Ref.2119
Double neo-classic door based on a drawing by Percier and Fontaine

Very beautiful Louis XVI style double door with Neoclassical decorations, in wood and stucco, made based on a drawing by architects Percier and Fontaine during the beginning of the 19th century.

Ref.2289
Antique Louis XV style fireplace made out of Campan Rubané marble

This beautiful antique Louis XV style fireplace was made out of Campan Rubané marble during the 19th century. This relatively rare marble is commendable for its unique decorative qualities. This antique fireplace is decorated with a carved shell and foilage in the middle of the entablature. The feet are curved.

Ref.2314
Large oak wood Louis XIII style fireplace with trumeau mirror

Dating back to the 19th century, this Louis XVI style fireplace was made out of oak wood. The mantel is decorated on both sides with twisted columns crowned with Corinthian capitals. The entablature is delicately carved with vine leaves. Chimeras heads adorn the heads of the entablature. Twisted columns also decorate the overmantel mirror which is crowned by the head of a roaring lion.

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.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.11850
Beautiful cement doghouse in Rocaille style

Beautiful doghouse with half-timbered decoration and "rocaille" style, a rustic art very popular at the end of the 19th century. This doghouse was built in reinforced cement, imitating tree branches. André TEXIER Plate, mason in Normandy (France).

Ref.12841
Jules LOEBNITZ (1836 – 1895), Ceramic panel “Child with a flower”

This rectangular panel made of enameled ceramic made by Jules Loebnitz in the second half of the 19th century depicting a child holding a bow in one hand and a flower in the other one from a painting by Emile Lévy (1826 – 1890). The Pichenot-Loebnitz factory was founded by Mr Pichenot, grand parent of Jules Loebnitz, in 1833. From 1841, Mr Pichenot had started the fabrication of uncrackable earthenware panels for mantel's interiors, showed with success during the Exhibition of 1844. Breaking with the traditional fabrication of white heating system, the Pichenot-Loebnitz factory, was one of the first to start the production of architectural earthenware decorations. In 1857, Jules Loebnitz, artist as much as an industrial, succeeded to his grand father and became director of the factory. He helped renovating the old mantels tiles during the restoration of the Castle of Blois before collaborating with the most important architects of his time Eugène Viollet-le-Duc, Laval, Charles Garnier, Just Lisch et Paul Sédille. Between the architect Paul Sédille and Jules Loebnitz, a true friendship was born that leads them to collaborate very closely from 1867. The architectural polychromy theoretician had met the man that has brought important progresses to French ceramic, allowing the making of important uncrackable earthenware panels. Thus, during the Great Exhibition of 1878, Paul Sédille realized the door of the Palais des Beaux-arts, while Jules Loebnitz was in charge of the ceramic decoration of the facade, in order to advocate the renewed of architectural polychromy. For this purpose, he made a series of three panels taking as a model the paintings of Emile Lévy, kept today in the Musée de la céramique architecturale of Auneuil, depicting the Painting, the Sculpture and the Architecture, transposed to enamel by Lazar Meyer, a student of the painter. The Painting depicts a scene on which we can see a man painting three naked women in the characteristic position of the Three Graces. Cupid, asking for a flower held by one of the woman, has most likely been used too as a model for the one we can see on our panel, as they have the exact same body position. Indeed, the naked child with his red hair is standing by its profile on both panels, the left leg is out straight, the other is bend. He's holding in his left hand a bow and straight out his other hand to the sky, toward where he is looking. The difference is visible with the representation of the flower that the child is holding in our panel. On the contrary of the original painting, the background is abstract, the only décor is the flower behind the child. We also find on one of the plate from La brique et la terre cuite by Pierre Chabt – book that has contributed to the success of the manufactory after it was published in the 1880’s – a panel depicting the same subject with a different background. This model is today kept in the Musée des Arts et Métiers in Paris.

Ref.4642
Small Louis Philippe mantel in Noir Fin of Belgique marble

This small Louis Philippe fireplace was made of Noir Fin of Belgique marble in the second half of the 19th century. The straight and refined entablature is contrasting with the moulded and curved decoration of the feet.

Ref.4964
Beautiful Louis XV period mantel in grey Sainte Anne marble

Ref.5084
Louis XVI style wood mantel decorated with a mythological scene

Ref.16006
Henri CHAPU — À la Jeunesse

This sculpture depicts a woman with her arm raised, leaning on a monument at the base of which are inscribed the words: “A LA JEUNESSE” (To Youth). Signed by Henri Chapu, this work is composed of various materials skillfully blended together: carved from white marble, the female figure holds a gilded bronze laurel branch in her hand and leans on a red stone monument left rough in places. Our work should be compared with two sketches dated around 1875, commissioned by the École des Beaux-Arts in Paris in 1872 for a monument in memory of the painter Henri Regnault, who died at the front during the Franco-Prussian War. The first terracotta model is kept at the Musée Carnavalet (inv. S3494). Entitled La Jeunesse (Youth), the stele bears the inscription “LAUREA / NON LACRYMAE / 1870-1871.” Accompanied by the dates of the conflict, the motto “Glory, not tears” explains the motif of the laurel branch. The second sketch is a plaster cast kept at the Musée d'Orsay (inv. RF 1785) on which no date accompanies the sober dedication to Henri Regnault and the artist's signature. Henri Chapu présente le modèle au Salon de 1875 et remporte une médaille d’honneur. Le 12 août 1876, le monument est inauguré dans la cour du mûrier aux Beaux-Arts de Paris. Le succès de cette figure féminine porte le sculpteur à éditer le modèle dans trois dimensions en collaboration avec Ferdinand Barbedienne à partir de 1878. Ces fontes présentent quelques variantes quant à leur dédicace. Notre variante, sculptée de la main de l’artiste, est exceptionnelle : à notre connaissance, elle est la seule version à proposer une telle combinaison de matériaux. La variété des matériaux est soulignée par la diversité de leur traitement : la douceur du modelé de la figure féminine en marbre blanc contraste avec les degrés sommairement dégrossis dans la pierre rouge ou le chapiteau ionique gravé en très bas relief.

Ref.16121
MILET & DIFFLOTH – Ornamental Glazed Ceramic Charger with Hollyhocks

This decorative dish featuring hollyhocks results from the collaboration between ceramist Félix Optat Milet (1838-1911) and Emile Diffloth (1856-1933). Born into a family of potters, Milet joined the Manufacture de Sèvres in 1862 as a modeler before becoming a decorator. In 1866, he founded his own factory, which would become the largest private ceramics manufacturer in Sèvres. In 1876, Optat Milet participated privately in the Contemporary Ceramics Exhibition of the Union Centrale des Beaux-Arts, where his brightly colored creations were a great success, as evidenced by the lines dedicated to him by Adrien Dubouché in 1876 in his article “Contemporary Ceramics at the Union Centrale des Beaux-Arts Exhibition” in the second issue of L'Art: la revue hebdomadaire illustrée. At the 1889 World's Fair, Milet won the gold medal and Loebnitz highlighted the wonderful effects made possible thanks to the new technique used by Optat. It was also in the 1880s that Optat Milet and Clément Massier opened the Delvaux boutique (18, rue royale in Paris), which remained in business until the 1970s. Our dish bears Emile Diffloth's signature on the front and the Milet factory mark on the back. Based in Sèvres, Milet is renowned for his technical expertise and close ties with the Manufacture Nationale. The central decoration created by Diffloth features white and purple hollyhocks in a fluid, asymmetrical composition inspired by Japanese art which was in vogue at the time. The delicately veined flowers and leaves stand out elegantly against a gold background thanks to a textured relief surface. The gold background creates a luminous vibration under the glaze. The overall effect is of great refinement.