A pair of Louis XVI style vases oval-shaped in red veined marble and gilded bronze mounts. The body is decorated with a frieze after the antique in the manner of Clodion  More »

A pair of Louis XVI style vases oval-shaped in red veined marble and gilded bronze mounts. The body is decorated with a frieze after the antique in the manner of Clodion representing puttis in movement, playing a musical instrument, archery, joyfully around an altar. Handles decorated with women busts draped uncovering their breasts give these vases much elegance. They rest on a fluted pedestal decorated with garlands of laurel and acanthus leaves. Very nice work and quality carving signed V. Lescurieux. Circa :1860 Dim: W: 8,3 in - D: 5,9in - H: 16,1in. Dim: L:21cm, P:15cm, H:41cm.   « Less

A very unusual and rare inkstand in ormolu representing an armillary sphere opening in two parts, and revealing interior compartments, standing on a circular pedestal base.  More »

A very unusual and rare inkstand in ormolu representing an armillary sphere opening in two parts, and revealing interior compartments, standing on a circular pedestal base. This inkwell has its original ormolu and is from the neo-classic period. Probably made by the Russian manufacture of Tula. A similar inkwell is in the Hermitage museum. Circa :1770 Dim: W: 4,3 in - D: 4,3in - H: 8,3in. Dim: L:11cm, P:11cm, H:21 cm.   « Less

A pair of three lights gilt bronze sconces decorated with Indians playing a musical instrument. Circa :1850 Dim: W: 13 in - D: 8,7in - H: 14,2in. Dim: L:33cm, P:22cm, H:36cm.

A pair of three lights gilt bronze sconces decorated with Indians playing a musical instrument. Circa :1850 Dim: W: 13 in - D: 8,7in - H: 14,2in. Dim: L:33cm, P:22cm, H:36cm.   « Less

A very nice pair of finely chiseled ormolu candlesticks, with a base ornate with three winged animals. The stem is adorn with niches in the Gothic taste hosting armored  More »

A very nice pair of finely chiseled ormolu candlesticks, with a base ornate with three winged animals. The stem is adorn with niches in the Gothic taste hosting armored medieval characters. In France, the troubadour style gradually assumes some importance. These are the writings of Chateaubriand who first raise the taste for medieval times. Since 1805, the Empress Josephine had installed at Malmaison a gothic gallery but interest in the Middle Ages touch at that time a minority. After the Restoration and the instigation of the Duchess of Berry, the troubadour style acquires a wide audience especially among the royalists. Louis-Philippe Period, Circa: 1840. Dim: W: 3,9 in - D: 3,9in - H: 11in.   « Less

A small wall gilded bronze cartel in rococo Louis XV style. The white enamel dial has Roman and Arabic numbers, and pierced hands. The bronze allows artisans, working during  More »

A small wall gilded bronze cartel in rococo Louis XV style. The white enamel dial has Roman and Arabic numbers, and pierced hands. The bronze allows artisans, working during the reign of Louis XV, to show the greatest imagination, by combining different rococo patterns and by favoring the movement in their compositions. The reign of Louis XV is the one of imagination, fancy, movement, primacy of decor on the form, of the curved on the straight line. It is the omnipresence of rococo patterns which blend flora and fauna. This Napoleon III cartel reproduces the finesse of the carving of the pieces in bronze under the reign of Louis XV as long as its rococo ornamental repertoire. Napoléon III Period, Circa: 1870. Dim: W: 8,3 in - D: 2,4in - H: 14,6in.   « Less

A Baccarat crystal set comprised of an oval dish and two horns shaped vases (H: 35cm). The crystal is nicely twisted with a nice gilded bronze mount.The development of the  More »

A Baccarat crystal set comprised of an oval dish and two horns shaped vases (H: 35cm). The crystal is nicely twisted with a nice gilded bronze mount.The development of the French crystal comes from the 19th century. It was produced in abundance, thanks to the advances in chemistry and machinery. Even though it spreads abundantly and generously, it kept on being a luxury. In the 19th century the production of French crystal is in the hands of four crystal glassworks: The Royal Glassware of St. Louis, founded in 1767 at Muntzthal, was the first one to discover, by sending observers in England, the secrets of the crystal. Since then, St. Louis specialized itself in the luxury glassware and held an interest for the opal crystal. The name of Baccarat crystal represents the production of three factories. The first one, Voneche was founded in 1778 near Liège, and was bought in 1802 by Aimé-Gabriel d'Artigues, nephew of the director of St. Louis. When the treaties of 1815 took away Voneche of the French territory, Artigues bought the St. Anne glassware near Baccarat. Then in 1822 the Baccarat crystal glassware absorbed Trelon in the north which produced at that time only window glass. The man who gave rise to the Baccarat crystals was a scholar, a glass technician, as well as a very good administrator: J-B Toussaint. Until his death in 1858, he gave a hard life to the competition in France and abroad. Among those competitors, the factory at Le Creusot benefited of the government support in order to find the secret of the colored crystals from England. The factory at Le Creusot, also called Montcenis was a resurgence of the Queen manufacture funded in Sèvres in 1783 by Lambert and Boyer. Following a mismanagement of the factory, the government decided in 1785 the transfer of the factory at Le Creusot. Despite some successes including the yellow and turquoise opal crystal, le Creusot fell into financial difficulties and in 1832. Baccarat and St. Louis came together, bought the factory and switch off the ovens. Two other factories were founded under the Restauration: Choisy-le-Roi in 1821 and Bercy in 1827. In 1832, a commercial agreement between Baccarat and St. Louis was extended to the manufactures of Choisy-le-Roi and Bercy, which had shown their qualities thanks to an excellent production. Napoléon III Period, Circa: 1880. Dim: W: 16,5 in - D: 9,4in - H: 13,4in.   « Less

A pair of andirons in cast iron of very good quality carving representing sphinxes sitting in profile. Stylized floral motifs adorn the body of the animal. The deployment of  More »

A pair of andirons in cast iron of very good quality carving representing sphinxes sitting in profile. Stylized floral motifs adorn the body of the animal. The deployment of their wings give them majesty. Napoléon III Period, Circa: 1860. Dim: W: ,8 in - D: 17,3in - H: 16,9in.   « Less

A pair of gilded porcelain vases decorated with monochrome scenes of Italian landscapes. Rural scenes adorn the four sides of the base, and the body of the vase. The set is  More »

A pair of gilded porcelain vases decorated with monochrome scenes of Italian landscapes. Rural scenes adorn the four sides of the base, and the body of the vase. The set is highlighted by gold leaf surfaces which are in very good condition. XIX° Period, Circa: 1850. Dim: W: 4,7 in - D: 4,7in - H: 15in.   « Less

Carved faceless man, Acia wood early 20th century collected in Shan State Burma. Possibly a nat carving Burmese folk art used for representation of ancestor, spiritual  More »

Carved faceless man, Acia wood early 20th century collected in Shan State Burma. Possibly a nat carving Burmese folk art used for representation of ancestor, spiritual leader, or devotee. Partial eriosion and water damage over time only add to the mystique of this facesless statue. Wonderful Folk art, primitive art, and fabulously intriguing. Size Overall Dimensions 24" H X 17" W X 15" D 61.0cm H X 43.2cm W X 38.1cm D.   « Less

A nice oval shape cut crystal casket, with nice undulating curves and a gilt bronze mount chiseled with floral stylized friezes. The development of the French crystal comes  More »

A nice oval shape cut crystal casket, with nice undulating curves and a gilt bronze mount chiseled with floral stylized friezes. The development of the French crystal comes from the 19th century. It was produced in abundance, thanks to the advances in chemistry and machinery. Even though it spreads abundantly and generously, it kept on being a luxury. In the 19th century the production of French crystal is in the hands of four crystal glassworks: The Royal Glassware of St. Louis, founded in 1767 at Muntzthal, was the first one to discover, by sending observers in England, the secrets of the crystal. Since then, St. Louis specialized itself in the luxury glassware and held an interest for the opal crystal. The name of Baccarat crystal represents the production of three factories. The first one, Voneche was founded in 1778 near Liège, and was bought in 1802 by Aimé-Gabriel d'Artigues, nephew of the director of St. Louis. When the treaties of 1815 took away Voneche of the French territory, Artigues bought the St. Anne glassware near Baccarat. Then in 1822 the Baccarat crystal glassware absorbed Trelon in the north which produced at that time only window glass. The man who gave rise to the Baccarat crystals was a scholar, a glass technician, as well as a very good administrator: J-B Toussaint. Until his death in 1858, he gave a hard life to the competition in France and abroad. Among those competitors, the factory at Le Creusot benefited of the government support in order to find the secret of the colored crystals from England. The factory at Le Creusot, also called Montcenis was a resurgence of the Queen manufacture funded in Sèvres in 1783 by Lambert and Boyer. Following a mismanagement of the factory, the government decided in 1785 the transfer of the factory at Le Creusot. Despite some successes including the yellow and turquoise opal crystal, le Creusot fell into financial difficulties and in 1832. Baccarat and St. Louis came together, bought the factory and switch off the ovens. Two other factories were founded under the Restauration: Choisy-le-Roi in 1821 and Bercy in 1827. In 1832, a commercial agreement between Baccarat and St. Louis was extended to the manufactures of Choisy-le-Roi and Bercy, which had shown their qualities thanks to an excellent production. Charles X Period, Circa: 1820. Dim: W: 6,3 in - D: 4,7in - H: 3,9in. / Un coffret en cristal taillé de côtes torses, monture en bronze doré et ciselé, reposant sur quatre sabots. L'essor du cristal français date du XIXème siècle, produit en abondance, grâce aux progrès de la chimie et de la machine, il va, sans cesser d'être un luxe se répandre généreusement. Au XIXème siècle la production du cristal français est entre les mains de quatre cristalleries: La verrerie royale de Saint Louis, fondée en 1767 à Muntzthal fut la première à découvrir, par l'envoi d'observateurs en Angleterre, les secrets de fabrication du cristal. Dès lors Saint-Louis se spécialise dans la gobeleterie de luxe puis s'intéresse au cristal d'opale. On englobe sous l'appellation générale de cristal de Baccarat la production de trois manufactures : Vonèche fondée en 1778 près de Liège, rachetée en 1802 par Aimé-Gabriel d'Artigues, neveu du directeur de Saint-Louis. Lorsque les traités de 1815 enlevèrent Vonèche au territoire français, d'Atrtigues racheta la verrerie de Saint-Anne près de Baccarat. Puis en 1822 la cristallerie de Baccarat absorba la verrerie de Trelon dans le nord qui ne produisait alors que du verre à vitre. L'homme qui donna son essor aux cristaux de Baccarat était un savant, un technicien du verre, en même temps qu'un très bon administrateur : J-B toussaint qui jusqu'à sa mort en 1858 mèna la vie dure à la concurrence française et étrangère. Parmi ces concurrents, la manufacture du Creusot avait bénéficié des encouragements du gouvernement pour trouver le secret des cristaux colorés venus d'Angleterre. La manufacture du Creusot, encore appelée Montcenis, était une résurgence de la manufacture de la Reine fondée à Sèvres en 1783 par Lambert et Boyer. C'est à la suite d'une mauvaise gestion que le gouvernement avait décidé en 1785 le transfert de la manufacture au Creusot. Malgré quelques belles réussite notamment dans les cristaux d'opale jaune et turquoise, le Creusot retomba dans les difficultés financières et en 1832, Baccarat et Saint-Louis s'entendirent pour racheter l'usine et firent éteindre les fours. Deux autres manufactures furent fondées sous la Restauration : Choisy-le-Roi en 1821 et Bercy en 1827. En 1832, une entente commerciale entre Baccarat et Saint-Louis fut élargie aux manufactures de Choisy-le-Roi et Bercy, qui avaient fait leurs preuves par d'excellentes fabrications. Epoque Charles X, Circa: 1820 Dim: L:16cm, P:12cm, H:10cm.   « Less