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Tobogan Antiques, 14 , Avenue Matignon, Paris (2026)

23/05/2026

Set of 4 Sconces « Hercules and Omphale » signed "A.D." for A. Delafontaine (Founder, 1813-1892)

France - Circa 1880

Gilded bronze

Height : 83 cm (32,6 in.) ; Width : 46 cm (18,1 in.) ; Depth : 37 cm (14,6 in.)

Beautiful set of four six-light sconces in chased and gilt bronze, forming two pairs. Each sconce is composed of a terminal figure in the form of a herm, ending in a rich cascade of acanthus leaves, from which emerges a delicate stem adorned with foliage and terminating in a seed motif.
The male sconces depict a bearded man with vigorous musculature, his head turned upward in a dynamic attitude. Draped across his torso like a sash is an animal skin. This iconography (strength, beard, and animal hide recalling the leonté or skin of the Nemean lion) strongly suggests the mythological figure of Hercules.
Its counterpart presents a female figure with a classical profile, her hair gathered into an elaborate antique-style chignon. She likewise wears an animal skin draped across her chest. This figure most likely represents Omphale, Queen of Lydia, with whom Hercules exchanged attributes. These figures are placed beneath an arch ornamented with vine leaves and clusters of grapes, and support scrolling uprights from which spring three light-bearing arms highlighted with acanthus decoration, terminating in candleholders adorned with water-leaf motifs.

Biography :
A bronze factory existed in the 18th century, directed by Jean-Baptiste Maximilien Delafontaine, master foundryman born in 1750. His son Pierre Maximilien (1774-1860) succeeded him. The factory was first domiciled at 13 rue d’Orléans then, from 1824, at 10 rue Neuve-de-l’Abbaye. In the 1840s, it was Auguste Maximilien Delafontaine who was at its head at 46, rue Bonaparte, then 10, rue de l’Université in 1870. The most fruitful period of the firm corresponded to his direction. Publisher, he entrusted the ex*****on of the bronzes to the Molz foundry, rue de Rennes. Taking up the contracts signed by Duret with the founder Quesnel, he published around 1855, among others, Le Danseur napolitain, Le Vendangeur improvisant, Jeune Pêcheur dansant la tarantella, La Tragédie, La Comédie. Its catalog of “art and furnishing bronzes” offers works by other artists including Pradier, reproductions of antique statues and various art and furnishing objects. During the sale after Barye’s death in 1876, he purchased a certain number of models, notably dogs, of which he made a few editions. The activity was continued by his own son Henri-Maximilien (?-1932) from 1884, until the closure of the company in 1905.

13/05/2026

Orientalist Vase by J. & L. Lobmeyr (Crystal Manufactory founded in 1823)

Austria - Circa 1890

Glass, Enamel, Silver

Height : 51 cm (20 in.) ; Width : 25 cm (9,8 in.) ; Depth : 20 cm (7,8 in.)

Beautiful baluster-shaped vase in blown turquoise-blue glass, composed of an ovoid body narrowing at a pronounced shoulder marked by a wide collar. The upper section extends into a long cylindrical neck flaring into a corolla-shaped rim. The whole is adorned with a rich polychrome decoration in enamel, silver, and gold. On the body unfolds a large circular rosette featuring a complex radiant star with multiple points, characteristic of the sacred geometry of Islamic art, serving as the starting point for a dense network of arabesques, palmettes, and stylized vegetal interlace motifs.
The neck and shoulder are animated by vertical and horizontal friezes, arcades ending in gilded pendant motifs, as well as bands of egg-and-dart and trilobed designs drawn from the repertoire of Mamluk art.
The vase rests on a later silver-mounted base bearing a Spanish hallmark, embellished with reinforcing elements resembling clasps or riveted straps, inspired by Hispano-Moresque metalwork.

In response to the nineteenth-century enthusiasm for the arts of Islam, stimulated by the Universal Expositions, Ludwig Lobmeyr commissioned, from 1877 onward, two talented architects and Orientalists, Franz Schmoranz the Younger and Jan Machytka. Having closely studied Syrian and Egyptian enamelled glass from the fourteenth century, they designed for the manufactory what became known as the “Arab Series,” the “Persian Series,” and the “Hispano-Moresque Series.”
Through its glass coloration, its thick gilding, and its Mamluk and Moorish decorative vocabulary, this vase is a perfect representative of the “Arab Series” (circa 1878–1890).

Biography :
In 1823, Josef Lobmeyr founded the company in Weihburggasse in Vienna, and it soon became a supplier to the Imperial Court. Josef, followed by his son Ludwig Lobmeyr, became pioneers in the production of Austrian and Bohemian crystal. The company participated in the World’s Fairs beginning in 1851 in London. In 1864, Ludwig co-founded the Austrian Museum of Applied Arts in Vienna. Ludwig and his nephew Stefan Rath joined the Modern Movement and co-founded the Österreichischer Werkbund in 1912. The crystal manufactory also commissioned works from the Wiener Werkstätte. J. & L. Lobmeyr supplied the crystal chandeliers for the castles of Linderhof Palace and Herrenchiemsee Palace, as well as a crystal chandelier for Schönbrunn Palace and numerous other clients. In 1883, the company co-developed some of the world’s first electric chandeliers in partnership with Thomas Edison’s company. Lobmeyr also became a supplier to the King of the Belgians, the Duke of Brabant, and the Court of Flanders. In 1906, the company opened a representative office in Karlovy Vary.
After Ludwig’s death in 1917, the company passed to his nephew Stefan Rath. He secured commissions from the Vienna State Opera, the Metropolitan Opera, the John F. Kennedy Center for the Performing Arts, and the Kremlin. The company remains active today and continues to collaborate regularly with contemporary designers.

07/05/2026

Large Chandelier attr. to G.-J. Galle (Bronze-caster, 1788-1846)
France
Circa 1830

Gilded bronze

Height : 120 cm (47,2 in.) ; Diameter : 92 cm (36,2 in.)

Large chandelier in chased and gilded bronze with sixteen lights, fully embodying the refined aesthetic of the Restoration period (1814–1830), marked by a return to a certain classical sobriety tempered with ornamental elegance.
The central shaft, adorned with stylized acanthus leaves and finely chased friezes, is composed of a sphere decorated with rosettes and foliage motifs, ending in a pinecone (an ancient symbol of eternity), and supports two rows of eight fluted arms of light with double scrolls. A gadrooned basin in the antique taste, a detail frequently seen during the Restoration, crowns the whole. It is suspended by eight rods with symmetrical openwork links, decorated with rosettes and scrolls inspired by the ornamental vocabulary inherited from the Empire style, and attached by scroll motifs to a leafy corona surmounted by a flared-rim bowl with gadrooned decoration.

This chandelier perfectly illustrates the stylistic transition characteristic of the Restoration period: a balance between the classical rigor inherited from the Empire style and a renewed taste for lightness, grace, and a certain decorative refinement. It is a work that is both functional and sculptural, designed to enhance a prestigious interior while demonstrating the exceptional craftsmanship of Parisian bronzeworkers of the early 19th century.

Chandeliers with widely projecting arms, imposing pinecone finials, and the use of rigid chains with decorative links are recurring hallmarks of G.-J. Galle’s production, who was awarded a medal at the 1819 Exhibition of the Products of Industry.

Biography :
Son of the great Empire-era bronzemaker Claude Galle (1759–1815), Gérard-Jean (1788–1846) took over his father’s workshop in 1815, inheriting its molds, designs, and prestigious clientele, and brought it to its peak. While he continued producing bronzes in the Empire style, he gradually introduced greater lightness, richer decoration, and forms that heralded the Charles X style. Under the July Monarchy, his style became more eclectic.

28/04/2026

Floral Bowl with Tritons in Paris Porcelain

France
Circa 1870

Porcelain, Gilded bronze

Height : 30 cm (11,8 in.) ; Width : 35,5 cm (13,9 in.) ; Depth : 25 cm (9,8 in.)

Beautiful polychrome porcelain bowl with a turquoise ground inspired by Sèvres “celestial blue,” enriched with a gilt decoration of scattered lozenge motifs dotted with small flowers, surrounding reserved cartouches with gilt rocaille frames depicting polychrome floral bouquets of roses, pansies, and forget-me-nots, painted with great naturalistic delicacy. The interior of the bowl, left with a white ground, is adorned with floral garlands and bouquets.
It is set in an ornate mount of finely chased and gilt bronze, composed of two lateral handles formed by scrolling acanthus leaves accented with beading and surmounting satyr heads; a gadrooned pedestal foot decorated with laurel leaves; and a quadripod base representing tritons as atlantes, reclining on asymmetrical rocaille-inspired volutes.

This bowl, belonging to the grand tradition of mounted objects, reflects a 19th-century production in the taste of the 18th century (more specifically the Louis XV style), characterized by the exuberance of rocaille decoration (asymmetry, scrolling foliage, tritons), the combination of precious materials (porcelain and gilt bronze), and a taste for spectacular centerpiece objects. It forms part of a prolific yet often highly refined production, oscillating between imitations of the royal Sèvres manufactory and original creations intended for a bourgeois or aristocratic clientele, appreciative of luxury and technical virtuosity.

Biography :
Since the discovery of kaolin, needed material for the making of porcelain, porcelain factories also called porcelain manufactures are on the increase in all France and naturally in Paris. Most of those manufactures worked in the 18th century under the protection of a member of the Royal family, such the comte de Provence, future Louis XVIII, who protected the Clignancourt manufacture. But during and the 19th century, numerous pieces did bear no making mark. It was then almost impossible to attribute them to any particular Parisian factory, hence the expression “Paris porcelain” or “Vieux Paris” including all those various productions.

11/04/2026

Orientalist Chandelier and its Wall-lights attr. to F. Barbedienne (Bronze-caster, 1810-1892)

France
Circa 1880

Enamel, Glass, Gilded bronze

Chandelier – Height : 70 cm (27,6 in.) ; Diameter : 30 cm (11,8 in.)
Wall-lights – Height : 30 cm (11,8 in.) ; Width : 21 cm (8,3 in.) ; Depth : 24 cm (9,4 in.)

Beautiful Orientalist gilded bronze chandelier with polychrome cloisonné enamels with six lights. It is composed of a large ruby-red glass bowl encircled by an enameled crown decorated with floral motifs on a turquoise background, from which the six light-arms extend. This is connected to the lower finial, ending in an enameled knop, by three small chains. The whole is suspended by three chains adorned with interlacing patterns, attached to a ceiling canopy decorated with vegetal interlace motifs.
It is accompanied by a pair of gilt bronze wall sconces with four lights arranged in a bouquet around a central stem, richly decorated with polychrome cloisonné enamel in scrolling foliage, interlace, and arabesque designs.

The color palette, dominated by turquoise blues, greens, and reds, evokes an ornamental vocabulary of orientalist inspiration, akin to Islamic or Byzantine productions as reinterpreted in 19th-century Europe.

Biography :
Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Paris one of the major artistic foundries of his time. Barbedienne specialised in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and also bronzes for furniture. Apart from his own production, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honoured by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honour. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories : Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes.

03/04/2026

Pair of Vases by Sèvres Porcelain Manufactory

France – Dated 1890

Porcelain, Gilded bronze

Height : 38,5 cm (15,1 in.) ; Diameter : 15 cm (5,9 in.)

This pair of baluster-shaped vases in porcelain known as “bleu de Sèvres” or “gros bleu” is adorned with an elegant mount in finely chiselled and gilded bronze, comprising a neck with a broad gadrooned molding, lateral appliques in the form of hanging laurel swags and tied ribbons suspended from a foliate knop, and resting on a slightly flared circular foot encircled by a frieze of stylized water leaves.

The ornamentation clearly draws upon the decorative vocabulary of the reign of Louis XVI: falling garlands, ribbon-tied bows, and gadrooned friezes. However, the amplitude of the proportions, the chromatic saturation, and the richness of the mount reflect a historicist sensibility characteristic of the nineteenth century rather than the strict Neoclassicism of the eighteenth century.

Biography :
The Sèvres factory of soft-paste porcelain was created, about 1738 at Vincennes by bankers and financiers with the aim of making true or “hard-paste” porcelain, like Meissen did. In 1753 Louis XV, became a major shareholder and the manufactory was transferred to Sèvres, closer to Versailles and the château de Bellevue, acquired by the Marquise de Pompadour. The Marquise took a personal interest in Sèvres activities, and encouraged production. In 1759, Louis XV bought out the other shareholders and Sèvres became the exclusive property of the France Crown. From then, the manufactory mark was a crossed Ls (the royal monogram) together with a letter indicating the year. The period from 1756 to 1779 represents the most successful and prosperous years for the factory. Louis XV, ordered large services for diplomatic and royal presents. The foremost artists, like the painter Boucher or the sculptor Falconet, worked for Sèvres, creating models. Experimentation in order to discover the hard-paste porcelain technic continued, and was discovered after 1769. The factory produced with success both soft-paste and hard-paste porcelain, in developing at the same time new colors: dark blue (bleu lapis) about 1752, turquoise blue (bleu céleste) in 1753, apple green in 1756, rose in 1757, and king’s blue in 1763. These remarkable pieces were usually painted with scenes form engraving by famous painters (François Boucher) or sculptors, with garlands, baskets of flowers and trophies. The Manufacture continued its production in the 19th century, asking the artists for new models, or taking inspiration from 18th century pieces, just like our pair of coolers.

27/03/2026

Cabinet stamped GROHE A PARIS (G. Grohé, Cabinet-maker, 1808-1885)

France
Circa 1870

Marquetry, Gilded bronze, Sarrancolin Marble

Height : 125,5 cm (49,4 in.) ; Width : 129 cm (50,7 in.) ; Depth : 59 cm (23,2 in.)

Louis XVI–style cabinet with a slightly projecting central section, crafted in mahogany veneer, amaranth, rosewood, and blackened wood, creating a striking sense of depth. It is further enriched with abundant finely chased and gilded bronze mounts that structure and reinforce the visual hierarchy of the façade.
The front opens with a frieze drawer decorated with garlands of ribbon-tied roses set against a black ground, extending along the sides with fluted friezes and fleurons, and a door framed by a gilt bronze molding highlighted with water leaves, beading, and rosettes, revealing two interior shelves. The façade, as well as the slightly concave sides, is adorned with an elegant marquetry of diamond-shaped lattice centered with sunflower blossoms in stained wood.
The pilasters, surmounted by rosettes, are decorated with abundant floral drops, acanthus leaves, and musical and floral trophies. A molded Sarrancolin marble top, accentuated by an egg-and-dart frieze, crowns the piece, which rests on two front lion-paw feet and two pilaster feet on the back.

Biography :
Guillaume Grohé (1808-1885) born in the Grand Duchy of Hesse-Darmstadt came to France about 1827 and settled in Paris. With his brother Jean-Michel, he led in Paris at 30 rue de Varennes the family business “Grohé Frères”, offering furniture and art objects and presented successfully works at the Industrial Products Exhibition of 1834, which earned him an honorable mention. His success was as rapid as considerable. He won a silver medal in 1839 and a gold medal at the Industrial Products Exhibition of 1844. He was awarded the Legion of Honor in 1849 and was later promoted to the rank of officer. In 1861, his brother retired from business, leaving Guillaume alone at the head of the company. With no successor, the company ceased its activity in 1884. Become in recent years one of the leading cabinetmakers of his time, Guillaume Grohé was naturally appointed Supplier of royal and imperial houses: for King Louis XVIII (Louis XIV Console, National Exhibition of 1844; Renaissance style ebony cabinet, 1844), for King Louis-Philippe (Rosewood Commode-secretary, 1839, now in the Louvre museum), for Emperor Napoleon III (Mahogany dining-room furniture at Saint-Cloud Palace, 1855; many mahogany furniture in the Compiègne and Fontainebleau palaces, 1859), and after 1862 for Queen Victoria. Specialized in the making of furniture style, the Duke of Aumale commissioned him to furnish Chantilly Castle, and Mrs. Pelouze, Chenonceaux Castle. Grohé participated brilliantly in the Universal Exhibitions and was there several times a member of the jury. According to the report of the jury of the 1878 Paris Universal Exhibition, Grohé is described as “the undisputed master of the modern cabinet-making, was awarded all forms of praise, as he won all series of rewards.” Maxime Boucheron finally quoted in a Figaro newspaper’s report in 1884 that “Grohé was a truly great master of the art of the nineteenth century woodwork. A career spanning more than fifty years has filled our museums and national palaces with incomparable masterpieces. He assured the preponderance of French taste in furnishing luxury.”

21/03/2026

Vitrine attr. to F. Schmit (Cabinet-maker, 1830-1880)

France - Circa 1870

Kingwood, Gilded bronze, Mirror, Glass

Height : 195 cm(76,7 in.) ; Length : 130 cm (51,2 in.) ; Depth : 45 cm (17,7 in.)

Elegant Louis XV–inspired vitrine with a curved and sinuous form, in kingwood veneer and mounted with gilt bronze. Glazed on all sides and fitted with a mirrored back, it opens with a door framed by molded gilt-bronze mounts and reveals three glass shelves, emphasizing its purpose as a presentation cabinet for works of art.
It is surmounted by an openwork pediment composed of scrolls, small flowers, and asymmetrical foliage, decorative vocabulary echoed in the cartouche on the lower section. The vitrine stands on four cabriole legs ending in gilt-bronze sabots with acanthus leaves.

This vitrine is a fine example of the perfect integration of bronze mounts into the structure of the piece. The mounts are not merely decorative additions: they follow the lines of the furniture, reinforce points of visual tension, and highlight the transitions between the different parts of the cabinet.

Although it shows similarities to the work of François Linke (1855–1946) or Joseph-Emmanuel Zwiener (1849–1925), the crowning section with its highly developed openwork decoration and the slender corner mounts are more reminiscent of the work of Frédéric Schmit (1830–1880).

Biography :
Born in Luxembourg, Frédéric Schmit was a cabinetmaker specializing in mahogany and rosewood furniture, and meubles de fantaisie. He practiced at 9 rue de Charonne from 1856, then in 1870, the firm temporarily became SCHMIT, ALAVOINE ET PIOLLET at 9 and 24 rue de Charonne. In 1874, it became SCHMIT ET PIOLLET at 20 rue de Charonne, then moved to 22 from 1876, then became SCHMIT SUCCESSOR around 1888. He won a gold medal at the Universal Exhibitions of 1878 and 1889. Around 1878, the firm began manufacturing art furniture.

14/03/2026

“ Allegory of Beauty ” by R. Morgari (Painter, 1827-1909)

Italy
Circa 1880

Oil on canvas

Height : 175 cm (68,9 in.) ; Width : 105 cm (41,3 in)

This painting depicts an elegantly dressed young woman seated in an armchair in a garden, adjusting a flower in her hair. A Cupid, half reclining across her lap, holds up a mirror tilted toward her. In the background, a winged putto stands on a pedestal, surrounded by floral garlands, introducing a symbolic dimension. The architecture, an antique colonnade partially concealed by cypresses and lush vegetation, creates a theatrical setting in which nature and culture harmoniously interact.
The presence of the putto, associated with blossoming flowers and the mirror, suggests an allegory of Beauty. The mirror, a traditional attribute of Venus, may allude to vanity or self-awareness, yet the tone here remains light and gallant rather than moralizing. The atmosphere evokes a refined genre scene more than a strictly codified allegory.

This work by Rodolfo Morgari belongs to the Italian academic tradition of the second half of the nineteenth century, marked by a pronounced taste for elegant scenes with allegorical and historicizing elements.

Biography :
Rodolfo Morgari (1827–1909) was born into a family of painters and decorators. He received his training at the Accademia Albertina di Belle Arti di Torino, one of the leading centers of academic instruction in Northern Italy. There, he developed a strong command of drawing, modeling, and monumental composition.
He was the brother of Paolo Emilio Morgari, also a painter, with whom he collaborated on several decorative commissions. Their production forms part of the broader movement of religious and civic decoration that accompanied the political and urban transformations of Piedmont in the nineteenth century.
Morgari initially specialized in monumental religious painting. He created numerous decorative cycles for churches in Piedmont and other Italian regions, responding to the growing demand for sacred ornamentation within the context of the nineteenth-century Catholic revival.
At the same time, he produced genre scenes and compositions of an allegorical or historicizing character, often marked by a Neo-Rococo or Neoclassical taste. These works, intended for a private clientele, reveal a keen sense of decorative elegance, refined color, and meticulous attention to fabrics and accessories.

28/02/2026

Pair of Tritons attr. to V. Paillard (bronze-caster, 1805-1886)

France - Circa 1870

Gilded and patinated bronze, Griotte Marble

Height : 35 cm (13,7 in.) ; Width : 28 cm (11 in.) ; Depth : 16 cm (7 in.)

Pair of patinated bronze sculptures with gilded highlights depicting two juvenile tritons slightly turned inward, creating a visual dialogue.
These hybrid figures combine the torso of a child, evoking Cupid, with an ichthyomorphic lower part forming a coiled tail. This typology refers to the iconographic tradition of tritons, marine deities belonging to the retinue of Poseidon/Neptune in Greco-Roman mythology. The tritons are shown holding or surrounded by stylized aquatic elements: shells, aquatic foliage, and broad-petaled flowers.
Each sculpture rests on a molded circular base in griotte marble, truncated at the rear, a material widely used in European decorative arts from the 17th to the 19th century, lending the whole a rich chromatic foundation and a sense of luxury.

Biography :
Victor Paillard (1805-1886) was one of the most distinguished bronze casters in Paris during the second half of the 19th Century. He was taught chasing by Jean-François Denière (1774-1866), then opened in the 1830’s his own workshop making “Art bronzes and Furnishing bronzes”, settled n°105, boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone ; John Burney Waring ilustrates a gilt-bronze mirror by him in his “Masterpieces of Industrial Art and Sculpture, 1862 (Plate 92)”, which is a comprehensive record of the finest pieces on show in the London Exhibition. At that time, he was awarded a prize medal and the exceptional quality of his work was commented in all jury reports. Appointed a Chevalier of the Légion d’honneur by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundred models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his “Cherub” figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the “happy and innocent moods of childhood”.

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