Ref.2941
Beautiful antique fireplace in Louis Phillipe style carved out of Brocatelle marble

This large antique Louis-Philippe style fireplace was made out of Brocatelle marble during the 19th century.

Ref.10266
Antique Louis XVI overmantel ornamented with paterae and bow

This Louis XVI style overmantel was made in the 19th century in brown painted wood and stucco. The mirror is surmonted by a bow and decorated with frieze of pearls, twisted ribbons and moldings. Paterae are making the mirror's angles concave.

Ref.3495
Beautiful Victorian style antique fireplace in Carrara Statuary marble and inlays of Vert d'Estours marble with vases and bowl

This beautiful antique Victorian style fireplace is an English model made in the late 19th century. It is made of Carrara Statuary marble and Vert d'Estours marble, whose inlays contrast with the whiteness of the Statuary marble and highlight the straight lines. This fireplace is adorned with fine sculptures. The fluted jambs are thus decorated with Greek-inspired vases at the top and the frieze is adorned with rosettes and a large bowl at its center surrounded by branches with flowers.

Ref.03345
Théodore DECK (1823-1891) and Joseph Gustave CHERET (1838-1894) - Large vase with decoration of nymphs and cherubs

A Napoleon III style , large, rounded vase with a straight neck and raised decoration of mannerist-inspired naiads and cherubs dancing, encircled by continuous garlands of orange-colored flowers, and flanked by two protruding handles sculpted into heads of grotesques. This enameled ceramic vase features a beautiful mauve varnish that fades into an off-white cream color in the center, as well as barbotine, a creamy mixture of kaolin clay used to ornament pottery, particularly in the late-1800's. Signed “TH. DECK” under the foot and “J. Chéret” on the body, beneath the barbotine figures. Deck and Chéret Collaboration: Théodore Deck and Joseph Chéret worked together several times, particularly to create vases, pot holders, different types of cups, and faience centerpieces. Most of the time, the barbotine figures and ornaments sculpted by Chéret adorn the vase or cup created by Deck. In 1887, they worked together at the manufacture nationale de Sèvres, one of the principal European porcelain factories. Deck was the director of the factory, and Chéret the director of artistic works.

Ref.11209
BACCARAT, Pair of Vases with Bamboo Decor, circa 1880

This pair of vases with bamboo decor was crafted by the Baccarat crystal factory around 1880. Created under the reign of Louis XV, the crystal manufacturer owes its international reputation to its participation in major exhibitions throughout the 19th century and up until 1937. During this period, the manufacture showcased the excellence of its production and its constant pursuit of innovation to the world. Its creations influenced other European glass and crystal manufacturers in the following decades and set the standard for execution techniques and stylistic models.

Ref.11841
Cast iron fireback from the 20th century, with the effigy of King Charles VII

This modern fireback was made in the 20th century and represents King Charles VII on horseback. The upper right corner is decorated with the French coat of arms surmounted by a knight's helm. Inscription "Santa Coloma 1389".

Ref.12164
Beautiful antique oak and mahogany parquet flooring

This beautiful antique parquet flooring was made out of oak and mahogany around 1900. Composed of 60 square panels with marquetry decoration. The square panels are 50 cm x 50 cm. The total area covered is around 15m². The parquet floor has been restored.

Ref.12322
Lot of 38 m2 of old oak parquet flooring

Antique oak linear parquet flooring from the first half of the 20th century. Length from 80 to 100 cm. Coming from a 23 m2 room and a 15 m2 room, for a total surface of about 38 m2.

Ref.4027
Antique Louis XVI period fireplace in Carrara marble decorated with grapevines and grapes

Antique Louis XVI period fireplace made of White Carrara marble in the late 18th century. The entablature is adorned in its center with a carving in application of vine leaves with beautiful bunches of grapes and holly leaves. The jambs are also adorned with holly leaves. The upper part of the jambs are carved with applied rosettes.

Ref.12415
Antique trumeau with an oil on canvas representing a scene of children playing with a dog

Antique painted trumeau realized in the 19th century composed in its upper part of an oil on canvas representing a scene of children playing with a dog wearing a dress.

Ref.12447
Pair of Baccarat crystal vases with Japanese decoration

Pair of vases with Japanese decoration in Baccarat crystal and gilt bronze frame.

Ref.12563
Simple door with mirrors, end of the 19th century

This simple door was made at the end of the 19th century, it has mirrors on one of its side, while the other one shows a paneled decoration. It is provided with a beautiful handle adorned with a ciseled decoration.

Ref.12477
Lot of around 6,8 m² of Soignies stone slabs

This lot is composed of square Soignies stone slabs, each side is 11" 3/4, the thickness is 2 cm to 5 cm, for a surface around 6,8 m².

Ref.12986
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 7" 1/2 to 7" 11/16 for 1" to 1"3/16 thick.

Ref.13354
Oak front door with glass opening and wrought iron, 20th century

This front door was made of oak in the late 20th century. It is adorned with a paneled decoration on the lower part, while the upper part is composed of an inside opening of glass adorned on the outside with a wrought iron scrolls decoration.

Ref.13171
CRISTALLERIE DE BACCARAT, Neo-Greek, krater-shaped vase, made out of coated crystal, and etched through hydrofluoric acid, 1867 World’s Fair

This krater-shaped vase made out of coated crystal is a work from the Baccarat crystal-glass making factory, between 1862 and 1867, year when similar models were displayed at the Parisian World’s Fair. It is the Baccarat manufacture’s second entry, the first being at the first Parisian World’s Fair of 1855. Baccarat does win a gold medal, in particular for two vases made out of ruby red crystal, and a crystal fountain of seven meters high. Created under Louis XV’s reign, the crystal-glass making factory got its international fame through its participations, all along the 19th century, and until 1937, to the World’s Fairs.he works of the manufacture are scarcely signed between 1764 and 1860, year where the first labels did appear punctually. Fifteen years later, a seal with the name of the firm is placed on some blowing models and gilded bronze pieces. It is not until 1936 that the « BACCARAT » brand, with a carafe and two glasses, started appearing systematically on every production. During the 1867 World’s Fair, Baccarat inspired itself from the Bacchus cult for most of its production. We can see in our vase the influence of ancient ceramics through the shape of a krater – a piece of ceramics used by Greeks to dilute wine with water – as well as in the composition and the decoration’s subject. The latest is engraved thanks to hydrofluoric acid, a technical mastered by the German chemist Louis Kessler in 1855, who did improve the chemical formula of the bath to make it less aggressive and thus, less dangerous. Baccarat bought the patent in 1864, allowing the manufacture to diverse its production and to reach a new level of virtuosity. Detaching themselves from an opaque, white background, pink colored figures are represented in the spirit of ancient decorations on ceramics. We can see on one face a maenad wearing a spinning drapery, holding a drinking cup in one hand and a thyrsus in the other – a stick similar to a scepter and crowned with a pine cone, Dionysus’s attribute. On the other side, two figures are placed face to face, a masculine and a feminine one. They might represent the divine couple of Dionysus and Ariadne : she is sat on an ancient seat, richly dressed, and addressing the half-naked young man that is also carrying a thyrsus. In order for this decoration to be perfect, the two figurative scenes are framed with different patterns : palm motif, interlacing, Greek key frieze and laurel leaves.The handles have been realized after : they were shaped in clear crystal, and then adorned with gold painting applied with a brush. Even if, until today, our vase is the only one known showing this krater shape and the color rose, other similar models, with similar decorations, does exist – in particular in blue and yellow. Moreover, this bacchanal scene on an opaque white background have been applied on other pieces produced by the firm, that can be seen in museums’ collections, such as the Corning Museum of Glass, the Chrysler Museum of Norfolk, the Musée d’Orsay or at the Petit Palais.

Ref.13459
Series of four earthenware bas-reliefs, "Putti fishing", late 19th century

This series of four bas-releifs was made of earthenware in the late 19th century, the artist or the factory are not identified even though one of them is bearing the monograme "EB". Each panel depicts a polychromatic decoration in frieze inhabited by putti sailing on the sea and hunting with harpoons and nets some marine monsters and fishes. On one of the bas-relief, five putti are on an boats, two of themn are huntinf with a trident a big dimensions fish, while the others are occupieds net fishing. On the two others, of one the boat is attacked by marine mosnters looking like dragons and sea horses. Armed with harpoons and arrows, the putti are fighting, keeping the boat on sea and riding the aquatic creatures. Finally, on the last frieze, the putti seem to be coming back from fishing, bringing back the boats on the ground with the net filled with fishes. The richness of the colors used and the shape of the friezes translate a charming decora with an expressive narrative work.

Ref.4686
Large Louis XVI period mantel in Saint-Anne Grey marble with fluted feet

This large mantel was made in the late 18th century in a Grey Saint-Anne marble. Its straight lines and its sculpted decoration are typical of the Louis XVI style. Indeed, we find roses on the corners of the entablature supported by fluted jambs. Our mantel doesn't have side.

Ref.12899
Lot of 4.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 317 tiles of which the six sides are 3" 1/4 for 6" 1/2 length and 1" thick. The whole surface area is about 4.5 m².

Ref.13516
Batch of about 48 m² of flooring composed of large paving stones

This batch of about 48 m² of stone flooring is composed of 146 square paving stones of which the sides are 23" 5/8 for 1" to 1" 3/16 thick and 20 half paving stones.

Ref.12400
VAL D’OSNE Foundry - Exceptional Renaissance style fountain Model presented in the 1851 World Fair

This exceptional painted cast iron fountain in the Neo-Renaissance style was crafted at the Val d’Osne foundry for the inaugural Universal Exhibition of 1851 in London, where it was prominently displayed. Hubert Lavigne created the model for our monumental Neo-Renaissance-style fountain for the Val d’Osne foundry. Resting on an octagonal pedestal adorned with shells and reeds in slight relief, the fountain consists of a first broad basin with small lampposts encircling it, punctuated by fleurons with pierced openings from which water can flow and be adorned with arabesques. In the center of this basin, a beautiful decoration of reeds has been sculpted, where a heron, a turtle, a frog, and a duck flourish in a very realistic manner. It supports a second basin with undulating contours and exterior striations reminiscent of a seashell's characteristics. This last basin features a sculpture in its center representing a woman draped in ancient attire around her waist and brandishing a cup with her left arm. Children seated on dolphins, blowing into a conch shell, have been placed all around the base to animate it. The sculptor's artistry is particularly evident in their modeling, reminiscent of the children sculpted on the facade of the Louvre. In the context of the industrial revolution and the flourishing of free trade, industrial exhibitions, initially national in scope, provided a platform for sharing inventions that opened up future horizons. Thus, the first Universal Exhibition took place in London from May 1 to October 15, 1851, at the Crystal Palace. Queen Victoria's reign demonstrated its modernity and adherence to a liberal philosophy, where international trade would be a guarantor of peace and the flourishing of human genius. The Crystal Palace, conceived for the occasion by Joseph Paxton and executed by Owen Jones, was a giant structure of iron and glass covering 8 hectares, erected swiftly through modern prefabrication methods, showcasing the progress of industry. Unfortunately, this architectural masterpiece was permanently destroyed in a fire on November 30, 1936. Functioning as a demonstrative showcase of Great Britain's supremacy in the global economy and industry, the Exhibition was designed as a presentation of the products of art and industry on a grand scale from each country. The interior was segmented into four sections, later adopted for subsequent Universal Exhibitions: raw materials, machinery, manufactured goods, and works of art. For each section, national pavilions served as showcases for their best productions and innovations. The color illustrations by Dickinson and Matthew Digby Wyatt are valuable testimonies to this event, capturing the beauty of the venue and the precious art objects on display. Infused with pedagogical intent and national affirmation, the 1851 Universal Exhibition inaugurated a highly successful practice, creating an artistic and technical dialogue beyond borders. The participation of the Val d’Osne foundry in this first Universal Exhibition, notably featuring the presentation of our fountain in the vast glass nave, bestowed upon it international recognition. Its frequent participation in such events, coupled with the accolades it received each time, quickly elevated the foundry to the foremost position in France during the second half of the 19th century. Established in 1836 at the initiative of Jean-Pierre-Victor André, founder of the "J.-P.-V. André" house and considered the pioneer of ornamental cast iron in place of wrought iron, the foundry offered urban furniture and decorative cast iron. Thriving over the years, the establishment changed hands without compromising its quality until 1986, absorbing several competing establishments including Barbezat and Ducel, thus enriching its catalog with over 40,000 different models. This included balconies, urban furniture, lighting, as well as monumental fountains, animal groups, statues, and large cast iron groups inspired by ancient or classical models. To achieve this, the foundry collaborated with numerous significant artists such as Albert Ernest Carrier-Belleuse, Mathurin Moreau (a shareholder in the company), James Pradier, and Hubert Lavigne, the sculptor of our fountain. Hubert Lavigne, born in Moselle, specifically in Cons-la-Grandville, in 1818 and deceased in Paris in 1882, studied at the Beaux-Arts in Paris under the guidance of sculptors Ramey and M.A. Dumont. A remarkable sculptor, he won the Third Prize in Rome in 1843 with a plaster bas-relief depicting the Death of Epaminondas, now housed in the Museum of Fine Arts in Nancy. He also won two medals at the Salons of 1861 and 1863, to which he was a dedicated participant between 1849 and 1881. He received commissions for Parisian buildings, including the Palais Royal at the Louvre, where his sculptures adorn the facade of the Turgot wing, as well as the Sorbonne church and the Saint-Michel Fountain. He also created numerous works in cast iron for the Val d’Osne foundry, such as agricultural representations, eagles, tritons, children blowing into a conch shell, and more. A prolific and talented sculptor, Théodore Véron Hubert, lamented in his 1877 work, Dictionnaire Véron, ou mémorial de l'art et des artistes de mon temps, that our sculptor was not duly recognized for his merits: "And to think that after so much study and conscientiousness, so many superior productions marked by an aesthetic worthy of a Dumont, this eminent artist, and at the same time a noble character whom we have followed since 1841 when we drew together (at the Lapin Academy), and whose superior creations we see every year; to say that this truly distinguished sculptor is not yet decorated or recognized! Truly, it's enough to discourage modesty and conscience!" Featured in the foundry's catalog, our fountain was commissioned by numerous cities to adorn their squares. Notably, a model can be found in Cirey-sur-Vezouve in eastern France, another in Saint-Pierre de la Réunion, and yet another on the island of Sao-Miguel in Portugal.

Ref.12872
Batch of 2 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 110 tiles of which the six sides are 3" 3/4 to 3" 15/16 for 7" 1/2 to 7" 7/8 length and 13/16" thick. The whole surface area is about 2 m².

Ref.4778
Louis XVI period fireplace in Grey Sainte Anne marble

The sides are missing, as usual in the 18TH century period mantels, Can be redone in stone with marble trompe l oeil.

Ref.4968
Louis XVI period mantel in Royal Red marble

This beautiful mantel was carved in Royal Red marble at the end of the 18th century. The entablature is decorated with a long wide frieze of laurel leaves adorned with crossed ribbons in the centre. The entablature rests on a fluted and slightly curved console shaped jamb.

Ref.14304
Trumeau with flower garland decoration in the Louis XVI style

Ref.5171
Louis XV style Pompadour mantel in Enjugerais marble

Ref.14677
Louis XVI style trumeau decorated with a garland of flowers

Ref.12820
Théodore DECK (1823-1891), Earthenware dish with a flying mallard

This glazed ceramic dish was made in the workshop of the ceramist Théodore Deck (1823-1891). Théodore Deck initially trained as a stove maker. When he set up in Paris on his own account in 1858, he made stove linings and then, on the strength of his success, moved into ceramics. The studio produced many dishes in collaboration with well-known painters, including Ernest Carrière, who made a series of dishes on the same subject as this one in the 1890s-1900s. Deck gradually perfected his technique and enjoyed great success at the many World’s Fairs he took part in. In 1878, he was made an Officer of the Légion d'Honneur. He ran the Sèvres factory between 1887 and his death in 1891. The dish is decorated with an extremely naturalistic mallard captured in full flight, in the middle of a sky with cottony clouds and above a vast expanse of water as if wrinkled by a breath of wind. The background of this dish is particularly elaborate, clearly distinguishing between the sky and the water thanks to variations in the thickness of the glaze. This decoration reveals Deck’s interest in Far Eastern art, which he collected from the 1870s onwards. This inspiration is particularly evident in the choice of the mallard, often depicted by Hiroshige in his prints. This work is an emblematic example of Théodore Deck’s mastery of the enamel technique, enabling him to achieve great finesse in his work: the bird is depicted with great precision and clarity. The Théodore Deck et des pays du Florival Museum, in Guebwiller, has a dish also made by Deck, decorated with a mallard taking flight in front of a golden sun, which is very similar to another dish in the Marc Maison gallery.

Ref.5285
Louis XVI period mantel in Rouge Royal marble

Ref.5614
Louis XVI mantel in Turquin marble with curved flutes

Ref.5546
Louis XVI style mantel in light blue Turquin marble decorated with bronze sunflowers

Ref.5366
Louis XVI period mantel in Gris Saint Anne marble

Ref.5919
Louis XV style fireplace in Carrara marble with plant decoration

Ref.15866
Fireplace plate with the coat of arms of France, dated 1654

Ref.6131
Louis XVI period fireplace in red northern marble, slightly curved

Ref.16012
Rococo style clock with Louis XV monogram, gilt and patinated bronze

This Rococo-style clock in gilt and patinated bronze depicts a putto on a chariot drawn by a dragon. The circular enamel dial is decorated with an openwork foliate design. Acanthus leaves and rocaille motifs form the base of the clock. While the reverse of the chariot displays the monogram of Louis XV (two interlaced "L"s flanked by three fleurs-de-lis surmounted by a crown), this clock is a 19th-century reinterpretation of the Rococo style.

Ref.6189
Louis XVI style fireplace in Carrara marble, decorated with ribbons and floral rosettes