The European Decorative Arts Company's collection of Objets d'Art comprises of fine items that represent a variety of ideas, materials, and techniques in the applied arts from the 17th century through the 19th century, including examples of Russian Imperial porcelain, Trapani coral, Limoges enamel, and micromosaics, and works by Froment Meurice and Jacob Petit.

 

For the reasons of craftsmanship, rarity, quality and authorship, these are considered Objets d'Art (objects of art), items of luxury that are meant to provide nothing more than a feast for the eyes of their possessor.

 

In-person viewing of our extensive collection can be arranged at our by-appointment-only showrooms.

 

For any questions regarding our offerings, please contact us at:

P. 516-621-1771

C. 516-643-1538

eurodecart@gmail.com

 

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Renaissance Revival Mirror with Arms of the Duchy of Lorraine, Circa 1875


Maker(s): 
Date: Circa 1875
Materials/Techniques:   
Dimensions: h 13.375 "
w 8.625 "

Origin: French
Inventory #: 184
Inscription:
Inscribed Heureux Le Jour L’An Le Mois & La Place - L’Heure Et Le Temps Ou Vos Yeux M’ont Tue - Sinon Tue, A Tout, Le Moins Mue - Comme Meduse En Une Froide Glace
Other:



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This exquisite frame, combining a variety of materials and techniques, can be related to a rare group of smaller frames, all of which are carved entirely out of ivory, and fitted either with enamels or watercolor paintings on ivory. This example, surmounted by a cartouche with the arms of the Duchy of Lorraine, and inscribed with a poem in French, is the largest and most impressive of all that are known. A drawing for the identical frame is illustrated by Havard1 as an example of a frame from the 16th century, although no precise origin for the drawing is given (fig. 16). The origin of the design of these frames come from either 16th century printer title page woodcuts, or from designs by artists like Jacques Ducerceau (1510-84) whose designs for similar frames can be found in the Österreichisches Museum für angewandte kunst, Vienna. The Limoges enamel plaque just below the escutcheon depicts the mythological subject drawn from Ovid of Actaeon, prince and hunter, surprising the goddess Diana and her companions while they bathe. Diana punished Actaeon for peaking at their divine nudity by turning him into a stag and having his dogs attack him. The scene shows Actaeon already as a stag standing before the girls with a dog by his side getting ready to attack him.

The inscription, here inlaid with gold into a steel ground, also appears on the reverse side of another ivory frame, identical in design, which was sold by Christie’s (New York) on September 14, 1995, lot 8 (19 cm high), enclosing a Limoges enamel plaque in the center (fig. 16b). A set of three ivory frames from the same workshop enclosing watercolors on ivory by Antonin Pierre Topart (b.1833, a portraitist and history painter in enamel, exhibiting at the Salons from 1864 through 1882) was offered by the European Decorative Arts Company in 2006 and illustrated in Objets d’Art: The 19th Century (cat. no. 12) by Scott Defrin.

 

Related literature:

1 Henry Havard, Dictionnaire de l’ameublement et de la décoration depuis le XIIIe siécle jusqu’ ànos jours, Paris, Ancienne maison Quantin, 1887-90 (4 Vols.), Tome II, p. 387.