Ref.03168
The seats coming from an exceptional furniture set realized by Moses Michelangelo Guggenheim for the Palazzo Papadopoli in Venice, Italy

Two armchairs and four chairs in carved walnut wood. This set is coming from the Palazzo Papadopoli, Venice, Italy, "Salone delle Quattro Porte" which was totally refurnished between 1874 and 1881 by Moses Michelangelo Guggenheim . The armchairs and the chairs of this set are produced in the same way with the difference that the armchairs are fitted with sculpted armrests. The base is made of four legs resting on round feet. The two front feet are tapered and fluted in their middle part, similar to columns. The architectural language here adopts an ornamental theme. The two back legs are from a square section. The feet are connected to each other by a spacer in the shape of an H, decorated in its center with an image of acanthus leaves. The frame of the seat is carved from a frieze of small flowers taking place in flowery containers. The main surface is decorated with a plant motif hanging from this frame. In the center of this motif is a crown of a duke. The uprights of the back are represented in an identical manner on all the chairs. The upper part shows the busts of sheathed women carved in very high relief and ending with an acanthus leaf. They rest on a console which again depicts the crown of the duke.The handles of the two chairs are a beautiful work of sculpture, notably through the back attachment where a winding acanthus leaf is represented. The grips protrude from the arms and show the heads women with extravagantly made up hair.

Ref.11417
Maison Soubrier, Pair of chairs with fan-shaped backs

This pair of chairs inspired by Japanese art was made by the Maison Soubrier in the late 19th century. The Maison Soubrier was founded in 1848. It specialised in creating furniture in the ancient styles, then followed the trend for Far Eastern art with Japanese-style furniture. In the 1970s, furniture, paintings and decorations rental took over from cabinetmaking, and it is still in this field that the company continues today. This richly decorated pair of chairs is inspired by Far Eastern art. The legs and struts feature curves and floral and geometric ornamentation reminiscent of Japanese art. Each backrest is decorated with a fan, the ends of which are held in place by two crane heads. A dragon emerges from the fan and blends harmoniously with the vegetation occupying the lower part of the back. The chairs work in pairs: their backs are symmetrical. The Soubrier archives contain a photograph of a chair whose ornamentation is identical, apart from a few details, to that of our two chairs. These chairs are typical of the fashion for Japonism in France at the end of the 19th century.

Ref.10972
MANUFACTURE JULES VIEILLARD & CIE - Glazed ceramic dish with a parrot partitioned decoration

Large circular dish in enameled polychrome ceramic with light relief decoration of a parrot perched on a branch of Japanese cherry blossom on aubergine color background. Cartridge with fake Japanese calligraphy in the decoration. At the back, mark of the "Jules Vieillard et Compagnie" factory with the three intertwined croissants that take up the coat of arms of the city of Bordeaux. This mark indicates a period of manufacture between 1868 and 1895, that is to say at the time when the two sons of Jules Vieillard, Charles and Albert, direct the manufacture. But more precisely, one can undoubtedly attribute the genesis of this type of Japanese design to the presence of Amédée de Caranza, visionary workshop manager with a particular taste for Orientalism and Japanism. It is thanks to his talent and knowledge that the Bordeaux factory shines from the World's Fair 1878 . A large dish of the same model is reproduced in the book "Jules Vieillard et Cie, Histoire de la faïence fine à Bordeaux. De l'anglomanie au rêve orientaliste." by Jacqueline du Pasquier, p. 108.

Ref.12227
Important modern stone outdoor fountain

This stone fountain realized at the end of the 20th century is composed of an octagonal molded basin, and in its center of a pillar presenting on the four faces a lion mascaron whose open mouth allows the water to gush, the pillar is summoned by an ornamental ball