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.2586
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.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.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.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.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.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.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.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

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.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.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.

Ref.12717
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.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.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.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.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.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.5110
Louis XVI style mantel adorned with interlacing flowers in Sienna Brocatelle.

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

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.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.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.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.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.5644
Louis XVI style mantel with rounded corners and carved sunflower in cristaline 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.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.15673
Victor BALTARD, Medallion from the Wheat and Flour Pavilion of the Paris Central Market, circa 1860

This medallion is one of the only bas-reliefs to have been preserved after the destruction of the Halles centrales of Paris in 1971. This exceptional rediscovery now brings the number of original medallions still existing and located to four. The first, with the coat of arms of Paris, is in the collections of the Carnavalet Museum. Two other copies had been saved by Mr. Crucy, contractor in the destruction of the Halles in 1971, and were sold in 2022: one identical to that of the Carnavalet and the other representing an allegory of wheat. Finally, the only counterpart of the latter is the medallion that we present here; the fourth and final bas-relief found. Together, these two allegories of wheat decorated the entrance to the Pavilion of Wheat and Flour above which culminated a third bas-relief, with the coat of arms of Paris. Ce médaillon en alliage métallique présente en son centre une femme drapée à l’antique tenant de sa main droite une botte d’épis de blé. La figure centrale est entourée de part et d’autre de cornes d’abondance, symbolisant le foisonnement de produits qui pouvaient être trouvés dans ces Halles historiques. Le Pavillon au blé et à la farine était essentiel puisque c’était là qu’une grande partie des Parisiens et des commerçants (restaurateurs, boulangers, pâtissiers) venaient se fournir pour faire leur pain ou leurs pâtisseries. En 1848, un concours fut organisé pour trouver l’architecte qui aurait la charge de construire les nouvelles Halles de Paris. La décision se porta sur Victor Baltard (1805-1914), architecte déjà reconnu puisqu’il avait entre autres remporté le Prix de Rome 15 ans plus tôt. S’il était prévu que les Halles soient construites en pierre, Napoléon III en changea les plans au profit d’une structure en métal après une visite sur le chantier en 1853. Fasciné par le Crystal Palace de Londres inauguré en 1851 pour l’Exposition universelle, Napoléon III était devenu un fervent promoteur de cette nouvelle architecture en France. C’est la Fonderie de Mazières et Bourges qui fut en charge du projet. Les Halles, qualifiées de « Ventre de Paris » par Emile Zola, sont aujourd’hui encore l’oeuvre la plus reconnue de Victor Baltard, une institution qui reste emblématique plus de 50 ans après sa disparition. Chacun des 12 pavillons des Halles était ouvert par une porte monumentale de 20 mètres de haut ornée de trois médaillons. Comme évoqué plus haut, les armes de Paris étaient toujours placées dans le médaillon sommital, tandis que les deux autres représentaient la marchandise dudit pavillon. Le bas-relief que nous vous présentons ici est donc le second et dernier exemplaire existant de médaillon représentant le blé qui ait orné le Pavillon au blé et à la farine.

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.