Ref.10252
Beautiful antique 18th century fireback with France and Navarre coat of arms

Ref.3326
Beautiful antique Napoleon III fireplace with windings and acanthus leaves in Black Belgium marble

This Napoleon III style fireplace was made in the 19th century. Its shelf rests on doucine-shaped capitals, setting back the entablature. The jambs are richly ornamented, giving relief to the sumptuous Belgium Black marble . Console feet are strongly curved by large scrolls, decorated on the sides with a central flower and a sculpted bellflower. Topped with matching modillions, they are covered with acanthus leaves and adorned with a row of oblong pearls.

Ref.10987
Antique fireback with French coat of arms and lions, 17th century

This antique fireback was made during the 17th century. Two lions are supporting on each sides the traditional French coat of arms, the crowned three fleur-de-lys .

Ref.18398
Pair of Candelabras with storks

This pair of Napoleon III patinated-bronze candelabras was made in the 19th century. It is surmounted by a stork standing on a sphere. The five light candelabra terminating with bulbous candle holders. The central part of the candelabra is in the form of a flutted coloumn supported by a classical bust wearing a pine and floral wreath. The base is made of monopodiae griffon heads, on a triform stepped base.

Ref.16867
Maison KAYSER SOHN, Renaissance Personalities, Pair of plates decorated in corviniello

Copper, mother-of-pearl, tortoiseshell Signed “J. P. Kayser Sohn, Crefeld”; on the reverse “Corviniello Patent 82” (female figure) Signed “J. P. Kayser Sohn, Crefeld”; on the reverse “Corviniello Patent 83” (male figure) The house of Kayser Sohn, founded in 1862, in the area of Dusseldorf, originally specialized in the manufacture of metal objects. The company made a name for itself mainly in the production of Art Nouveau pewter ware that was manufactured in Krefeld based on highly finished models designed in their Cologne workshop. The Kayser Shon brothers reached the height of their careers between 1889 and 1902 and participated in various exhibitions at the beginning of the 20th century, notably in Paris, in 1900, where they won a gold medal, at the Exhibition of Decorative Arts in Turin, in 1902 (again winning a gold metal), and at the International Exhibition that took place in Saint Louis, in 1904.         The company was equally well known at the beginning of the 20th century for the very original inlay technique that used mother-of-pearl and tortoiseshell, a process that also involved electroplating, known as corviniello. This is a perfect example of the union of art and industrial technique, and this process was used to create the ornamentation in the central part of this plate.    One of the plates represents a young, elegant woman attired in a shimmering costume and wearing a feathered hat. The figure is finely engraved, giving an extremely realistic effect. The pendant plate represents a man with a belligerent look whose hand rests on the hilt of his sword. The artist has used the various materials to their best advantage in portraying his doublet. The close similarity in the treatment of the hands and the eyes allows us to attribute the design of the two personages to the same draughtsman. Executed mainly in mother-of-pearl and tortoiseshell, the two figures wear the Renaissance style costumes that were so fashionable at the end of the 19th century.    Perfected by Otto von Corvin, this technique required extreme precision in its execution and demanded both great concentration and expert knowledge of the materials used. The artisan first had to cut out the mother-of-pearl and tortoiseshell elements in the most meticulous manner and then temporarily glue the pieces onto a die mould. The die mould was then varnished with an insulating coating while the pieces that were to be inlaid were covered with a conducting substance. The deposit of the metallic layer was done by electrolysis and it covered the bottom of the die mould, surrounding the glued elements. The die mould was then detached, exposing a smooth surface where the joints are extremely precise, with metallic filaments filling in the cracks.    Certain parts of the figures have been left blank and were not inlaid, such as the rings or the edge of the book the woman carries, thus leaving the metal background of the plate exposed and demonstrating the technical virtuosity of the casting.    The border, made entirely of metal, emphasizes the contrast between the polished gilt copper and the delicate scrolls interspersed with foliage. The finely engraved decoration is identical to those produced on other plates made by the Kayser Sohn company, which indicates that such plates with the same border were likely produced in quantity, differing only in the decoration used for the center. The difference of the dating of the two pieces (1882 for the female figure and 1883 for the man) further supports this supposition. Neo-Renaissance style. 

Ref.11656
Large 19th century bracket clock featuring Hermes and his caduceus

This large bracket clock, made at the end of the 19th century, is made out of richly carved oak wood. Its decoration features Hermes' head and a caduceus in the upper part, a horn of abundance on either side and a shell in the lower part. The dial, with Roman numbers, is in embossed work brass. The Latin word caduceus comes from the Greek kêrukeion which is the "badge of herald" or "stick of the herald". The herald is an officer carrying messages, an annunciator. To reward him for having offered him his lyre and for having made him his syrinx (flute of Pan), Apollon gave to Hermes the caduceus, a gold wand so that he was the messenger of the Gods. As he traveled the slopes of Mount Cithéron, the young god Hermes (Mercury) saw two serpents fighting each other. He threw the caduceus he had received from Apollo to separate them. The snakes then wrapped around this stick, stopped fighting, and stopped facing each other. The caduceus is also called "stick of Arcadia" because it is in Arcadia that Hermes separated the two serpents who fought each other.

Ref.11882
Simple door in carved oak in the Napoleon III style

Simple Napoleon III style door, in carved oak, made in the 19th century.

Ref.11923
Antique trumeau with oil on canvas representing a bunch of flowers

Large gilded and painted wooden trumeau, decorated with an oil on canvas representing a bunch of flowers and a mirror in the lower part. 19th century.

Ref.11971
Lot of 11 m2 of Point de Hongrie oak parquet flooring

Set of 19th century Point de Hongrie oak parquet flooring from the 19th century. Length 18.31 Inch ; width 2.83 Inch ; thickness 0.87 Inch. The whole for a surface area of about 11 m2.

Ref.12195
Pair of Louis XVI style wood, stucco and mirror doors, circa 1970

This pair of Louis XVI style doors was made around 1970. Painted in pastel green, they present three panels composed of mirrors adorned with painted stucco elements such as rosettes in the corners or foliage scrolls. The panels are framed with stucco friezes. The handle, lock and hinges are in chased brass, the handle has an acanthus leaf decoration, the hinges are in pine cone.

Ref.12925
Lot of 1.4 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 80 tiles of which the six sides are 3"9/32 inch for 6"1/2 inch width and 1 inch thick. The whole surface area is about 1.4 m².

Ref.4522
Beautiful Louis XV style fireplace in Red of the North marble

This wonderful fireplace made in the late 19th century out of Red of the north marble, takes the esthetic codes of the Louis XV fireplaces. With curves and counter-curves, the jambs are adorned with small shells on their upper part, they frame the serpentine entablature decorated with a remarkable shell on the center, underlined with an oblong moulding.

Ref.12881
Large double door in wood painted in green and pediment, 20th century

This large double door was made in wood painted in green in the 20th century. It is adorned with a paneled and geometrical sculpted decoration and lightened up with a pediment.

Ref.12870
Lot of around 5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles from Provence. About 300 tiles of which the six sides are 3"9/16 for 6" 11/16 length and 13/16" thick. The whole surface area is about 5 m².

Ref.12874
Lot of 10.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 620 tiles of which the six sides are 3 3/8 for 6" 11/16 length and 1" thick. The whole surface area is about 10.5 m².

Ref.13597
Batch of about 34m² of Arenberg parquet flooring, 18th century

Lot of antique parquet about 34 square meters made in the 18th century of oak composed of 33 Arenberg panels. The sides are 40" 3/16

Ref.14346
Fireback from the 17th century with the arms of France and Navarre

Ref.13105
Mediterranean landscape, a rare iridescent dish by Delphin MASSIER

Made around 1900, this magnificent ceramic dish with metallic lustre is signed by Delphin Massier. Based in the Côte d'Azur, the Massier brothers ran a famous artistic pottery workshop. At the end of the 19th century, their highly distinguished creations adorned the drawing rooms of the Riviera's rich private mansions. The Massiers also worked for the crowned heads of Europe. The Massiers are considered to be the fathers of Vallauris decorative pottery, which was to become very famous in the 20th century. A large, spectacular dish, it pays tribute to the Mediterranean landscape, full of iridescence thanks to the use of the metallic lustre technique. The framing of the landscape and the tranquillity of the view, combined with the colours, are reminiscent of Japanese inspiration. Using a similar technique, a dish signed by Clément Massier, Delphin's brother, is in the collections of the Musée d'Orsay in Paris.

Ref.15388
Théodore DECK, Dish decorated with iridescent bird and insects, circa 1880-1900

This earthenware dish with rich iridescent reflections was made by Théodore Deck around 1880-1900. It bears the artist’s signature and stamp on the back. Théodore Deck initially trained in the field of stove manufacturing. When he established in Paris on his own in 1858, he produced stove coverings and, buoyed by his success, ventured into ceramics. The workshop then created numerous dishes, sometimes in collaboration with renowned painters. He gradually perfected his technique and achieved great success at the many Universal Exhibitions in which he participated. In 1878, he was made an officer of the Legion of Honor. He led the Sèvres factory from 1887 until his death in 1891. The decoration of this dish, particularly poetic, features a small bird with a yellow throat and blue-green and brown wings, surrounded by orange flowers among which a bee and two butterflies flutter. The top of the bird’s head and part of its wings, as well as the wings of the butterflies and the body of the bee, were executed thanks to Deck’s work on metallic reflections, which uniquely enriches the decoration of this dish. It is notably due to his technical mastery in this area that he won a silver medal at the Universal Exhibition of 1867; however, it is rare for him to use such an important and varied application in a single work. In this, the dish is an exceptional piece. The artist particularly favored motifs of birds and butterflies in flight within a natural, flowery setting; this is evidenced by another dish of his, preserved in Peter Marino's collection, depicting a bird with blue wings striped with black, perched on a flowering branch, from where it watches two butterflies with colorful wings.

Ref.5816
Louis XVI style curved Carrara marble mantel decorated with a frieze of macaroons

This Louis XVI-style fireplace features fine, detailed decorations. The fireplace’s band is adorned with a geometrical Greek frieze. In the circles of the frieze are flowers formed by the arrangement of leaves. This blend of nature and ancient Greek motifs is typical of the Louis XVI-style. On the console part of the leg, the leafy flower motif continues. Framed in a square, acanthus leaves come together to form a flower with a raised bud in the center. The upper part of the leg is curved, giving way to wide scrolls on the sides. On the front of the legs, acanthus leaves follow the leg’s shape. The rest of the fireplace is decorated with fluting, adding depth to the legs. This fireplace comes with its original cast-iron interior. In keeping with Louis XVI-style motifs, field grasses are depicted in the interstices of a regular Greek frieze, and acanthus leaves define and cover the corners of the cast iron interior.