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Prestigious antique fireplace in Scagliola as Sarrancolin Fantastico marble made after the fireplace of the Council Room at the Palace of Versailles

Prestigious antique fireplace made out of Scagliola painted in trompe-l'œil in faux Sarrancolin Fantastico marble with gilded ornaments. The large central leafy shell and the espagnolettes are characteristic of the Louis XV style . This beautiful chimney was made around 1880 after the model of the one that adorns the Council Room at the Versailles Palace. The latter was ordered by Louis XV in 1748 to replace the one commissioned by Louis XIV in 1701. The current fireplace, made out of Griotte red marble and gilt bronze, was installed in 1755. We also find the same model of fireplace, this time in white Carrara marble and gilt bronze , in the Ambassadors' Room of the Palais de l'Élysée, Presidency of the French Republic, in Paris. It is therefore an extremely prestigious mantelpiece model, realized to decorate exceptional places.

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A monumental Display Cabinet coming from an exceptional furniture set realized by Moses Michelangelo Guggenheim for the Palazzo Papadopoli in Venice, Italy

This monumental display cabinet is composed of three windows, designed to exhibit fine china and other sophisticated crockery, a custom revealed by the period photographs. The high society of the time collects objects of art and priceless tableware, and enjoys to show them to the guests while preserving them in this precious and imposing case. A true ceremonial piece, this opulent dresser was arranged in the reception hall that once was the Salone delle Quattro Porte in Palazzo Papadopoli . The smaller surface of this piece is pretext for an abundance of carvings that confirm the prestigious nature of it. The numerous sculptures are the work of an extremely skilled sculptor. The vertical uprights are decorated with images of old sheathed bearded men. The sheath is the support for a foliage frieze that ends with a scroll. The protruding cornice rests on corbels, representing a vocabulary of ornamental architecture. It supports four vases with lids and an armorial pediment flanked by two griffins and crowned with a cardinal's hat: it is a hat with a flat, wide-brimmed shape and from which hang large silk cords. Between the cornice and the window, a carved frieze of festoons alternates with monsters. Shells are arranged above the festoons. The extreme quality of the sculpture and the much-sought decor is indicative of the work of an exceptional sculptor, whose mastery was unrivaled. The coat of arms on this dresser is the Aldobrandini's, whose most famous member was Pope Clement VIII, between 1592 and 1605. Having his nephews quickly appointed cardinal in order to enlarge the Aldobrandini's power, we owe this very Pope the concept of « nepotism », « nepote » being the Italian for nephew. The Aldobrandini, from Florence, increased their wealth during the Middle Ages and adopted the coat of arms azure per bend embattled or and six stars or. Since 16th century it is framed with the cardinals symbols, just like it is on this amazing dresser : a broad brimmed hat with tassels, the galero. Agostino Caracci, brother of considerable Anibal Caracci, designs this exact coat of arms for the cardinal Cinzio Aldobrandini. The Aldobrandini heraldy is sculped on many Italian buildings, it is for example carved with the galero in the Aldobrandini Chapel of Ravenna's Duomo. Used by Clement VIII, it is often seen with the papal keys, like in Santa Maria Maggiore where his gravestone was designed by the illustrious sculptor Bernino, and on the coins minted with his blazon. An Aldobrandini descent from his mother Maria Maddalena, Nicolo Aldobrandini-Papadopoli wished to preserve the memory of this lineage in the Palazzo Papadopoli decoration.

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Pair of presentation harnesses, inspired by the Far East

This pair of Japanese style harnesses was made in the 19th century. The circular tray is highlighted by a belt of bronze plates with openwork decoration of Chinese motifs. They stand on four curved feet of square cross-section, crowned by bronze elephant heads and finished by a bronze winding.

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Escalier de CRISTAL (in the spirit of), Pair of pink porcelain potpourris, 19th century

This pair of 19th-century potpourris in the Louis XVI style consists of a porcelain bowl and lid in a magnificent matt pink colour. The “putoisage” technique used, which gives the piece its slightly speckled appearance, almost creates a relief effect that lends character to the porcelain. The resulting light effect compliments the brilliance of the original gilded bronze that adorns the pots. The gilded bronze elements on these pieces include the pinecone-shaped handle. This is a recurring motif in decorative art, symbolising fertility and regeneration. The openwork bronze necks of the containers are decorated with olive branches, an elegant and clever way of allowing the scents contained in the potpourri to escape. Finally, the pots rest on three legs finished by lion paws set on a base engraved with stylised acanthus leaves. Under the three legs, a flame reminds us of fire pots, these architectural ornaments typical of the classical and baroque periods. This set was produced in the spirit of the Escalier de Cristal by a manufacturer whose production quality is very similar to that of this great Parisian house. Heiress of the great merchant-mercers of the eighteenth century, Escalier de Cristal was a famous company during the Restoration created in 1808 and closed in 1923. Merchant-editor, the Escalier de Cristal produced small furniture and luxury objects. For the realization of its models, Escalier de Cristal most often called upon Parisian artists specializing in a specific technical field. Here is a rare photo of Escalier de Cristal pieces amongst which we can find a potpourri. Archive photo « Cl. 105 », An Escalier de Cristal potpourri, © Galerie Marc Maison.

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Julien-Nicolas RIVART, Napoleon III Style Gueridon by Julien-Nicolas RIVART – Floral Marquetry on Marble Top

This Napoleon III style gueridon is signed by Julien-Nicolas RIVART, renowned for his expertise in marble marquetry. The circular black marble top is adorned with a refined floral inlay featuring morning glory flowers in shades of pink, white, and blue. The motifs are meticulously set in a wreath-like arrangement, offering a striking contrast against the dark stone. The edge is framed with a delicate beaded gilt border. The ebonized wood base features a turned central column carved with ivy leaves in relief, supported by three scroll legs ending in claw feet. This piece reflects RIVART’s decorative craftsmanship and the high standard of ornamental art during the Second Empire.