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.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.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.