Ref.9050
Winter garden by Loebnitz and Sédille

The Website Discover Loebnitz's work. Artist as much as an industrial, he gave a new impetus to the ceramic manufacture See the Website The Virtual Visit Find these woks of art in our virtual visit of our Paul Bert Serpette booth in the Saint-Ouen flea market. See the Exhibition .am-parent-card{ display: flex; width: 100%; gap: 5%; } .am-child-card{ display: flex; flex-direction: column; border-radius: 5px; background-color: white; box-shadow: 2px 2px 5px #8080807d; width: 50%; overflow: hidden; } .ref-img1 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 100%; } .ref-img2 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 400px; } .ref-img3 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 400px; } .ref-img4 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 400px; max-height: 600px } .ref-img5 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 350px; } .ref-img6 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 300px; } .ref-img7 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 300px; } .ref-img8 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 200px; } .ref-img9 { border-radius: 5px; box-shadow: 0px 0px 5px grey; width: 300px; } .ref-sect { display: flex; flex-direction: row; align-items: center; gap: 30px } @media screen and (max-width: 640px) { .am-parent-card{ display: flex; flex-direction:column; width: 100%; } .am-child-card{ width: 100%; } .ref-img2 { width: 100%; } .ref-img3 { width: 100%; } .ref-img4 { width: 100%; max-height: auto !important; } .ref-img5 { width: 100%; } .ref-img6 { width: 100%; } .ref-img7 { width: 100%; } .ref-img8 { width: 100%; } .ref-img9 { width: 100%; } .ref-sect { display: flex; flex-direction: column; align-items: center; gap: 30px } } This winter garden demonstrates in a spectacular manner Paul Sédille and Jules Lœbnitz’s collaboration as well as the appearance, at the end of the 19th century, of Orient-inspired decorations. The signature on the back of the tiles, « Maison Pichenot, J. Lœbnitz successeur, Rue des Trois-Bornes n°7 et Rue Pierre Levée n°4 Paris », allows us to date it between 1872 and 1878. The Moorish inspiration The ceramic adornment covering the walls of this panelling reveals bright colours, blue shades enhanced with yellow, red and black. The monumental chimney, made out of scagliola, ceramic tiles and cloisonné enamels over brass, is also adorned with muqarnas. The sumptuousness of the architectural decoration is just as stunning as the brightness of the colours, made possible by the use of ceramics. The floor is composed by a mosaic which goes along with Lœbnitz’s ceramics. The winter garden also presents several wrought-iron pieces, particularly for the French windows and the rotunda. Jules Lœbnitz’s ceramic decoration comes with a profusion of colours, enhancing the architectural lines of this unique piece. The top of the chimney is adorned with a splendid floral composition, inspired by patterns from the south of Spain, particularly alluding to the Alhambra in Granada, and the decoration of the Barca Door. On the chimney’s right side is a rotunda made of wooden panels and with a ceiling decorated by wooden lattice. The arcatures at the entrance of the rotunda bring us back to the beautiful ones in Córdoba’s Maqsurah, which were drawn by Paul Sédille in 1871 during his journey to Spain. The Maquet-Nicolle family This Moorish winter garden used to be the extension of one of the living rooms of the Maquet-Nicolle’s ancient private mansion, located at the 35 boulevard Vauban in Lille and edificated in 1868 – as written on the facade. Alfred Maquet (1836-1882), a merchant in the thread and linen market, lived there with his young spouse Pauline Nicolle (1850-1931), related to an important family in the spinning mill herself. The couple, married on the 22nd of November 1869, lived boulevard Vauban starting from 1873 – the year their son Emile was born – and became owner of the place in May 1882. Pauline Nicolle lived there until her death in 1931. Alfred and Pauline Maquet come from Lille’s bourgeoisie of textile industry and spinning market. The textile industry, and more specifically the spinning market, became Lille’s speciality during the 19th century. The Maquet family, established in Lille since the 18th century, is not an « industrial » dynasty of employers, but a merchant family who specialised in the linen trade. The merchant families are close to the textile industry and the manufacturing field, with who they contract alliances throught business and marriage, but at the same time they stay focused on sales instead of production, even if they rule true firms. Starting from the second half of the 19th century, many important families of merchants get access to industry and production. Maquet, nevertheless, remain essentially a merchant family. Alfred Maquet’s father, Henri Maquet (1801-1867), was a great merchant of Lille who married Stéphanie Verstraete, sister of the Verstraete brothers, spinning industrials in Lille and Lomme. The Maquet-Nicolle’s sons, Émile (1873-1960) and Henri (1876-1943), would too remain merchants in Lille. Sédille's journey to Spain In 1871, Paul Sédille goes on a journey to Spain, to discover the Moorish art in Granada, Seville and Córdoba. He is highly impressed by the polychromatic monuments presenting an abstract, floral ornamentation, in a simplificated range of tones. The winter garden is probably influenced by this founding journey. We can notice similarities between the decoration on the bottom parts of the walls and the adornment in the Alhambra palace in Granada, especially in some details : the niche’s ornamentation of the Barca Door, the muqarnas of the chimney’s lintel. The entrance of the winter garden’s rotunda, with its arcatures, reminds us of the horseshoe polylobed arches of Córdoba’s Maqsurah, which can be encountered in Paul Sédille’s sketches. Indeed, Sédille came home from his Spanish journey with notebooks full of sketches. These were entrusted to Lœbnitz, who created a range of patterns which could be declined on his ceramics. Considering this, it is undeniable that the Alhambra’s decorations have been a major inspiration in the ornamentation of our winter garden. Córdoba’s Maqsurah, sketch by Paul Sédille Sédille, architect of the Au Printemps department store Sédille, architect of the Au Printemps department store After the 1881’s fire which burned the Printemps, edificated in 1863, his founder Jules Jalouzot (1834-1916) chose the architect Paul Sédille to reconstruct it. The architect deployed treasures of cleverness and modernity using steel in particular for the building’s structures. Au Printemps quickly turned into the absolute model for department stores. Art and architecture historians aknowledge it now as the department store prototype as well as the one of the modern industrial building. The Sédille and Loebnitz collaboration In Sédille’s opinion, architectural decoration had to be colourful and polychromatic architecture inherent to the building, that is to say polychromy had to last as long as the building. This is the reason why he perceives ceramics as the best material for architectural decoration. The method of production of faience tiles resistant to chapping, originated by the Pichenot-Lœbnitz manufacture, allowed to solve the problem of the enamel’s chapping by changing the composition of the pottery itself rather than the one of the enamel. So, at the beginning of the 1870 decade, Lœbnitz oriented himself towards the production of architectural ceramics. In addition, the great, « unchappable » faience tiles could receive a painted decoration made of glazed, shiny and lasting colours. These innovations in architectural ceramics by Lœbnitz permitted to Sédille to satisfy his will of a polychromatic architecture. In 1889, in a letter regarding the Parisian World’s Fair, Sédille gives advice to his good friend Lœbnitz, then says : « Therefore, I am ending by wishing with you the generalisation of our shared dream, the one of a true, coloured and sustainable decoration, by the earthenware and by the enamels which came inalterable from the fire. » The winter garden, one amongst many collaborations between the architect Paul Sédille and the ceramicist Jules-Paul Lœbnitz, is a great example of polychromatic architecture and of the orientalist taste of the time. Facade of Jules Loebnitz’s workshop on 4, rue de la Pierre Levée made by the ceramicist and Paul Sédille Mosaïque sur le sol du jardin d’hiver, attribuée à Facchina The mosaic floor attributed to G. Facchina Giandomenico Facchina (1826-1903) was an Italian mosaicist, as well as an ancient mosaic restorer in Friuli and then in Venezia. When he realised that Italy’s artistic politics were to lead the art of mosaic to decadence, he decided to leave for France. After settling in Montpellier, where he did patent a method to assemble and disassemble ancient mosaics, he is chosen by Charles Garnier to execute the mosaics of the Parisian Opera. He developped a new process, allowing him to earn time and reduct some costs : instead of executing the mosaics in situ, he produced them confortably on a table, and then transported and arranged them by blocks. He received a golden medal at the third Paris World’s Fair (1878), before being designated Chevalier de la Légion d’Honneur. Facchina worked with many architects in the last decades of the 19th century, to contribute, with his ornamentations of mosaic, to polychromatic architecture. Amongst those architects we can mention Sédille, with who he collaborates in 1875 for the mosaics of the Printemps’s facade or at the ornamentation of M. Brot’s familial tombstone in the Père Lachaise. He is also the author of the great mosaic floor in the galerie Vivienne in Paris, of the one in the Petit Palais, and of many others. Thus, it is most certain that Sédille would call on him for the execution of our winter garden’s mosaic floor. Orientalism To defend polychromatic architecture, Sédille often uses references to oriental art, really fashionable in Occident since the beginnings of the 19th century. « Orientalism » is an artistic movement of this time, derived from the « Romanticism » and provoked by Napoleon’s invasion of Egypt in 1798. Many artists travelled to the Middle-East and gave about it a luxurious and fantasised interpretation. We can encounter this artistic movement in paintings but also in architecture and decorative arts. Many pieces of work gave an insight on polychromatic oriental architecture, which was a great inspiration for Paul Sédille. Inspired by the orientalist movement of his time and by his own journey to discover the Moorish art in Spain, Paul Sédille delivers to us a magnificent winter garden, dazzling with bright turquoise tiles, thanks to the architectural ceramics of Jules Lœbnitz. Its rarity, its beauty grants to this piece its uniqueness, and make it a major work of art for the 19th century history of architecture, and for the appearance of architectural ceramics in France. Palais du Gouverneur à Alger

Ref.9711
Antique cast iron fireback with France and Navarra coat of arms dated 1613

Ref.2398
Neo-Renaissance style antique fireplace in carved walnut wood

This large walnut Neo-Renaissance style fireplace was made ​​during the 19th century. The mantel is delicately carved, a leather cut feature decorates the entablature, and is elaborately decorared with a frieze of foliage sheltering chimeras. At both ends of the frieze, there are two medallions with sculpted heads, following the Renaissance style. The jambs are decorated with vases, foliage and fruit and are crowned with Corinthian capitals. This fireplace features an enclosed overmantel mirror and fluted pilasters.

Ref.2506
Large antique Napoleon III style fireplace in walnut wood

This large Napoléon III style fireplace was made out of walnut wood during the second half of the 19th cenutury. The fireplace's mantle, composed of highly curved jambs supports an overmantel mirror surrounded by a moulded frame. The tapered pilasters crowned by capitals with acanthus leaves are on either side of the mirror. An arched pediment, features a carved woman's head with fruit and foliage, and crowns the mirror.

Ref.2516
"The hunt", large historic stained glass by Mauméjean Brothers

This large Neo-Gothic style stained glass window represents a great hunting scene with two men on their horses, hunting deers. Both men, wealthy squires, wear medieval costumes, as embroidered tunic, plumed hat and long spurs. One men is trying to pierce a deer with his spear. On the front of the scene, a crouched page is holding two menacing-looking dogs with a leash. At left, a third dog is about to stop the escape of a deer. This stained glass is of high artistic quality, thanks to the many details in the drawing. Thus one distinctly sees the beards and wrinkles of the squires or the fine embroidery of the red tunic. Similarly, the bright colors demonstrate a deep knowledge of production techniques.

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Rare antique pediment with clock coming from the Chateau of La Garcillière in Talmont Saint Hilaire

This rare antique pediment with clock comes from the Château of la Garcillière in Talmont Saint Hilaire (Vendée). Made out of carved stone during the 19th century, this pediment is monumental. We can see the pediment in situ on the picture showing the chateau.

Ref.10048
Antique cast iron fireback with Leopold the First, Duke of Lorraine, coat of arms

18th century cast iron fireback with the arms of Leopold I (1679-1729), duke of Lorraine and of Bar. Two giants each holding a club reminiscent of Hercules, stand on Renaissance style pedestals and support the coat of arms of the Duke bearing the ducal crown. The arms reveal the different titles of Leopold I: King of Jerusalem, of Hungary and Aragon, Duke of Anjou, of Bar, of Gueldre and Juliers. More precisely from left to right and top to bottom: arms of Hungary; fleur de lys of Naples, Cross of the Kings of Jerusalem, arms of Anjou, of the house of Alsace (in the center), gold fleur de lys of Anjou, the lions of Gueldre and Juliers and finally the arms of the Duke of Bar.

Ref.2911
Beautiful antique Art Nouveau fireplace by Charles Gréber with workers' decorative frieze

This fireplace was made in ceramic and massif walnut by Charles Gréber (1853 -1935) descendant of the Gréber Family , a famous dynasty of ceramists from Beauvais (Oise, France). The front is decorated with a scene of workers with the name of each professions on it : locksmith, carpenter, blacksmith and joiner. This frieze is topped by a shelf in massif walnut and a hod with leafage in relief. The same tiles are framing the workers frieze. The ceramic tiles are in shades of green-beige, very popular in around 1900. Even if this piece of art belongs to the Art Nouveau style, its iconography vocabulary refers to the Realism movement. Artists like Dalou, Millet or Courbet are picturing simple farmers and people from the working class in some of their most famous works of art – See details.

Ref.3017
Oak wood paneled room with satyres heads and drapery patterns, 19th century

Antique 19th century paneled room made out of carved oak. The satyr heads carved decoration is very fine and of quality. The paneled room is composed as follows: - a large basket-handle arch - a large fireplace frame - a large mirror - carved panels with napkin folds and drapery patterns with triple arcades. These panels are 2.96 meters in height (116'' 1/2) to about 4 linear meters (157'' 1/2). See the pictures for more precise dimensions.

Ref.10353
Antique Louis XV style gilt-bronze fire screen, 19th century, foliages and flowers decor

Beautiful antique Louis XV style firescreen in gilt bronze, 19th century. Contoured and curved shapes characteristics of this style, Rococo decor of foliages, flowers and asymmetrical shells.

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Beautiful Louis XV Style gilt bronze fire fender with children and foliages

This Louis XV style fire fender was realized during the 19th century in gilt bronze . It displays children sitting in a foliage environment.

Ref.3195
Antique Napoleon III style fireplace with columns in Sea Green marble

This Napoleon III style fireplace was made in Belgium in the 19th century. Its straight lines are highlighted by panels and columns made out of Sea Green marble. The columns,sculpted in the round, are placed in front of the jambs and are slightly detached from them. The entablature is punctuated by three panels framed by moldings.

Ref.10486
Antique Empire style pair of andirons with Sphinxes, gilt bronze and brown patina bronze

These Empire style andirons were built in the 19th century. On each, a sphinx in bronze with brown patina stands on a pedestal decorated with a lyre and rosettes. The two are united by a chain.

Ref.10847
Antique Louis XVI style overmantel mirror with laurel branches frieze

This antique overmantel mirror was realized in the 19th century in the Louis XVI style , in wood and white painted stucco. The upper part, carved in low relief, is centered with a crown of flowers, entangled in branches of laurels.

Ref.10855
Large antique Regence style overmantel pierglass with putti playing in the vineyards

This large Regence style overmantel pierglass was made during the 19th century in France in wood and painted stucco. Volutes and Rocaille -inspired shells decorate this overmantel pierglass whose upper part is occupied by a large medallion in which a scene about wine is represented. Putti hold bunches of grapes in their hands while another climbs onto a tree at the end of which clusters of grapes hang. This scene evokes with tenderness and naivety the pleasures of wine. The medallion itself is framed by rococo curves and by a large shell in the center, at the top.

Ref.3445
Antique Regence period fireplace in Red from the North marble

This antique Regence style fireplace in Red from the North marble was made during the 19th century. Its imposing dimensions come from Louis XIV style while its lines are more and more curved which is characteristic of the Regence style. The jambs are discreetly fluted and support a frieze decorated with a large bollection.

Ref.3461
Rare antique door in oak wood with nails, 18th century

This rare antique door in oak wood was made during the 18th century. It is decorated with nails.

Ref.3564
Big Napoleon III style double door made of carved wood

This big double door was made of carved oak during the 19th century. It is decorated with two vases garnished with some fruit and flowers, foliate scrolls and garlands. The double door is surmounted by a frieze with rosettes which has a cartridge supporting a palmette on its center.

Ref.16314
Pair of Japanese-blackened wooden frames decorated with embroidered silk

This pair of frames was made out of black wood around 1880-1890. Their wooden frame, decorated according to a Far East style, is made up of openwork friezes. In their upper part, the two frames are decorated with a calligraphic inscription, inspired by the Far East. The two frames are crowned by two winged dragons facing each other. The frames have medallions with a silk embroidered border, recovered with convex glass. Delicately embroidered, the silk is decorated with wild animals among a vegetal environment. These two frames are characteristic of the Far East trend which came to Europe at the end of the 19th century, in particular a trend towards Japanese and Chinese style. Made by a French artist, unfortunately anonymous, they are the privileged evidence of a profound taste for exoticism. The high quality of this pair of frames makes them very original and rare.

Ref.11569
An antique Louis XVI style overmantel with pearls

Antique Louis XVI style overmantel pierglass with pearl decoration made in the 19th century in wood and stucco golden painted. It comes with its mercury mirror.

Ref.11558
Pair of Louis XV gilded bronze wall lights

Rare pair of sconces with two arms of light, Louis XV period, 18th century, made out of gilded bronze. Asymmetrical decoration characteristic of the taste for Rococo.

Ref.10944
GUERET Frères - Set including an oak clock and barometer

This set consists of a clock and a barometer, is stamped "Gueret Frères à Paris" and dated 1863. Made in carved oak, the barometer and the clock are composed like wall panels carved with cartridges and branches. Very beautiful quality of the sculpture. It was in 1853 that Denis-Désiré Guéret (born February 10, 1828) and his brother Onésime (born March 10, 1830) created a factory of carved furniture under the name "Guéret Frères" . In 1877, it takes the name of "Guéret Jeune et Cie", which allows us to confirm the creation of our set before that date. From 1855, they participated at all Exhibitions and won many medals. The quality of their work is frequently rewarded and adds to their order book. Rich bourgeois but also illustrious personalities such as the Duke of Aumale, Napoleon III or Mr. Bryce, very demanding of this sumptuous furniture, will order them. The latter commissioned them to make all the furniture for his hotel Avenue Gabriel.

Ref.11595
Sèvres Porcelain inkwell decorated with putti protected by a dove

This charming porcelain inkwell bears the mark "S.62" which means that it was made by the Manufacture de Sèvres in 1862. Very refined in its lines, colors and decor, this inkwell is adorned with two putti protected by the wings of a dove.

Ref.11824
Lot of 7 m2 of square oak parquet panels

Small set of oak parquet flooring with inlay of another wood species, square shape. Dimensions 16,93 x 16,93 inch, thickness 0,98 inch. The lot consists of 40 complete panels and a few half-panels, all for an area of about 7 m2

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Antique gilded Trumeau, Napoleon III style, with a bevelled mirror

Antique Napoleon III style overmantel pierglass with a gilded frame and bevelled glass. Made out of wood and gilded stucco in the 19th century.

Ref.11924
Antique trumeau decorated with an oil on canvas representing a lively landscape

Antique trumeau made in the 19th century, decorated in its upper part with an oil on canvas representing a lively landscape.

Ref.12146
Rare antique Louis XVI style firescreen in wood and gilded stucco

This rare antique Louis XVI style firescreen was made in the 19th century out of wood and gilded stucco. Refined decor, especially thanks to the fine rows of pearls. Not very visible on pictures, there is indeed a glass at the center.

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Important carved oak panelling from the 19th century

Important carved oak panelling dating from the second half of the 19th century from a castle. Set including wainscoting, doors, columns and a fireplace in Rouge de Languedoc marble.

Ref.12037
Lot of about 28 m2 of linear oak parquet flooring

Lot of linear oak parquet flooring. Length from 39.37 to 118.11 Inch by 3.94 Inch width. The whole for an area of about 28 m2.

Ref.12463
Antique Louis XVI style trumeau in polychrome and gilded wood

Antique Louis XVI style trumeau, in polychrome and gilded carved wood, with foliated shell decoration.

Ref.12467
Antique Louis XVI style trumeau carved with laurel branches

Antique Louis XVI style trumeau, made in the 19th century, painted frame, carved with laurel branches and a frieze of pearls.

Ref.12557
Important pair of bronze candelabra, 1868

This important pair of bronze candelabra is signed and dated "COLONEL / Fondeur à Lyon 1868". The candelabra present a fluted shaft placed on a gadrooned base and decorated with flowers, surmounted by a capital with scrolls and acanthus leaves, inspired by the composite order. The lyre-shaped hearth supports a dome crowned by a succession of buildings.

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Wall fountain in Saint Maximin stone, end of the 19th century

This wall fountain was realized in saint-Maximin stone at the end of the 19th century. The poly-lobed bassin is put on a fluted foot with drops decoration, the foot is put on a square molded base. On the top of the vase, a slab adorned with the face of the River god of whom the mouth is pierced for the water passing.

Ref.12521
Lot of 20 m² of old oak parquet flooring

Antique oak linear parquet flooring from the first half of the 20th century. Width is 7.7 cm and lenght from 100 cm to 260 cm, the major part is between 120 cm and 150 cm for a total surface of 20 m².

Ref.12462
Stucco and wood overmantel Napoleon III, second half of the 19th century

This wood and stucco overmantel with polychromatic decoration was made in the second half of the 19th century. It is composed of a painted in red frame showing Louis XV decorative elements in stucco painted in gold, such as the stylized shell flanked by acanthus leaves accompanied with flowers garlands in the corners. The mirror is framed with a gilt frame risen with a painted in green ribbon.

Ref.12745
Rare pair of cast iron andirons shaped as a laying dog, Wallonia, 16th century

Product of the popular figurative art of Wallonia, this pair of andirons made in the 16th century in cast iron shows a naive beauty but is also a testimony of some kind of aesthetic concerns. Made in a zoomorphic shape, the Musée Gaumais, where a similar pair is preserved, describes them as a representation of laying dogs. However, our andirons shows distinctly the representation of hair all around the neck suggesting a mane. Furthermore the representation of the head can also lets us think that a lion is represented instead of a dog. The author of those andirons didn't only give a shape to their visible parts. Indeed the back shows as much precised details with the add of a relief scroll on each side, in which we can see a stylization of the back legs. Also, a small ornamental bolection was added on the andiron's body. It's a very certain inventive spirit, a dexterity but also a sensitivity that the popular art in Wallonia expresses through this pair of andirons. The Wallonia is a French speaking region of the Belgium's south. It is famous for its medieval cities and its Renaissance architecture. Nevertheless, we can't find a real stylistic unity in the region because of the neighbors variety and sometimes the different influences from the outside, without saying the individualism. In olden days, we could count simultaneously and on a very small area, subjects of the Liège Prince-Archbishop, Limbourg or Luxembourg Duke, Prince-Abbot of Stavelot-Malmedy, Namur or Hainaut Count, either independent or under the Burgundian, Spanish, Austrian or French tutelage. This historic past that has divided the actual Wallonia into divided political territories, sometimes rivals, can also explains this dispersal.

Ref.12993
Set of 13,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of 13,5 m² in a square shape, from the 19th century. The sides are 10" 5/8 for 1"3/16 thick.

Ref.13005
Set of 5,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of 5,5 m² in a square shape, from the 19th century. The sides are 15,5 cm and 16 cm for 1" to 1"3/16 thick.

Ref.4510
Louis XIV style moulding fireplace in a beautiful Red Griotte marble

This fireplace was made in the late 19th century in a very beautiful Red Griotte marble. It is simply adorned with a bolection moulding around its beautiful cast iron insert decorated with arabesque motifs inspired by the Renaissance decorative vocabulary.

Ref.4505
Rich and original Napoleon III fireplace in Carrara marble with caryatids and a man's profile

This beautiful and original fireplace was made in the second half of the 19th century in Carrara marble. Originally set in an apartment in Tarare, near Lyon in France, it is very likely that the person who ordered it, was an industrialist who became rich in the textile industry, as the city was recognized for its muslin and velvet from the second half of the 18th century. It could be Hippolyte Champier, founder in 1884 of the Champier Establishments, fabrics factory in Tarare. The fireplace's entablature is typical of the Louis XV style with its serpentine shape underlined by an oblong moulding. It is adorned on its center with a medallion in which was sculpted a man's profile with a mustache, likely to be the orderer of this impressive fireplace. This medallion is framed with bouquets finely sculpted, composed of acanthus leaves and flowers. The foot, flanking the entablature takes the shape ofnaked caryatids with very masculine faces and arms raised in a gracious way above their heads. They rest on a pedestal adorned with roses and support a basket full of grapes and vine leaves.

Ref.12985
Set of around 13,5 m² of terracotta floor tiles

Antique terracotta floor tiles of around 13,5 m² in a square shape, from the 19th century. The sides are 5" 15/16 to 6" 1/8 for 13/16" to 1" 3/16 thick.

Ref.13048
Set of around 19 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 19 m² in a square shape, from the 19th century. The sides are for 1"3/16 thick.

Ref.13358
Louis XV style trumeau of painted in white wood with a shell

This Louis Xv style trumeau was made of wood and stucco painted in white in the late 19th century. The mirror with curved edges is surmounted by a Louis XV style decoration composed of acanthus leaves motifs on the corners and a beautiful shell in relief. It lays on a small pedestal also adorned on the corners with climbing acanthus leaves.

Ref.13071
Set of around 13,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 13,5 m² in a square shape, from the 19th century. The sides are 9" 7/8 to 9" 5/8 for 1" to 3/16" thick.

Ref.4359
Antique Restoration style fireplace mantel in Enjugerais marble

This antique Restoration style mantel was carved in the 19th century in Enjugerais marble. The straight and pure entablature contrasts with the curved scrolled decor of the jambs.

Ref.11848
Beautiful cement doghouse in Rocaille style

Beautiful doghouse taking the form a small house with, in the "rocaille" style, a rustic art very popular at the end of the 19th century. This doghouse was built in reinforced cement, imitating wood logs and planks.

Ref.13067
Set of around 8 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 8 m² in a square shape, from the 19th century. The sides are 10" 13/16 for 1" to 3/16" to 1"3/16 thick.

Ref.11849
Beautiful cement doghouse in Rocaille style

Beautiful doghouse taking the form a small house with his chimney, in the "rocaille" style, a rustic art very popular at the end of the 19th century. This doghouse was built in reinforced cement, imitating wood planks and branches.

Ref.12804
Louis XVI style trumeau adorned with flowers garlands

This beautiful trumeau was made in the late 19th century in wood and stucco painted in white. The mirror with a curved top is framed with a coiled acanthus leaves friezeand surmounted by a beautiful pediment with a rich flowers decor. Indeed, we can a medallion adorned with a basket full of flowers surrounded by a roses crown and garlands

Ref.12776
Gabriel VIARDOT (attr. to) - Japanese trumeau with a demon head

This very beautiful Japanese trumeau was made of tainted sycamore in the late 19th century very likely by the French specialist of the Japonisme, the furniture maker Gabriel Viardot (1830-1904). Thus he imagines here a mirror framed by a blacken wood frieze with leaves sculpted in bas-relief, surmounted by a curved pediment with steps and open worked Japanese motif. Also adorne on its center with a projecting demon's head. The furniture maker became famous from the 1870 with his production of furniture inspired by the Asiatic ones, of which he makes his specialty. He takes his inspiration from the 1867 Worlds's Fair where Japan participates for the first time. His very characteristic furniture production was sometimes inlaid with Tonkin mother-of-pearl as it is the case on our display case, but always made with tinted sycamore wood.

Ref.12691
Ernest LEVEILLE - Exceptional cracked glass vase with polychrome and gilt insert decor on a gilt bronze mount, circa1890

This exceptional cracked glass vase mounted in gilt bronze is a typical work of the late 1890’s production of Eugène Rousseau (1827 -1890) and Ernest-Baptiste Léveillé (1841-1913). Eugène Rousseau (1827 - 1890) merchant editor of porcelain and crystals established since 1855 on the 43 rue de la Coquillière à Paris, was a pioneer by going further that everybody else in the renewal of the glass art. Indeed, at the end of his life he starts to study the glasses coloration and obtains unexpected decorations by superposing colored and shady layers inspired bu the old Venetian techniques from the 16th century and practiced by the Chinese people during the 18th century. In 1884, he’s the first to exhibit cracked glass during the Exposition de l’Union centrale des arts décoratifs. Thus, he creates glasses with the aspect of gemstones. The following year in 1885, he gives his stock to his old student Ernest-Baptiste Léveillé, then also merchant editor of porcelains and crystals who had opened on the 74 boulevard Haussmann in Paris in 1869 la Maison Léveillé. Renamed « Maison Rousseau-Léveillé réunies », the production keeps the developed technical characteristics until the death of the master in 1890. The models then become more bold and the decors follow the trend of the curved line. Named again « Maison E. Léveillé », the store is moved nine years later on the 140 Faubourg Saint-Honoré in Paris. In 1902, Ernest Léveillé merges with the maison Toy, also a crystals and porcelains stores, under the name « Maisons Toy et Léveillé réunies ». The establishment is then located on the 10 rue de la Paix. He participates to many Parisian Salons between 1892 and 1897 and also to the World’s Fairs of 1889 and 1900 in which he wins the gold medal. Our slender shape vase takes all the characteristics of the technique developed by Eugène Rousseau then exploited by Ernest Léveillé. Indeed, the cracked glass is decorated with an inclusion decoration of red, blue and gold powder, forming beautiful marbled mottled effects. Louis Vauxcelles speaks in these words about these characteristic on his book Histoire de l’art français de la Révolution à nos jours, published betweent 1922 and 1925 : « Without overloading the crystal with gold motifs as many others, without daubing it randomly with bright colors, without trying to assign a role for which it is not made for, or making it look like marble, porcelain, lacquer, bronze, he has for ambition to only create effects that are conform to its nature and to let it be enough by itself, and giving elements of its own decoration. Under the localized action of the oxides, he succeeds to mottle it and braids a net of blazing cracks thanks to a projection of cold water between two fires. Léveillé had the art of the unexpected projections, vigorous reliefs and capricious details. » Our vase also shows an impressive Napoleon III style gilt bronze mount with a remarkable quality of carving. The circular base rests on four feet, it is adorned with a round roses frieze and a torus of coiling acanthus leaves surmounted by flutes. A beautiful decor composed of small flowers bouquets and intertwined acanthus leaves comes to lightened up the lower part of the vase. The neck is encircled by a splendid knotted cord in gilt bronze falling on each side. This mount seems to have been made by the sculptor and bronze maker Paul Louchet (1854-1936) old student of Jules Lefebvre and Henri Harpignies. He signs by the mark « Louchet Fondeur Paris » a certain number of his Art Nouveau creations that he makes in his workshop located on the 3, rue Auber in Paris and that he exhibits in the Parisian Salons. The attribution of our mount to the work of this bronze maker was made thanks to a comparison with a similar mount on another vase signed by the artist.

Ref.13351
Set clock in Carrara marble taking the shape of a mantel

This set clock is a work from the late 19th century made of Carrara marble and signed on the back "A. Violette". The clock takes the shape of a Louis XV style mantel with three shells that we find on the center of the serpentine header and on the top of the jambs. It also shows a inlay decoration of Vert de Mer and Sienna yellow marbles on the facade and the sides. The dial on the center, signed "Rigaud Paris", is encircled by a beautiful stars garlands meticulously sculpted and surmounts the inscription "Souvenir". Two cups also sculpted in Carrara marble ans resting on octogonal feet accompany the clock.

Ref.13750
Beautiful pair of crystal and silver ewers

This beautiful pair of ewers was made in the second half of the 19th century and allies crystal and silver as indicates the Minervehallmark. The superior part forming the pouring beak and the handle is in massive silver, it is adorned with elegant plants motifs such as acanthus leaves or oak branches.

Ref.14006
17th century fireback with the coat of arms of Jérôme de La Chasseigne

Cast iron fireback with the coat of arms of the La Chasseigne family, an ancient family from the Nivernais. Their coat of arms is : « charged with a greyhound running sable, collared argent, nailed gules and accompanied by three acorns or, two in chief and one in base ». The latter is surrounded by volutes and surmounted by a Germanic Baron's crown. The motif of the acorn, inserted into coats of arms from the 17th century onwards, and the shape of this plate, characteristic of the years 1650-1680, place this fireback in the second half of the 17th century. The de La Chasseigne family is a very old family from the Nivernais, an ancient French province, dating back to the 15th century, in the 1490's. This coat of arms is believed to be that of Jérôme de La Chasseigne (c.1620-avt.1693), lord of La Chasseigne, Rosemont, Luthenay and Uxeloup (municipalities in Bourgogne-Franche-Comté) as well as a lieutenant of a company of cavalry in the regiment of La Ferté.

Ref.13991
Louis XVI style trumeau with floral basket decoration

This Louis XVI style trumeau was made in the 19th century in white painted stucco. The frame is topped by a flower basket flanked by two garlands of flowers and ribbons. A beaded border followed by a ribboned frieze frame the mirror.

Ref.14215
Louis XV style wood paneling in lacquered wood

Height : 3,60 m. Total length : 11,5 m approximately. Including: 2 panels width 150 cm ; 1 panel 105 cm ; 2 frames of passage with transom width of one 180 cm ; 9 parecloses largeur 44 cm.

Ref.14649
Pair of cast iron floor lamps in the shape of draped women

Pair of lamp posts in cast iron in the shape of draped women of which one in cast iron of Denonvilliers is reproduced in the catalog of the foundry of 1894.

Ref.14698
Art Nouveau style mahogany woodwork with fireplace

Ref.5087
Louis XVI style wood mantel decorated with a mythological scene

Ref.14160
Large Louis XVI style trumeau with richly decorated laurel wreath, bronzine

Ref.14536
Quadruple sliding door with stained glass windows featuring birds and plants

Ref.14841
Napoleon III style gilded trumeau with pilasters and flower garlands

Ref.14957
Napoleon III-style trumeau with coat of arms and winged creatures

Ref.12287
Set of Empire-style mahogany and bronze panelling and bookcases

Ref.14229
A precious Egyptian ship, a rare earthenware piece by Emile GALLÉ

This Egyptian boat in faience was designed by Émile Gallé in the second half of the 19th century. Considered the founding father of Art Nouveau, Émile Gallé took over the workshop founded by his father and gave it a decisive impetus, which he sustained throughout his life with constantly renewed creativity. Ancient Egypt and its culture were one of his favored sources of inspiration, as evidenced by this piece. This artwork depicts a boat with raised prow and stern, inspired by frescoes of ships from Pharaonic Egypt. The body of the vessel rests on a base formed by multiple oars; the hull is adorned with various insects and a turtle on the right. At the center, a lotus flower decorated with numerous gold accents hosts a fanciful insect reminiscent of the “trucsal” design by Gallé, preserved at the Musée d’Orsay in Paris. On the other side, the center of the lotus flower is occupied by a scarab, a sacred animal that held a central place in the iconography of Ancient Egypt. The only other known example of this model to date is the Grand Prix version, which required significant expertise and an expensive technique.

Ref.5302
Empire style onyx mantel with detached columns and ormolu capitals

Ref.14982
Mathurin Moreau for the Val d’Osne foundry, The Flower Fairy, late 19th century

This cast-iron sculpture was created by Mathurin Moreau for the Val d'Osne foundry, with which he collaborated, at the end of the 19th century. It depicts a winged young girl being led by a cherub. The composition of the sculpture is complex: the woman is seated in the form of an Amazon; her naked body forms a circular arc, her arm raised above her intertwining with long garlands of flowers. These link her to the cherub, who seems to be dragging the fairy through them, setting the whole composition in motion. The sculptor paid great attention to detail: the simple headband on the woman's head, the modest drape over her thigh and falling over the base, and the cherub's hair pulled back by the wind give the composition its liveliness. The sculpture's imposing pedestal is in harmony with it. It is divided into several compartments, the inside of which is decorated with floral motifs and various symbolic objects: two recorders forming an aulos (ancient wind instrument) accompanied by small birds, embodying harmonious music; a panpipes associated with grapes evoking the world of Dionysus; a sheaf of wheat and tools symbolising agriculture; a theatrical mask and a fool's hat with a tambourine and a curtain representing the performing arts. The sculpture of the Flower Fairy is shown in the catalogue of the Val d'Osne foundry (on plate 583), as is its pedestal, independently (on plate 570 bis). The combination of the two works was therefore the result of a desire on the part of the patron, who imposed his own taste on the commission. The Museum of Fine Arts in Houston owns a copy of the Flower Fairy identical to our own. Mathurin Moreau also created another Flower Fairy, a statuette. This one is a young woman in a dancing posture, whose nudity is emphasised rather than concealed by a wet drape around her body. This very delicate figurine echoes the larger but no less elegant bronze sculpture.

Ref.14900
Fireback with the coat of arms of France, with a head of Apollo and the skin of a lion

Ref.14717
Louis XVI style trumeau decorated with a woman's profile

Ref.14931
BACCARAT crystalworks, La Vague Inkwell, 1909

The crystal factory designed this inkwell in molded and reworked crystal decorated with gilded bronze elements, testimony to the alliance between glass work and that of bronze workers specializing in decorative art. The crystal takes the form of a hollowed wave, at the top of which rests a gilded bronze mermaid; her wavy hair highlights the nudity of her body, in a languid and sensual pose. Founded under Louis XV, the French crystal factory Baccarat demonstrated its excellence and creativity at Universal Exhibitions throughout the 19th century. The two ink reservoirs are fully in keeping with the maritime theme: they take the shape of a shell and a fishing basket, surrounded by swirling seaweed. This masterpiece of Art Nouveau was exhibited during the International Exhibition of Eastern France, in Nancy, in 1909. It testifies to the influence of Japanese arts on Western artists, notably La Great Wave off Kanagawa by Hokusai. The “La Source” inkwell, created by Paul Aubé in 1898, served as a source of inspiration for “La Vague”, eleven years later. The latter is more significant of the influence of Far Eastern arts.

Ref.15051
Louis XVI style trumeau adorned with a frieze of ovals

This Louis XVI style trumeau was made in the 19th century. The top is adorned with two opposing friezes of posts. It tops a gilded frame with angles turned inwards, decorated with a frieze of ovals and, towards the inside, a frieze of pearls. The spandrels each hold a small rosette.

Ref.15975
Carved stone outdoor vase with spiral handle

This stone garden vase features rich sculptural ornamentation. While the base and pedestal are simple, the lower part of the body is decorated with gadroons, before being interrupted by a succession of sculpted flowers linked by a rope. The concave counter-curve above this frieze accommodates the scrolls of the two handles. Finally, the top is also carved with gadroons, echoing those on the lower part of the vase.

Ref.5285
Louis XVI period mantel in Rouge Royal marble

Ref.5504
Louis XV style Pompadour mantel in Rouge du Nord marble

Ref.15161
Gallé Establishments, Seagull Plate, between 1918 and 1936

This Seagull Plate in triple-layered glass was produced by the Gallé Establishments between 1918 and 1936. Considered the founding father of Art Nouveau, Émile Gallé (Nancy, 1846-1904) took over the workshop established by his father and gave it a significant artistic direction, which he maintained throughout his life with his ever-renewed creativity. After his death, the Gallé Establishments continued production under the management of his widow, Henriette, with the privilege of signing the pieces they created with his name. Upon her death, the Establishments were taken over by her son-in-law, Paul Perdrizet, until 1936, when the Gallé factory closed. The signature on the Seagull Plate corresponds to the one used during this final period. The animal-themed decoration in triple-layered glass of this plate fits perfectly within the production of Gallé’s later years. The first layer, in a rich yellow, brightens the rim of the plate as well as the beaks and feet of the seagulls; the second layer, white and misty, enhances the transparency in the depiction of the waves, foam, and birds; the final layer, in a deep blue characteristic of Gallé’s work, represents the sky. The decoration of this plate is reminiscent of a vase sold at auction by Tajan in 2017. This vase also featured several seagulls in flight over a stormy sea. However, the color subtleties are less refined in the vase, primarily due to the absence of a third layer.

Ref.5517
Louis XIV style mantel with acroterion in Rouge du Nord marble

Ref.5513
Louis XV period mantel in Rouge du Nord marble

Ref.5574
Curved Louis XVI style mantel in Arabescato marble decorated with a laurel wreath

Ref.5576
Louis XVI style mantel in Arabescato marble with pearl entablature

This Louis XVI-style fireplace in Arabescato marble features beaded and geometrical friezes, elements often found in the Louis XVI style. The band of the fireplace is adorned with these friezes. The central geometric frieze is framed by a small rectangle, which in turn is framed by a larger rectangle of pearls. These two rectangular friezes cover the entire band. On the console part of the leg, acanthus leaves are arranged to form a flower motif with its center in relief. The rest of the leg is curved, leaving places for scrolls on the sides. The face of the leg is fluted with three flutes. The central one features a motif echoing one of the band's geometrical friezes. The fireplace is carved in Arabescato marble, a white marble veined with gray or black. It is one of the white marbles of Carrara, and its main quarries are located in the Carrara basin in Italy, at Seravezza Lucca.

Ref.5560
Louis XIV style mantel in Rouge de Rance marble adorned with bronze ornaments

Ref.5631
GODIN, Cast Iron Stove with Art Nouveau Floral Decor, 19th-20th Century

This cast iron stove, adorned with enamelled ceramics and metal plates painted with a floral design, is by the brand Godin. Resting on four feet, its openwork enamelled decor extends over almost the entire surface. Its two shorter sides are adorned with painted metal plates featuring an Art Nouveau floral design reminiscent of the works of painter Alphonse Mucha at the end of the 19th and beginning of the 20th century. At the top, the cover features delicate openwork ornamentation. One of the stove’s feet is broken. A latch is missing. The decorative front plate is missing.

Ref.5627
Louis XVI style mantel in Carrara marble adorned with a sunflower flower

Ref.5644
Louis XVI style mantel with rounded corners and carved sunflower in cristaline marble

Ref.3504
Louis XV style Pompadour mantel carved in Bois Jourdan marble

Ref.15394
Napoleon III style gilded trumeau with richly decorated palmette motif

Ref.15258
Louis XVI style trumeau adorned with a medallion topped with a ribbon

Ref.5612
Louis XV style mantel in Red of the North marble with curved shells

Ref.15426
Louis XV style trumeau decorated with a palmette and flowers

Ref.5672
Louis XVI style molded mantel in veined Carrara marble

Ref.5696
Louis XIV style mantel with acroterion in Rouge du Nord marble

Ref.15169
Louis XVI style trumeau with rounded top decorated with pearl friezes

Ref.15522
Napoleon III style trumeau surmounted by a woman's mask

Ref.15607
Louis XVI style trumeau with scrolled acanthus leaves

Ref.5777
Louis XV style Carrara marble mantel with deeply carved entablature

This fireplace is particularly remarkable for the detail given to the large central shell, as well as to the side shells. This composition of three shells is typical of Louis XV-style fireplaces, borrowing the shell from the Rocaille style. The curved band of the fireplace is particularly decorated in the center. The central shell is worked in relief and detail, treated with very fine lines. This precision extends to the other elements that surround it, such as the acanthus leaves, scrolls, and shells. The line work in this central composition contrasts with the rest of the band, with its coarser strokes and simpler lines. Beneath the central shell, acanthus leaves are carved, folding in on themselves and developing into a curved border running around the inside of the fireplace. The console section is linked to the rest of the leg by a string of floral and leafy motifs running down the length of the base. This enfilade starts from the scroll on which a shell is carved, and from this shell flows the other motifs. The hollowed console contrasts with the curved part of the leg, revealing scrolls on the sides. At the end of the leg, an acanthus leaf rises to the top.

Ref.15690
Louis XVI style trumeau with plant garlands

Ref.5914
Louis XVI style fireplace with acanthus leaves, in Carrara marble

Ref.5918
Curved Louis XVI style fireplace in Arabescato marble, decorated with a laurel wreath

Ref.15754
Louis XVI style trumeau decorated with a laurel wreath

Ref.5997
Louis XVI-Style Fireplace in Carrara Marble with Gilt Bronze Decoration

Louis XVI-style fireplace made of Carrara marble with grey veining, decorated with gilt and chased bronze ornaments. The applied motifs include floral garlands, wreaths, and ribbon patterns on the front panel, sides, and supporting elements. The composition follows the symmetrical and classical design language of the neoclassical style.

Ref.15797
Louis XVI style gilded trumeau with plant decoration

Ref.6040
Louis XVI style fireplace decorated with a flower, in black Marquina marble

Black Marquina marble fireplace, made in the 19th century in a style inspired by Louis XVI. The piece features a sober and balanced composition, with straight lines and restrained ornamentation. The frieze is adorned at its center with a carved floral motif in relief, echoed on the corner blocks of the jambs, offering a touch of decoration without excess. The black marble, veined with white, lends the whole an understated elegance while subtly highlighting the volumes. A representative example of decorative production from the second half of the 19th century, combining classical rigor with an appreciation for fine materials.

Ref.5443
Beautiful Regency style fireplace, in a superb Royal Red with lots of veins

This fireplace was crafted in Rouge Royal marble, a rich and nuanced material. Its surface shows a deep red background traversed by white and grey veining, creating a lively, contrasting effect that enhances the sculptural work. The overall form follows the codes of the Régence style. The mantel shelf is straight and slightly projecting, supported by a moulded entablature that curves gracefully around the opening. The firebox is tall and semi-circular, emphasised by an accentuated curve that continues into the jambs. These rest on a simple, massive rectangular base. The carved decoration remains restrained, focused on the mouldings. The entablature is enlivened by a play of profiles and chamfered angles forming discreet rectangular frames, visible on the side panels and jambs. These geometric lines lighten the structure without diminishing its imposing character.

Ref.16006
Henri CHAPU — À la Jeunesse

High relief in white marble, red stone and bronze, signed High relief depicting a draped young woman ascending a red stone wall, her arm reaching toward a partially gilt bronze olive branch. The work combines multiple materials: white marble for the figure, veined red stone left rough for the background, and bronze for the branch. The base is inscribed “À LA JEUNESSE”, and the signature “H. Chapu” appears on the plinth.