Ref.9751
Four leather and brass doors

On all the doors, the front is made up of leather and brass. The back of door 1 is fitted with a mirror. The back of door 2 is exactly the same as the front. Wooden moulding covers the back of door 3. The back of door 4 is also moulded, and decorated with a rosette. All the doors have the same dimensions.

Ref.9776
Antique cast iron fireback with Gaullier de la Selle coat of arms

This very beautfil antique fireback was realized in the 18th century. It wears the coat of arms of the Gaullier de la Selle family supported by two griffons. Coat of arms is three crescent moons and a chevron surmounted by a crown.

Ref.12896
Japanese style bevelled mirror attributed to Gabriel Viardot

Japanese mirror with dragon attributed to Gabriel Viardot, dating from the end of the 19th century. A small dragon frames a corner of the mirror with its slender body. The details of its face : its eyes, its nose, its open mouth showing its teeth and its outstretched tongue, are carved in fruitwood, as well as its scales and clawed paws that completely enclose the mirror. The two corners on the opposite side of the dragon are adorned with a stylised cloud motif as found in Asian art codes.

Ref.3625
Fleur de Pécher pink marble Louis XV mantel

Ref.5857
Very beautiful antique Louis XVI style fireplace in Statuary Carrara marble with quiver-shaped columns, after the model from the Chateau of Fontainebleau

This magnificent Louis XVI style fireplace, of impressive dimensions, was made in the 19th century from Statuary Carrara marble. It is a faithful replica of the model installed in the 18th century at the Château de Fontainebleau, in Queen Marie-Antoinette’s Silver Boudoir, designed in 1786 by the architect Pierre-Marie Rousseau. The boudoir was entirely decorated to reflect Marie-Antoinette’s admiration for antiquity. Ivy branches—symbols of vitality in classical tradition—run across the frieze, bordered by an ovolo moulding that emphasizes the linear clarity characteristic of the Louis XVI style, in contrast with the exuberance of the Rococo. Amid the ivy, a bow is finely chiseled in bronze. This motif is echoed in the jambs, shaped as delicately fluted quivers. The feathers of the arrows, the base ornaments, and the lion heads that adorn them are all crafted in bronze. Art historian Yves Carlier, in Le Boudoir de Marie-Antoinette à Fontainebleau, suggests that sculptor Philippe-Laurent Roland, responsible for several elements of the boudoir, may have also designed the bronze models for this fireplace, which were then executed by the bronzesmith Claude-Jean Pitoin. The bow and quiver motifs are hallmarks of the Louis XVI style and appear throughout the Silver Boudoir—on the legs of armchairs and the writing desk, for example. This fireplace fits seamlessly into the cohesive decorative scheme of the room, both in its themes and composition. While true to the original, this 19th-century version features some period-specific elements, such as an inner cast-iron panel adorned with leaf branches and ribbons.

Ref.6046
Louis XVI style fireplace with half Corinthian column, in half statuary marble

Fireplace crafted in Carrara marble, whose subtly nuanced white tone is interspersed with fine grey veining, creating a delicate interplay of texture and colour. This marble, valued for its tight grain and quality of finish, lends the whole piece a luminous and harmonious appearance. The rectangular mantel shelf, with slightly softened edges, rests above a straight entablature. The latter is distinguished by a central frieze finely carved with a laurel garland in relief, a decoration evoking the classical themes of victory and honour frequently found in the Louis XVI style. The side jambs are formed by engaged half-columns, carefully proportioned to structure the façade. Each smooth shaft is topped with a Corinthian capital, recognisable by its finely detailed acanthus leaves and delicately carved volutes. The carving of the capitals is notable for the depth of its relief and the crispness of its lines, enhancing the architectural elegance of the whole. Moulded bases provide a harmonious transition to the plinth while emphasising the verticality of the composition. The cast iron interior features ornamental decoration characteristic of the 19th century: in the centre, a large radiating shell serves as the main motif, surrounded by scrolls and stylised foliage. This decoration, both functional and ornamental, contributes to the visual identity of the hearth while protecting the inner masonry.