Ref.10424
Beautiful antique Louis XVI style gilt bronze pair of andirons with vases and garlands decor

Beautiful antique Louis XVI style pair of andirons made out of gilt bronze during the 19th century. Rich decor very finely chiseled with flamed vases, rosettes, flutings with asparagus heads and festooned garlands.

Ref.14040
BACCARAT, Neo-Greek Crystal Chandelier with Five Lights, after 1875

This significant five-light chandelier in the Neo-Greek style was created by Baccarat in the 19th century. Founded during the reign of Louis XV, the Baccarat crystal glassworks earned international fame through its participation in major exhibitions throughout the 19th century and up until 1937. During this period and beyond, the factory distinguished itself by the excellence of its production and its continuous search for innovation, winning numerous medals. Baccarat’s creations influenced other European glass and crystal manufacturers in the decades that followed, setting the standard for both craftsmanship and stylistic models. This chandelier reflects the Neo-Greek taste, which was prominently featured in the factory’s productions at the 1867 Universal Exhibition. Along the central stem, several friezes of meanders – a motif characteristic of ancient Greek architecture, often used in 19th-century decorative arts – are arranged. In the upper section, some pendants also feature this same motif. At the ends of the chandelier’s arms, meticulously crafted by the Baccarat workshop, five opaque globes are adorned with a frieze alternating between two different palmette designs, connected by graceful scrolls. These details were achieved through an innovative acid-etching and transfer process, developed by the chemist Kessler, which also allowed for the frosted finish on the lighting globes. The crystal pendants add a certain richness to the overall design, which remains elegant and restrained, true to the Neo-Greek aesthetic. The chandelier is signed at the base of the stem. This molded block-letter signature first appeared in 1875, allowing us to date this chandelier’s production to after that year. The 1907-1908 Baccarat catalog lists a second Neo-Greek chandelier. However, in this later model, the style is less pronounced, appearing primarily in the transparent globes surrounding each light source. This chandelier is a fine example of Baccarat’s Neo-Greek production in the 19th century, particularly highlighted at the 1878 Universal Exhibition.

Ref.15570
Giuseppe PARVIS (attributed to), Egyptian Revival Mirror, circa 1900

This mirror, with its Egyptian-style design, was created by Giuseppe Parvis around 1900. Giuseppe Parvis (1831-1909) studied at the Accademia Albertina in Turin. Fascinated by Egypt, he moved to Cairo in 1859 to design Egyptian-inspired furniture. The cabinetmaker and decorator quickly gained international fame through World and International Expositions, including those in Paris (1867), Philadelphia (1876), Milan (1881), and Turin (1884), where he received prestigious awards. Highly esteemed at the court of the Khedive of Egypt, he furnished several palaces before returning to Italy in 1900. By the early 20th century, Parvis was exporting a significant portion of his creations, exerting considerable influence on the market. The base of the mirror features an inverted stylized lotus flower, within which the sculpted face of an Egyptian with a false beard is carved. This rests on a pink marble pedestal. Above it is an inverted headdress of an Egyptian deity, which may resemble one of the four statues located at the back of the sanctuary of Gerf Hussein in Egypt. The circular mirror is adorned with numerous pointed pendants. On the right and left, two serpents mimic the uraeus, the symbol of pharaonic authority, and two pendants with blue-and-white chevrons hang from them. The mirror is crowned with a scarab beetle with falcon wings, referencing the god Khepri. The back of the mirror is covered with embroidered fabric featuring geometric patterns characteristic of ancient Egypt, as well as the uraeus. This mirror, born from an Italian’s passion for Egypt, fully embodies the spirit of Egyptomania, which persisted into the 20th century in the realm of European decorative arts.