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Tobogan Antiques

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France
Paris
Tobogan Antiques

19th Century Fine Art Décembre 2012, ouverture au 14 avenue Matignon (Paris 8e), un nouvel écrin pour sa galerie Tobogan Antiques.

Répartis sur plus de 250 m2, des décors aux surprenantes ambiances présentent à sa clientèle internationale des objets d’art de qualité muséale représentatifs des grands mouvements artistiques de la seconde moitié du XIXe siècle, comme l’Eclectisme Napoléon III, le Japonisme, l’Orientalisme et les styles néo Grec et Egyptien, dont leurs auteurs applaudis aux Expositions Universelles, sont de nos jours largement représentés dans les musées français et internationaux.

12/08/2026

Baccarat
Crystal Manufactory
(attributed to)

Orientalist Chandelier

France
Circa 1890

Gilded, Crystal

Height : 80 cm (31,5 in.) ; Diameter : 60 cm (23,6 in.)

Charming Orientalist chandelier in chiseled and gilded bronze, clear and “ruby” crystal. The shaft consists of six tubular gilded bronze mounts shaped in curves and counter-curves, from which extend six light arms ending in corolla-shaped bobèches and fluted binets. The top is crowned by a spherical globe from which the upper volutes emerge. The entire chandelier is embellished with a network of fine chains with twisted links, from which hang numerous pendants and drops in smooth and cut crystal, both clear and “ruby.”

The Oriental-inspired style of this chandelier is evident in the complex interweaving of its sinuous lines and in its warm color scheme, which combines the brilliance of gilded bronze with the depth of tinted crystals. This type of design reflected the era’s fascination with a romanticized vision of the Orient, evoking the opulence of Moorish or Ottoman palaces.

Biography
The famous crystal manufacture of Baccarat, that dates back to the 18th century, was awarded its first medal in 1823, during the “Exposition des Produits de l’Industrie” for the “brilliance and the sharpness of its crystal” and became then the most renowned French “cristallerie”. Baccarat was undoubtedly the only French manufacture, that exhibited steadily and magnificently its products at the various Universal Exhibitions, and especially between 1855 and 1867. Reports of the Universal Exhibition, from 1855 to 1867, talk about the “perfection of the material and of its cut”, considered superior of those from Bohemia or England.

28/07/2026

« The young Horsewoman » and « The Girl with the Hat »
signed Ct Brochart (Painter, 1816-1899)

French school
Circa 1870

Pastel on paper

Height : 45 cm (17,7 in.) ; Width : 31,5 cm (12,4 in.)
With frame – Height : 74 cm (29,1 in.) ; Width : 56 cm (22 in.)

This charming pair of pastels forms a perfect pair and brilliantly illustrates the talent of Constant Joseph Brochart, a 19th-century portraitist. A specialist in ethereal, idealized female figures, the artist here embraces the Neo-Rococo style that so fascinated the bourgeoisie of the Second Empire, drawing inspiration from the elegance of the age of Watteau and Fragonard.

“The Young Horsewoman,” depicted in a three-quarter view, casts a gentle yet confident glance at the viewer. She is dressed in an elegant, whimsical ensemble consisting of a white satin jacket with silvery sheen, cinched at the waist with a wide coral-colored sash. The voluminous lace ruff, reminiscent of the 17th century, and the gray felt hat, adorned with ostrich feathers, frame her porcelain-complexioned face. She delicately holds a riding crop in her right hand, adding a touch of playfulness to the composition.

Echoing the first piece perfectly, “The Girl with the Hat” features a young woman in an 18th-century-inspired outfit. She wears a sumptuous blue dress, richly embroidered with gold motifs and accented by abundant ruffles of lace at the cuffs. Her innocent face is accentuated by a charming woven straw hat adorned with a garland of fresh roses. The treatment of the fabrics is remarkable, playing on the transparency of the muslin and the weightiness of the embroidered silk. She holds a small dog in her arms, adding to her air of purity.

With this pair of portraits, Brochart demonstrates his mastery of the pastel technique, his medium of choice for capturing the softness of the skin and the fluidity of fabrics. The skillfully directed light caresses the faces of these two elegant women, bringing out the vibrancy of the colors.

Biography :
Constant Joseph Brochart was born in 1816 in Pecq, in the province of Hainaut, and died in 1899 in Paris. Student at the Beaux-Art in Lille, where he won a first-class medal in 1837, he exhibited at the Salon from 1845 to 1862. Considered the driving force behind the revival of pastel painting in France by the Journal des Artistes (May 14, 1899), he specialized in portraits of elegant ladies, which brought him fame.

24/07/2026

« Breakfasts in Marly » by J.-A. Duval Le Camus (Painter, 1814-1878)

Exhibited at the Salon of 1846, no. 592
Dimensions with frame – Height : 157 cm (61,8 in.) ; Width : 170 cm (67 in.)

Large oval painting depicting a breakfast gathering in Marly’s park on a sunny morning. The guests, seated in a circle on the grass, are enjoying the pleasant summer weather, glasses of wine in hand. Perhaps they are already tipsy, as suggested by a gentleman’s belongings carelessly abandoned in the foreground, the overturned glass and the proximity of the group with rosy cheeks, where each person is almost slumped against their neighbor. This revelry, however, is not permitted for the youngest among them: the child, drawn to the bunch of grapes, a symbol of wine, is held back by his mother on the edge of the circle, who takes the fruit away from him. Not far behind flows a fountain where the next bottle is kept cool, ready to be brought by the attentive servants. A greyhound, a symbol of loyalty, looks away from the group, foreshadowing the events to come.

This painting follows in the pictorial tradition of “fêtes galantes”, a genre that emerged in France in the 18th century through the works of Watteau, Boucher, and Fragonard. The Age of Enlightenment was characterized by a liberation from social and moral constraints and from the rigors of etiquette; consequently, scenes depicting the good life, far removed from the austerity imposed by the court, were celebrated. Thus, the figures in our painting are all dressed in 18th-century fashion and wear wigs typical of the period. It is noteworthy that he mastered the harmony of colors, acid green, pale pink, and powder blue, and of light, a mastery already recognized by the jury of the Salon in 1838. This “personal palette” surely responded to the sensibilities of the 1840s.

The original gilded wooden frame adds to the work’s splendor: a garland of roses, daisies, fruits, and leaves, tied with a ribbon, extends the painting’s pastoral theme through a delightful interplay of volumes. The whole appears to be suspended by a pleated ribbon and bordered on either side by a frieze of pearls.

17/07/2026

“Drunken Hercules” Centerpiece attr. to G. Denière (Bronze-caster (1815 – 1903)

France
Circa 1870

Patinated and gilded bronze

Height : 42 cm (16,5 in.) ; Width : 37 cm (14,6 in.) ; Depth : 30 cm (11,8 in.)

An exceptional centerpiece in patinated and gilded bronze, showcasing a magnificent contrast between the brilliance of the gilding and the depth of the brown patina. The work is centered around a three-part allegorical and Bacchic composition.

Circular and flared in shape, the bowl mimics elegant openwork wickerwork. The rim is richly ornamented with a garland overflowing with vine branches, intermingling leaves and generous bunches of grapes in high relief. The naturalistic rendering of the vine evokes abundance and Dionysian festivities.

The body of the bowl is formed by two figures in the round, cast in patinated bronze, representing Hercules and a Bacchante. Seated and gracefully leaning against one another, the Bacchante is draped in ancient-style folds that partially reveal her nudity. Hercules, for his part, carries the pelt of the Nemean lion, which he slew during the first of his twelve labors. Their delicately raised arms support the basket in a fluid, theatrical gesture. The patina treatment highlights the softness of the flesh, contrasting with the mineral quality and brilliance of the gilded elements.

The ensemble rests on an imposing, scalloped, and undulating base made of richly gilded bronze. Inspired by the Rococo style, the pedestal is vigorously chiseled with powerful acanthus leaves, asymmetrical scrollwork, volutes, and shell motifs.

This piece is characteristic of the grand decorative style of the 19th century, particularly the Napoleonic III period, which embraced a blend of styles. It combines the opulence of the Louis XV ornamental style with classical figures inspired by Antiquity or the Renaissance. The exceptionally high quality of the chiseling and the alternating surface treatments, including matte gilding, glossy gilding, and patina, attest to the excellence of the bronze casters and gilders of that era.

04/07/2026

Rare set of six cabriolet armchairs attr. to J.-B. III Lelarge

France
Circa 1780

Beech

Height : 93 cm (36,6 in.) ; Width : 59 cm (23,2 in.) ; Depth : 53 cm (20,8 in.)

Rare set of six cabriolet armchairs in carved beech, painted cream white. Resting on four tapered, fluted legs, the flared seat is supported by a set of traverses adorned with a frieze of water leaves and featuring, at the base, a trophy of arms composed of torches, a quiver with feathers, and a mask. The armrests and their consoles extend from connecting blocks adorned with a rosette and are molded all the way up to the oval backrest, known as a medallion. At the top of the backrest sits a second trophy of attributes, combining a torch, quiver, scroll, and wreath of leaves. The seat, backrest, and armrests are upholstered in blue velvet with a floral design.
The finesse of the wood carving is comparable to that of the chairmaker Jean-Baptiste III Lelarge (1743–1802), who was admitted as a master in 1775; a side chair similar to our rare set is held at the Metropolitan Museum of Art in New York (inv. no. 23. 147.3), or to the elegant pair of gilded wooden armchairs at the Nissim de Camondo Museum (inv. nos. CAM 648.1 and CAM 648.2).

02/07/2026

« The Boules Game », P.-L. Détrier (Bronze-caster, 1822-1897)

France
Circa 1870

Signed Détrier

Gilded and patinated bronze

Height : 35 cm (13,8 in.) ; Width: 38 cm (14,9 in.) ; Depth : 34 cm (13,4 in.)

Charming, intimate group in patinated bronze with golden highlights, depicting a genre scene that is fully in keeping with the 19th-century historicist style, which sought to recreate the elegance of the 18th century with nostalgia and precision.
Two gentlemen dressed in mid-18th-century fashion, engaged in a game of boules, are seated around a game table, perfect example of miniaturized cabinetmaking, with its curved legs adorned with acanthus scrolls and asymmetrical shells typical of Rocaille art. The table’s apron is adorned with a frieze of godrons.

This bronze sculpture is a precious testament to the 19th-century fascination with the Siècle des Lumières, capturing the spirit of conversation, leisure, and elegance of that bygone era.

23/06/2026

"Triton and Mermaid" Sconces, signed G. de Kerveguen (Sculptor, ?-1897), France, Circa 1890

Bronze

Height : 56 cm (22 in.) ; Width : 52 cm (20,4 in.) ; Depth : 33 cm (12,9 in.)

A rare pair of wall sconces in patinated and gilded bronze depicting a Triton and a Mermaid as a matching set, each sconce featuring three light arms.

The pair, remarkably rendered in the round, adopts the same dynamic and picturesque pose, blowing into a conch shell. The figures, rendered with vigorous modeling, seem to emerge from aquatic foliage, undulating stems, and plant scrolls that ingeniously form the light arms. The contrast between the warm, nuanced brown patina of the bodies and the brilliant gilding of the foliage enhances the sculptural richness of the ensemble.

Biography:
Georges De Kerveguen (?–1897) was a sculptor and decorative bronze artist active in France during the second half of the 19th century. His work is part of the eclectic and historicist tradition that characterized the decorative arts during the Second Empire and the early years of the Third Republic. He is particularly appreciated for his ornamental compositions inspired by Greco-Roman mythology, maritime motifs, and classical allegories.

18/06/2026

« Last Days of Happiness in Pompeii » signed J. Coomans (Painter, 1816-1889) and dated 1863

Exhibited at the 1863 Salon, no. 452

Oil on canvas
Height : 118 cm (46,5 in.) ; Length : 135 cm (53,1 in.)

A beautiful painting depicting a scene of family life in an idealized Pompeian interior, featuring wall panels typical of the Fourth Style, framing mythological scenes such as a Venus in a shell, friezes of parading figures, and chimeras. Lying on a bed, a couple rests, in front of whom two naked children on a sumptuous leopard skin and a young girl innocently play knucklebones, a very popular ancient pastime often depicted in Roman art. On the left, a young boy brandishes an imposing grotesque theater mask, causing a small dog to bark. A servant stands on the left, holding a bowl of fruit, a symbol of abundance and refinement.

This work is a perfect example of 19th-century academic painting, and more specifically of the Neo-Greek movement (or “Pompeian style”). Strongly influenced by the archaeological discoveries at Pompeii and Herculaneum, Coomans specialized in the idealized and anecdotal depiction of ancient domestic life. Far from grand heroic or mythological narratives, the painter offers here an intimate genre scene, celebrating Roman otium (leisure time).

Biography :
Pierre-Olivier-Joseph Coomans (1813–1889) was a Belgian genre and history painter who trained under Nicaise de Keyser and Baron Wappers at the Royal Academy of Fine Arts in Antwerp. In 1843, Queen Louise-Marie d’Orléans sent him to Algeria to follow the French army in Kabylie. There he met the military painter Horace Vernet. His three stays in Algeria (1843, 1844, and 1845) introduced Orientalism into his work. He was awarded a vermeil medal at the 1848 Brussels Salon for Dernière charge d’Attila à la bataille de Châlons-sur-Marne.
In 1855, he settled in the vicinity of Naples, and the Roman frescoes of Pompeii led him to gradually abandon Orientalism in favor of romantic Neapolitan scenes, and then a new genre known as the “Pompeian style.”
In 1860, he settled in Paris and began to move toward academic classicism. From October 1888 to June 1889, he stayed in Philadelphia and New York, where he painted mainly portraits.

Bibliography :
– J. Girard de Rialle, À travers le Salon de 1863, Paris, 1863, pp.63-64 ;
– Explication des ouvrages de peinture […] exposés au palais des Champs-Élysées le 1er Mai 1863, Paris, 1863, p. 57, no. 452.

10/06/2026

« Fleur de Lys » Chandelier attr. to Maison Baguès (Art light Creator since 1840)

France
Circa 1900

Bronze, Crystal

Height : 110 cm (43,3 in.) ; Diameter : 79 cm (31,1 in.)

Rare twelve-light chandelier in gilded bronze and cut crystal, designed with a composition of remarkable architectural lightness. The frame, formed by an interlacing of finely gilded volutes and counter-curves, is entirely adorned with a floral motif in faceted crystal, punctuated by rosettes, beaded garlands, and pendants of various sizes.

The overall design, evoking a monumental fleur-de-lis, attests to the decorative expertise that made Maison Baguès famous in the 19th century. The abundance and delicacy of the crystal elements produce a particularly spectacular interplay of transparency and light, enhanced by the presence of a large, faceted sphere suspended at the center of the lower section. The piece is lavishly adorned with cut crystal pendants of various shapes; pear-shaped, diamond-shaped, and faceted pendants enliven the structure with light effects of great delicacy.

Through the virtuosity of its design, the richness of its ornamentation, and the quality of its crystal work, this chandelier perfectly illustrates the late 19th-century French taste for ceremonial lighting fixtures inspired by the decorative repertoire of the 18th century.

Biography :
Art light creator, Baguès was founded by Noël Baguès around 1840 in Auvergne. Specialized in liturgical bronzes, the company grew at the end of the 19th century and started to make lighting bronzes, thanks to the generalization of electricity. In the 1920s, Baguès created his own models in fine ironwork.

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.

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