Ref.2503
Monumental oak wood fireplace with painting on canvas depicting Joan of Arc

This large antique Neo-Renaissance style fireplace was made out of oak wood during the 19th century. Coming from the Lille region, the fireplace is decorated with a painted canvas featuring the profile of Jeanne d'Arc set in a medallion surrounded by a floral wreath. On one side of the medallion is the coat of arms of Jeanne d'Arc, made up of a sword supporting a crown and two fleurs de lys, and on the other side is the coat of arms with the cross of Lorraine which is often associated with Jeanne d'Arc. The fireplace is elaborately carved with lions' heads, columns rising to capitals, and a colonnade. An enameled faience plaque decorates the opening of the fireplace, which is decorated with dragons and foliage.

Ref.9962
Antique Louis XVI pierglass with pomychrome stucco decoration representing garlands of flowers

This beautiful antique Louis XVI style overmantel mirror was made during the 19th century. The polychrome stucco decor spreads predominantely over the upper part of the mirror with a double floral wreath decorated with ribbons.

Ref.10837
Anatole J. GUILLOT (1865-1911) (after) - « Young oriental woman», Important figural torchère in polychrome spelter

Anatole J. Guillot (1865-1911), french sculptor of the second half of the 19th century, exhibits at the Salon of French Artists of 1887, a Young Moorish woman (n°4063), plaster bust, of which here is an edition forming a figural torchère. The Young oriental, in polychrome spelter, is representing a young oriental woman veiled , holding in her left hand a torch. It is signed on the back of the terrace J. GUILLOT, and, on the front, a plate bears the mention « Salon de 1887 ». Anatole Jean Guillot (1865 – 1911) is a french sculptor and ceramist of the 19th century. Admitted to the National School of Fine Arts of Paris, he becomes the pupil of the sculptors Alexandre Falguière, 1st Grand Prix of Rome in 1859, and Jean Gautherin. He exhibited at the Salon from 1887 to 1911. This Young oriental is therefore a work of early carreer. Anatole J. Guillot, has endeavored to render the physiognomy as much as the costume of his model in all their particularism and details. He has shown great skill in handling details (hairstyle, drapery, accessory), the delicacy of facial features and this, especially thanks to the work of polychromy. By its subject, a young Moorish woman, this sculpture belongs to the Orientalist movement. Initiated in the late 18th century, the expansion of the orientalist movement in the 19th century is linked to the historical and political context, and in particular the upheavals experienced by the Orient throughout the century, with the expansion of European colonialism and the slow collapse of the Ottoman Empire. The term " Orientalism " designating both the scientific interest for the East and the fascination exercised by this land on the Western countries, was expressed in a literary and artistic movement (painting, sculpture, decorative arts). Like other contemporary sculptors such as Eugène Léon L’Hoëst (1874-1937), Louis Hottot (1834-1905), or Henri-Joseph-Charles Cordier (1827-1905), Anatole J. Guillot strives to depict the Orient, though he has never been there. The artist has indeed made several sculptures with orientalist subjects. Among these favorite topics : Moorish soldiers, Kabyle hunters, Water carriers, Oriental product traders... We can thus mention : a Young oriental woman with jug, a Kabyle fighter, or an Arab standing up. However, Anatole J. Guillot can not be entirely considered as an " Orientalist sculptor " because he has not devoted his entire career to the representation of Oriental subjects. With its remarkable finesse of execution as well as the richness and quality of its polychrome decoration, this superb sculpture is characteristic of the orientalist works of art realized by Anatole J. Guillot.

Ref.03142
CARRIER BELLEUSE Louis Robert, Extraordinary vase with Urania , science allegory.

Large ovoid stoneware vase on its tripod base with decoration in high relief made of glazed stoneware. This vase has a wide collar on which unfolds a farandole of lovers having fun with the Moon in a heavenly backdrop of stars and clouds, as an allegory of the day and night.During the night, one of the lovers escapes from the mouth of the personified Moon, while another clings strongly to it. The opposite side, another comforts the Moon who cannot shine during the day.The body of the vase also has a continuous backdrop of flowers and foliage narrating two main stages from Mythology: Urania admiring the stars and the awakening of Aurora.In a setting of ancient remains of balustrades and ionic columns, the muse Urania studies the sky using her telescope and strongly holds her globe with love, while one of her disciples, an Ouranie, takes notes on her speech.The Aurora is voluptuously lying on a bed of flowers and foliage of fields in high-relief, her face still asleep.The entire decor is on a blue background subtly shaded according to whether the scenes take place during the night or day, or when necessary to highlight a character. The harmony of this vase is not only thematic, but also chromatic. Thus, the pedestal with blue ogee curves echoes the night.This vase is presented on a majestic tripod stand with very original decor of upside-down lions, with delicately created coats ranging from beige to dark brown, reflecting the great mastery of their glazes and firings.Lions also rest on a tripod base with finely coiled caryatids endings, the sides decorated with opened shells.This vase is a reflection of the creativity of Carrier-Belleuse, subtly harmonizing his neo-rococo and neoclassical inspirations.It focuses on the description of the complicated rendering of the atmosphere of heaven, floating edges of drapery, hair which frames faces. To acknowledge the reality of the details, he cut the clay still wet, after completing the general form.In the tradition of his father, he pursued his theory that was based on the idea of ??applying the human figure to the decorative arts, especially the female figure. His ability to make realistic characteristics on his models gave him great fame.Louis-Robert Carrier-Belleuse (1848-1913) was the son of Albert-Ernest Carrier-Belleuse, of whom he was a student. At the school of fine arts he took lessons taught by Gustave Boulanger and Alexandre Cabanel.In 1877, he acquired from Theodore Deck his first experiences with ceramic.At the 1881 exhibition, he won the prize for best painter, then for the best sculptor in the 1889 exhibition.He designed some models for the Choisy-le-Roi pottery and was its artistic director.Among his works: The National Monument of Costa Rica, A Little Curious at the Museum of Rochefort, The Little Chimney Sweeps, Bearers of flour at the Petit Palais Museum (1885). His works are also kept at the Dahesh Museum, New York; Museum of Art and Archaeology, Moulins, France and the Musée d'Orsay, Paris.

Ref.11308
Maison des Bambous Alfred PERRET et Ernest VIBERT (attributed to) - Far Eastern inspired display cabinet

The realization of this charming Japanese-inspired cabinet is attributed to the Maison des Bambous by Perret et Vibert. The lower part opens with two doors adorned with panels decorated with Japanese characters in ivory marquetry, bone and mother-of-pearl, and two drawers adorned with horse warriors inlaid with mother-of-pearl. The upper part opens to a door and a drawer adorned with friezes of mother-of-pearl and is embellished with shelves. The whole is surmounted by a display cabinet opening by a glass door surrounded by a geometric frieze of mother-of-pearl, discovering a shelf stretched with red fabric.

Ref.12039
Etienne Maurice FALCONET (from) - Venus removing Cupid's quiver, in Carrara marble

Sculpture in white Carrara marble representing Venus removing Cupid's quiver, from Etienne Maurice Falconet, signature of the founder F. BARBEDIENNE editor.

Ref.11231
Émile Louis PICAULT (sculptor), Alphonse Mathieu Paris (clock maker), "Dawn and Twilight", Monumental exhibition clock in the taste of the Païva hotel decor in Paris

This spectacular onyx marble and gilded bronze clock is an extremely rare model, with a monumental dimension. The all sides decoration shows that it was designed to be placed in front of a mirror, the observer of this sumptuous antique clock being free to observe it entirely. Two gilded bronze women, languid figures lying on a Grecian couch, are placed back to back, on either side of a large central kerosene lamp. On the left side, eyes closed and head tilted, the woman accompanied by an owl symbolizes the allegory of Twilight. On the right, the head tilted forward but the eyes open, ready to wake up and accompanied by an eagle, she symbolizes Aurora. Also made out of gilded bronze, the central kerosene lamp shows a low-relief decoration pursuing the allegory of night and day : on the front, a woman and putti are inscribed in a crescent moon ; on the back, a male figure is haloed by sun rays. The bronzes are signed four times "E. Picault" for Émile-Louis Picault, French sculptor born in Paris in 1833. While he exhibited for the first time at the Salon of French artists in 1863, he was called, in the early 1860s, on one of the most important sites of the Second Empire, the construction of the Hotel Païva, at 25 avenue of the Champs-Élysées in Paris. The Countess of Païva, a famous parisian courtesan and semi-socialite, commissioned the architect Pierre Manguin in 1856 for the construction of her private mansion. The cost of construction, 10 million gold francs, as well as its duration, 10 years, hit the headlines and animated the social salons. For this prestigious mansion, Émile Picault made the gilt bronze medallions adorning the ground floor and upstairs bedrooms’ doors. He also produced the bronzes for the imposing Louis XIII dresser "very large, made in old walnut with marquetry of the same wood, marble inlays and Legrain sculptures, bronze medallion and statuettes, works by Picault and signed by him" ( in Municipal Commission of Old Paris, "Report of a visit made at the hotel Païva", session of Thursday May 30, 1901, p. 69.) In this regard, it is quite interesting to notice, on our clock, two back-to-back women profiles presenting both features of youth and old age, allegories of time passing, with style and models very similar to the medallions made for the Hotel Païva. Furthermore, the onyx marble used to realize this clock shows remarkable similarities with the onyx of the Countess of Païva's famous grand staircase or bathroom. There are several types of marble called "Onyx" but the best known and most used is that one which comes from Algeria. Algerian Onyx has been mined in Ain-Snara, in the Oran region, since the 19th century. Exploited from Antiquity, the onyx quarries in Algeria were rediscovered in 1849. From this date, the onyx will be used in Europe for the production of works of art, clocks or sculptures. Due to the high price of onyx, it was rather used for small objects and more rarely for furniture, as it is at the Hotel Païva. If it is not possible to affirm that this clock was made for this sumptuous hotel, the fact remains that its monumental dimensions, its decoration and the materials used seem to indicate a particular order worthy of this luxurious private mansion of the Avenue des Champs-Elysees. Certainly, a clock of this quality and size can only be an exceptional work of art intended for a sumptuous home or to be exhibited at a major international exhibition. Sculptor Émile Louis Picault exhibited at the Salon of French Artists from 1863 to 1914, presenting medallions and sculpted groups. At the Salon of 1867, he exhibited The punishment of Tantalus, a bronze group. In 1880, he presented another bronze group called Perseus delivering Andromeda. He was rewarded an Honorable Mention in 1883 by exhibiting a statue of Valentinian I, Christian emperor. His sculpted work was very successful, notably thanks to the edition of bronze statuettes by the Susse foundry, the Colin and Houdebine foundries and the Société des Bronzes de Paris.

Ref.11962
Lot of 15 m² of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from a room of 15 m². The strips are 17" 3/4 to 18" 1/8 long, and 3" 3/4 to 3" 15/16 long.

Ref.5100
Exceptional Napoleon III period mantel in veined Carrara marble, adorned with a rich décor of palmettes and arabesques.

Ref.15587
Louis XVI style trumeau decorated with a frieze of scrolled acanthus leaves