Ref.9781
Antique pair of cast iron vases with putti

This pair of ornamental vases for the garden were made out of cast iron during the 19th century. They are decorated on their front with dancing characters.

Ref.10098
Antique Louis XVI style pier glass with quiver and flowers decor

This Louis XVI style antique overmantel in wood and painted stucco was made in the 19th century. The upper part is adorned with a quiver and a flaming torch with crown of flowers.

Ref.10370
Important antique fireback with Jean Bouhier de Savigny coat of arms, first half of the 18th century

Importante and beautiful antique cast iron fireback with Jean Bouhier de Savigny coat of arms supported by two greyhounds. Made in the first half of the 18th century. Jean Bouhier de Savigny was President of Parliament of Burgundy since 1704. He was also a historian, translator, scholar and bibliophile. He resigned his post in Parliament in 1728 to devote himself to his historical and literary work following his election to the French Academy in 1727. He died in 1746. A similar fireback is kept at the Troyes Museum.

Ref.3121
Antique Louis XIV style "Bollection" fireplace in algerian Breche Sanguine

Antique Louis XIV style fireplace made out in a rare marble called " Breche Sanguine" which is found in Kristel in Algeria. The important molding is called "Bollection" and is typical of the Louis XIV style.

Ref.3326
Beautiful antique Napoleon III fireplace with windings and acanthus leaves in Black Belgium marble

This Napoleon III style fireplace was made in the 19th century. Its shelf rests on doucine-shaped capitals, setting back the entablature. The jambs are richly ornamented, giving relief to the sumptuous Belgium Black marble . Console feet are strongly curved by large scrolls, decorated on the sides with a central flower and a sculpted bellflower. Topped with matching modillions, they are covered with acanthus leaves and adorned with a row of oblong pearls.

Ref.10984
Antique cast iron fireback with the Joly family coat of arms, 18th century

This antique cast iron fireback was made in the 18th century. It is decorated with the arms of the Joly family, lords of La Grange, of La Borde,of Fleury and of Blaisy en Bourgogne.

Ref.18851
RAINGO FRÈRES (Paris, 1813), Clock with "bleu céleste" porcelain plate, Louis XVI style

Ref.18398
Pair of Candelabras with storks

This pair of Napoleon III patinated-bronze candelabras was made in the 19th century. It is surmounted by a stork standing on a sphere. The five light candelabra terminating with bulbous candle holders. The central part of the candelabra is in the form of a flutted coloumn supported by a classical bust wearing a pine and floral wreath. The base is made of monopodiae griffon heads, on a triform stepped base.

Ref.03131
Diana, enamel by Jeanne Lemerle

The figure of Diana, standing, fills the length of the painting. Totally nude, she leans on a rock, upon which her towel is thrown; the sway of her hips creates a curved line breaking the rigidity of the vertical format. She holds her bow in her left hand, has a moon crescent on her forehead and one of her dogs at her side.For this painting, Jeanne Lemerle chose the theme of Diana resting in a wild rocky landscape, through which water flows. The proximity of the water and her total nudity implies she is about to bathe, or just has. The title of the painting first comes as a surprise because besides the dog, the discreet bow and half moon, no other elements indicate Diana’s hunter identity. As she did with her Daphnis and Chloe painting, Jeanne Lemerle was fond of reinterpreting classical themes.Exhibited at the Salon de Beaux Arts of 1909, along with an enamel portrait, this piece testifies to Jeanne Lemerle’s participation in the artistic life of her times, three years after she was married and had left her father’s workshop.

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.11880
Double door in carved oak in Napoleon III style

Beautiful Napoleon III style double door in richly carved oak, made in the 19th century. Decor of musical instruments, bow and quiver, theater masks ... The back of the doors is decorated with simple panels.

Ref.12397
Lot of 25 m2 of antique oak parquet flooring

Straight antique oak parquet flooring with a surface area of about 25 m2.

Ref.12195
Pair of Louis XVI style wood, stucco and mirror doors, circa 1970

This pair of Louis XVI style doors was made around 1970. Painted in pastel green, they present three panels composed of mirrors adorned with painted stucco elements such as rosettes in the corners or foliage scrolls. The panels are framed with stucco friezes. The handle, lock and hinges are in chased brass, the handle has an acanthus leaf decoration, the hinges are in pine cone.

Ref.12498
Regency style trumeau in gilded wood and trompe l'oeil marble from Campan, early 19th century

This Regency style overmantel was made at the beginning of the 19th century in trompe l'oeil imitating Campan marble. It is composed of a highly oxidized mercury mirror in three parts framed by a wooden rod gilded with gold leaf, adorned with a frieze of pearls and acanthus leaves. The mirror is flanked by two rectangular panels framed by gilded wooden rods, each with a medallion in the center decorated with a flower in a scroll and acanthus leaf design and a shell at the base in interlacing acanthus leaf. The top of the mirror is decorated on each side with volutes of gold leafed.

Ref.12925
Lot of 1.4 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 80 tiles of which the six sides are 3"9/32 inch for 6"1/2 inch width and 1 inch thick. The whole surface area is about 1.4 m².

Ref.12736
Louis XVI style overmantel in painted wood and stucco with flowers garlands

This overmantel was made in the second half of the 19th century in stucco and wood painted in white. Its elegant decoration is typical of the Louis XVI style, the mirror is framed with friezes and the corners are marked by a square rose. A very rich flowers crown hold by a knotted ribbon is over it. The overmantel's sides are also adorned in their upper and lower parts with roses garlands. This overmantel can eventually be paired with the reference 12737.

Ref.13001
Pair of Renaissance style vases in patinated bronze from the Mouchy-le-Châtel castle, second half of the 19th century

This pair of patinated bronze vases were made during the second half of the 19th century to decorate a door on the facade of the Mouchy-le-Châtel Castle, in the Parisian region. This castle was built in the 16th century by the Maricourt Family, then it was taken during the second half of the 18th century by the first dukes de Noailles, before being occupied by the dukes of Mouchy, younger branch of the Noailles family. It's the dukes of Mouchy that started the work of restoration and extension during the Second Empire, entrusted to the architect Hyppolite Destailleur (1822 – 1893), to whom we also owe the restoration of Courances and Vaux le Vicomte castles. Helped by the sculptor and drawer Michel Lienard (1810 – 1870) and sculptor Mathurin Moreau (1822 – 1912), the three of theme redefined the castle Mouchy-le-Châtel keeping the Renaissance decorative repertoire of the first castle. Our pair of bronze vases is an example of the reinterpretation of the shapes inspired by the Renaissance. Put on a flaring fluted foot, they're adorned on the belly with four lion's heads in relief. The lid and the long neck are decorated with friezes of acanthus leaves and flowers. The long neck is joined to the belly by two handles in a S shape of which the scrolls are occupied by flowers. Our two vases were made during one the different restoration's phases of the castle during the second half of the 19th century to adorn the door of one of the castle's facades as show the archive picture.

Ref.12909
Lot of 9.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 450 tiles of which the six sides are 3" 3/4 for 7" 1/4 length and 13/16 thick. The whole surface area is about 9.5 m².

Ref.13361
Fireback with the coat of arms of Pierre Godart, 19th century

This fireback was made in the late 19th century, it was made moulded from a model made in the 18th century. It is adorned with the Godard coat of arms, could be Pierre Godard's one, dead in 1751, knight, Lord of Belbeuf, general prosecutor in the Rouen parliament. He marries Augustine-Hélène Le Pelletier, lady of Saint Gervais, daughter and heir of Louis Le Pelletier, Lord of La Fosse, near Vendôme (see REF 9534). He obtains the belbeuf land to be marquisate in 1719. Or it could be Jean Pierre Prosper Godart's ones, son of the previous, titled second Marquis of Belbeuf in 1751, general lawyer and prosecutor general in the Normandie parliament in 1762. The original fireback is now in the Musée d'Art, d'histoire et d'archéologie of Evreux and comes from the Belbeuf castle.

Ref.12870
Lot of around 5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles from Provence. About 300 tiles of which the six sides are 3"9/16 for 6" 11/16 length and 13/16" thick. The whole surface area is about 5 m².

Ref.13321
Louis XVI style trumeau with friezes and flowers crowns

This Louis XVI style trumeau was made in the late 19th century in painted wood and stucco lightened up with gilding. The mounts depicts a paneled decor of friezes of gilt acanthus leaves and pearls, surmounted by a small crown of flowers. The pediment of our trumeau was supposed to receive a painting which was replaced by a night blue fabric. This frame is surmounted by a relief decoration depicting a knotted ribbon noticable by the precision given to the folds.

Ref.12874
Lot of 10.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 620 tiles of which the six sides are 3 3/8 for 6" 11/16 length and 1" thick. The whole surface area is about 10.5 m².

Ref.12899
Lot of 4.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 317 tiles of which the six sides are 3" 1/4 for 6" 1/2 length and 1" thick. The whole surface area is about 4.5 m².

Ref.12893
Maison GIROUX and Ferdinand DUVINAGE - Exceptional and rare cup with waders with iridescent glass and electroplated decor, circa 1870-1880

This cup made in the 1870-1880’s by the maison Giroux, as indicates the signature on the mount, is a piece extremely rare because of the material used. Indeed, few models with iridescent glass are known today. The Japanese inspiration of the decor and the model of our cup indicate that it is a creation of Ferdinand Duvinage who takes the direction of the maison Giroux between 1867 and 1876, then taken by his widow when he dies. This store which was originally selling all kind of supplies and small objects such as paints, varnishes, albums, writing-papers, fans, toys, boxes and souvenirs, but also lithographs, drawings and watercolors, considerably developed in the first decades of the 19th century. First, because they count among the clients, important persons such as the Duchesse de Berry, Louis XVIII or even Charles X, then by the drive given by Alphonse Giroux’s sons who joined the firm in 1833. Thus, Alphonse-Gustave Giroux, the eldest son, had the idea to sell small furniture. Even though he was an artist himself, he worked like furniture dealers of the 18th century, with artists who did not have the right to put their signature and exerted a hold over the design of the creation that he chose. He also decided to move the store in the new Opera district on the corner of the 43 boulevard des Capucines and the 24 rue Neuve des Capucines in 1855. On this same year, the company which had already won medals for the quality of its production during previous events, sells during the World Fair, to the Impress Eugénie, a bonheur du jour, conserved today in the château de Compiègne. In 1867, the store direction is given to Ferdinand Duvinage, Harinkouck and Brune. Little things are known about Harinkouck and Brune who seem to have been associated for a short period of time as Duvinage remains the only one in 1874. Ferdinand Duvinage (1813-1876) who seems to be cousin with Alphonse-Gustave Giroux, joins the company during a few years before taking its direction, without changing the name. He files in 1874, 1876 and 1877 patents for a marquetry technique of mosaic with metallic partitioning for furniture and art objects. His method is really original because it involves the combined union of ivory as a base, wood for the designs or ornaments, and copper or other metal to partitioning the ivory fragments. The firm continues to participate to World Fairs where they win many medals, even though they are not that much mentioned by the critics, we know that the productions with the Japanese vocabulary created under the direction of Duvinage were also very appreciated and were a real commercial success.

Ref.12839
Ferdinand Duvinage – Pair of single-flower vases with a ivory marquetry decoration

This beautiful pair of single-flower vases was made by Ferdinand Duvinage between 1874 and 1884. He files in 1874, 1876 and 1877 patents for a marquetry technique of mosaic with metallic partitioning for furniture and art objects. His method is really original because it involves the combined union of ivory as a base, wood for the designs or ornaments, and copper or other metal to partitioning the ivory fragments. The firm continues to participate to World Fairs where they win many medals, even though they are not that much mentioned by the critics, we know that the productions with the Japanese vocabulary created under the direction of Duvinage were also very appreciated and were a real commercial success. He creates here, a beautiful pair of vases in glass with a shaped thin and elegant shape, that evokes a flower’s corolla and adorned on the walls with a enameled reed decoration. The vases rest on a gilt bronze base remarkably and finely chiseled lightened up with a marquetry decoration of ivory taking from the process invented by the artist.

Ref.13836
Oak game counter

Large game counter made of oak wood, open on each side, topped by a tray made of two very thick boards from the same trunk.

Ref.14507
The Royal Macaw vase painted by Albert-Léon LEBARQUE and its original harness

Exemplary of the 19th century fascination with Asia, the decoration of this spectacular vase is the work of Albert-Léon Lebarque. Painter and sculptor, Lebarque is known for having designed the medals of the Compagnie du Chemin de Fer du Nord. Lebarque also worked as an earthenware painter for renowned ceramists, exhibiting in particular at universal exhibitions. Our vase is presented on its original saddle. Made of wood, it is characterized by its Japanese style, its complex shapes and its great elegance. The vase is decorated with a decoration very rich in patterns and colors, painted on enameled ceramic and signed by the artist. It combines blooming liliums, butterflies and a masterful macaw with its blue and gold dress. It is a royal parrot, an animal symbol of freedom, power and longevity in Asian culture. The chubby belly of our vase also features two grotesque heads, placed symmetrically. Their presence underlines the marvelous character of this setting.

Ref.15025
Pierre-Adrien Dalpayrat, Small Glazed Stoneware Vase, late 19th century

This glazed stoneware vase was crafted by Pierre-Adrien Dalpayrat in the late 19th century. Pierre-Adrien Dalpayrat (Limoges, 1844-Paris, 1910) is recognized as one of the most significant European ceramists of the late 19th century, particularly for his mastery of flamed stoneware. He worked for various faience factories before establishing his own workshop in Bourg-la-Reine. Dalpayrat’s near-exclusive avoidance of the potter’s wheel showcases his exceptional skill in the art of glazing. He often collaborated with Adèle Lesbros, and their works were met with considerable acclaim at various exhibitions. The vase’s shape is inspired by a gourd, a common motif among Art Nouveau ceramists. The bulbous body culminates in a narrow opening, mimicking the natural form of a stem. The glaze is a testament to Dalpayrat’s extraordinary technical prowess. The rich oxblood red, a signature of Dalpayrat, transitions into a matte gray on the body, with intermediate hues of blue and yellow. Subtle white scratches in relief enhance the already profound texture and depth of the piece. Dalpayrat’s pomegranate mark is visible on the underside of the vase. The Gourd-Shaped Vase housed in the Musée des Arts Décoratifs in Paris, featuring similar color schemes, is another striking example of the artist’s inspiration and technique.

Ref.15224
BACCARAT, Pair of Double Vases with Japanese-Style Decoration, circa 1880

This pair of Japanese-style double vases was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal manufacturer Baccarat showcased its excellence at the World’s Fairs throughout the 19th century. These ruby crystal double vases feature identical decorations: each part is adorned with branches of cherry blossoms (called “sakura”) and birds facing each other. Geometric friezes decorate the top and base of the vases. When the pair is assembled, the decorations mirror each other in two ways: the birds face each other between the two parts of each double vase, and the large vase of one features the same decoration as the small vase of the other, and vice versa. However, the mounts are different: one features cherries on their branches, while the other depicts poppy flowers. Both mounts bear the Baccarat factory stamp, used from 1875 onwards. In addition to the stamp, one of the two vases connected by the mount also carries an original label.

Ref.15348
Louis XVI style trumeau with flower garland and medallion

Ref.3555
Louis XVI style mantel in veined Carrara marble with pearl entablature

Ref.5355
Louis XVI period mantel with pearls and carved ribbon

Ref.15645
Louis Philippe period trumeau with floral and plant decoration

Ref.6057
Louis XVI style fireplace in Paonazzo marble, decorated with a pearl frieze

Ref.6122
Louis XV style fireplace in Carrara marble richly carved with plant motifs

This Louis XV–style fireplace was crafted in Carrara marble, a material prized for its soft whiteness. This light tone enhances the richness of the carving and the fluidity of the lines characteristic of the Rocaille style. The structure follows the typical movement of the Louis XV style, with a serpentine frieze in the shape of a basket handle and a sinuously profiled mantel shelf. The jambs, slightly curved, widen toward the base and rest on simple plinths. The overall effect is one of balanced elegance, where the rounded volumes contrast with the precision of the marble. The finely carved ornamentation is particularly refined. The centre of the entablature features a large acanthus leaf motif framed by volutes and foliage, from which flower bouquets emerge. On either side, branches adorned with flowers and fruits spread in relief across the full width of the frieze. The jambs echo this decorative vocabulary: each console is adorned with an upper scroll surmounting a cascade of flowers, leaves, and stylised acanthus, ending in a plinth carved with an upright vegetal motif. All these elements are executed with great finesse, highlighting the lightness characteristic of the Louis XV style. The cast iron interior is also decorated. It displays a large central shell motif surrounded by leafy scrolls, repeated on the sides with arabesques and floral ornaments in relief. These details recall the vegetal forms of the marble and create continuity between the sculpted frame and the hearth.