized gold rosette. Good condition. Manufacture impériale de Sèvres, 1855. Green "S. 54" mark and red "N" stamp decoration mark under crown "doré à Sèvres (18)55". D. 22.8 cm.