Le boudoir est le lien entre la terrasse et la chambre à coucher, dont il est séparé par une glace claire que des rideaux pouvaient éventuellement masquer. Les murs sont recouverts de lambris moulurés, peints en gris et rehaussés d’or et de plinthes sculptées d’un motif de vannerie. Des vitrines et une porte vitrée occupent les pans coupés accostés de colonnes engagées de marbre de Sienne et surmontés de quatre bas-reliefs en stuc teinté et doré, fixé sur une plaque de verre, représentant faisans, écureuils, belettes et oiseaux des îles autour de coupes fleuries. Le sol est recouvert de dalles de marbre (...)

Mahogany veneered coffee table raised on four wide out-scrolled legs, connected by a thick bar which runs parallel to the table edge. Similar gueridon pictured in Susan Day’s Jean-Charles Moreux p. 199

Game table by Lucie Renaudot in burr tuya veneer and mahogany. Two drawers set in the apron. Circa 1925.

Exquisite and elegant jewelry eighteenth century Louis XV bronze and tortoiseshell.

Contactez-nous pour connaître la valeur de vos céramiques, verreries d'Émile Gallé. Estimation gratuite à Paris et en France I Aguttes

Eight Legged Elephant Trunk Table, designed by Adolf Loos, manufactured by Friedrich Otto Schmidt, Vienna Oak, stained brown, brass fittings and brass feet, red-brown marbled stone inlay Around 1900 H 65.5 cm, D 95 cm Lit.: cf Eva B. Ottillinger, Adolf Loos. Wohnkonzepte und Möbelentwürfe, Salzburg and Vienna 1994, ill. p. 46, no 38, ill. p. 57, no 49 and ill. p. 154, no 216

This wonderfully vibrant and finely detailed original ART NOUVEAU pochoir is from the rare work: LA DECORATION ARTISTIQUE DOCUMENTS DU PEINTRE DÉCORATEUR Directeur: HENRY GUEDY Libraire Spéciale D’architecture Editeurs: ÉMILE THÉZARD A DOURDAN Date: September 1909 6th Year No. 2 THIS IS AN ORIGINAL NOT A REPRODUCTION. PLATE 5 DECORATION FOR RESTAURANT OR BUFFET ROOM This original decorative Art Nouveau pochoir and hand painted lithograph originally appeared in a now extremely hard-to-find periodical La decoration artistique, which was published in Paris during the decade before World War I. They constitute some of the rarest and best material printed during the Art Nouveau period of which Henry Guedy is now considered a leading light. The dazzling array of images in the periodicals includes typographical banners, designs bursting with parrots and peacocks, vines and flowers, and other natural motifs. Examples include storefront signage for bakeries and cafés; decorative friezes of theatrical masks and grapevines; borders of flowers, books, and birds; stenciled decorations for fire screens; and corner and ceiling ornaments. The vibrant prints from this unusual and rare periodical are design reference works to aid the interior designer/ painter decorator at the very beginning of the 20th Century. Guedy folios now reach sums in the thousands and I have been very lucky to stumble across a whole lot of Guedy and other decorating reference material from the Art Nouveau period. More listings will follow. An essential acquisition for any collector of Art Nouveau graphics and illustration. STYLE: ART NOUVEAU TYPE: Colour Pochoir SIZE: 28cm x 38cm ( 11” x 15” ) PAPER: Heavy Stock CONDITION: Overall very good. Commensurate to age. Moderate wear on the margin edges well outside of image area. Light paper ripple top left and mid right border edge. Please note this is an antique print and is subject to some age toning and foxing of paper. Please refer to photos. Can be matted and would look beautiful in a frame. Card mount not included. This item will be sealed in plastic wrap and shipped in a cardboard postal tube to ensure it reaches you safely. Shipped tracked and signed for and fully insured. Please feel free to ask any questions. A photograph of the plates explanation in French can be supplied upon request. ********************* Pochoir technique: With pochoir, a hand painted fashion plate, decorative/interior design, or illustration to be duplicated was carefully analyzed to determine each color layer. Often, but not always, an outline of the image was printed as a black and white lithograph and served as a base layer, each succeeding layer of color was then printed over the black and white litho layer. Depending on how intense the lithograph layer was, it would either be incorporated fully in the final image or be invisible and serve only as a guide to the image layout. Separate stencils were cut, sometimes in thin sheets of copper, zinc, or aluminum, for every color component. Each successive color layer, using watercolor or gouache, was applied to the stencil with a brush called a pompon. Pigment on the brush could not be thick or runny, as paint could easily slide underneath the stencil and change the shape of the image. Therefore, it was necessary to really blot the pigment on the brush before applying it to the stencil and in the case of watercolor images, this was even more critical. Skilled printers could achieve incredibly subtle details using gradation and stippling, spattering or even simply drawing additional details with a small brush on the final layer. Sometimes as many as 250 stencils were used to recreate a single image, and the resulting print was surprisingly rich and detailed. These rare pochoir prints on offer are some of the finest examples available. ************************

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Rare tea table with in two levels - the upper floor present a removable tray in glass

About Andre Arbus. Three-piece modular Art Deco bar with two stools commisioned in 1936, mahogany wood structure with brass accents, frontal side covered in beige leather, illuminated frosted glass top and lateral mirror tops. Bar: Height: 43.1/2” (110 cm.) Width: 79 1/2” (200 cm.) Depth: 14 1/2” (37 cm.) Stools: Height: 32” (81 cm.)