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.3317
Antique Louis XIV style "Bollection" fireplace mantel in Sarrancolin Ilhet marble with its original marble floor

This Louis XIV style fireplace was built in the 19th century. This is a sophisticated model, with its curved mantel, embossed spandrels, and scrolls on each side of the jamb. Its Sarrancolin Ilhet marble has a very beautiful hue highlighted by the original marble floor in marble Blue Turquin . The contrast of the bluish gray, starred with white veins, with the orange marbles, create a remarkable effect. The design of the floor is also very original.

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.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.12275
Antique fireback to the Armes de France from the 19th century

Antique fireback from the 19th century with Armes de France decoration.

Ref.12841
Jules LOEBNITZ (1836 – 1895), Ceramic panel “Child with a flower”

This rectangular panel made of enameled ceramic made by Jules Loebnitz in the second half of the 19th century depicting a child holding a bow in one hand and a flower in the other one from a painting by Emile Lévy (1826 – 1890). The Pichenot-Loebnitz factory was founded by Mr Pichenot, grand parent of Jules Loebnitz, in 1833. From 1841, Mr Pichenot had started the fabrication of uncrackable earthenware panels for mantel's interiors, showed with success during the Exhibition of 1844. Breaking with the traditional fabrication of white heating system, the Pichenot-Loebnitz factory, was one of the first to start the production of architectural earthenware decorations. In 1857, Jules Loebnitz, artist as much as an industrial, succeeded to his grand father and became director of the factory. He helped renovating the old mantels tiles during the restoration of the Castle of Blois before collaborating with the most important architects of his time Eugène Viollet-le-Duc, Laval, Charles Garnier, Just Lisch et Paul Sédille. Between the architect Paul Sédille and Jules Loebnitz, a true friendship was born that leads them to collaborate very closely from 1867. The architectural polychromy theoretician had met the man that has brought important progresses to French ceramic, allowing the making of important uncrackable earthenware panels. Thus, during the Great Exhibition of 1878, Paul Sédille realized the door of the Palais des Beaux-arts, while Jules Loebnitz was in charge of the ceramic decoration of the facade, in order to advocate the renewed of architectural polychromy. For this purpose, he made a series of three panels taking as a model the paintings of Emile Lévy, kept today in the Musée de la céramique architecturale of Auneuil, depicting the Painting, the Sculpture and the Architecture, transposed to enamel by Lazar Meyer, a student of the painter. The Painting depicts a scene on which we can see a man painting three naked women in the characteristic position of the Three Graces. Cupid, asking for a flower held by one of the woman, has most likely been used too as a model for the one we can see on our panel, as they have the exact same body position. Indeed, the naked child with his red hair is standing by its profile on both panels, the left leg is out straight, the other is bend. He's holding in his left hand a bow and straight out his other hand to the sky, toward where he is looking. The difference is visible with the representation of the flower that the child is holding in our panel. On the contrary of the original painting, the background is abstract, the only décor is the flower behind the child. We also find on one of the plate from La brique et la terre cuite by Pierre Chabt – book that has contributed to the success of the manufactory after it was published in the 1880’s – a panel depicting the same subject with a different background. This model is today kept in the Musée des Arts et Métiers in Paris.

Ref.13002
Surprising pair of varnished earth depicting a woman bust, North Italy, circa 1850

This pair of andirons is quite original because of the material used to create them. Indeed, very often we find andirons made of cast iron or wrought iron but not many in ceramic. Our pair of andirons is the work of an art craftsman, living in the old Duchy of Savoy in the north west of the actual Italy, annexed by France under the Second Empire, while the rest of the Italian peninsula territories are integrated to the new kingdom of Italy. The shape of these anthropomorphic andirons are quite simple, they are decorated with women busts of which each face’s lines and strand of hair have been marked carefully, while the front is adorned with neoclassical decoration with volutes. Sculpted in terra cotta, they were next, enameled with a brown glaze. Our pair of andirons were presented during the exhibition « Terres de feu, de lumière et de songes » organized in Aubagne in 2009 by les Ateliers Thérèse Neveu and are illustrated on the exhibition catalogue at page 18. This event was the occasion to reunite many ceramic objects used to heat, light and smoke.

Ref.13279
Fireback with France and Navarra coat of arms, 19th century

This fireback was made of cast iron in the 19th century. It is adorned with the France and Navarra coat of arms surmounted by the Royal crown and framed by laurel branches. We also find on the upper corners the Cross of Lorraine and on the lower corners the fleur-de-lis.

Ref.14832
Impressionist decor, large earthenware vase by Louis Auguste LEPÈRE for Faïencerie LAURIN

Designed between 1875 and 1878, this large ovoid vase is a technical feat due to its size and decoration. In earthenware, the polychrome decoration is made with slip, following a process developed by Ernest Chaplet at the Laurin earthenware factory in Bourg-la-Reine in 1871. The technique of slip painting was favored for making impressionist ceramics, in particular by Auguste Lepère. This painter, close to Félix Bracquemond, is the author of the landscape decoration which adorns our vase. It represents a Norman maritime landscape, between Dieppe and Etretat, with characteristic cliffs. The decor develops like a panoramic canvas, magnifying the beauty of the sky and illustrating the activities of the fishermen. The touch, vibrant and free, evokes the style of Eugène Boudin. The body of our vase is decorated with two lion heads modeled in relief. It rests on a sculpted and stained walnut base simulating a swamp populated with frogs.

Ref.11159
L'ESCALIER DE CRISTAL, Vase Clock with Dragon Mount, after 1885

This highly original bronze vase clock was created for Escalier de Cristal at the end of the 19th century. The clock movement is signed “Japy Brothers & Co”. Founded around 1808 by Widow Désarnaud, this famous house was taken over by brothers Georges and Henri Pannier at the end of the 19th century. They actively contributed to the spread of the Japonism trend, of which this work is a fine example, while maintaining the high quality that made the store renowned. The decoration of the piece, of great craftsmanship, is inspired by Japanese iconography and revolves around the theme of the dragon. The clock adopts the form of a vase resting on a gilt bronze mount shaped like a threatening dragon at the front, and clouds of smoke at the back. The body is adorned with low-relief motifs reminiscent of Japanese Meiji-era panels. An Asian warrior is depicted preparing to battle a dragon. At the top, a polylobed dial set against a matching motif displays numbers inscribed in Japanese calligraphy, along with two hands forming a dragon whose shape constantly evolves with the hours. The piece is crowned with a Foo dog stretching on its front paws. The quality of execution and the chiseling of the base demonstrate the mastery of the bronzesmith who created the object. The vase clock is listed in one of Henry Pannier’s notebooks under the designation “Crystal vase with dragon mount forming clock”. The sketch shows an undeniable resemblance to our piece. The notebook also indicates that only two vase clocks were sold: one in crystal and the other in bronze.

Ref.5644
Louis XVI style mantel with rounded corners and carved sunflower in cristaline marble

Ref.15518
Louis XVI style gilded trumeau with rounded top decorated with an openwork wreath of flowers

Ref.4987
Louis XVI style curved fireplace in Arabescato marble, with rudenture and acanthus leaf

This curved Louis XVI–style fireplace was made in the 19th century from Arabescato marble, recognisable by its white tone traversed with grey, marble-like veining. The richness of these veins enlivens the marble’s surface and accentuates the sculpted volumes. The overall shape is slightly curved, typical of the late Louis XVI style. The mantel shelf has a straight, projecting profile, resting on an entablature adorned with a frieze of fluted arcades in regular rhythm. The square, projecting blocks above the jambs are decorated with rosettes carved in low relief, while the jambs themselves, curved and robust, end in simple bases. The carved decoration is concentrated on the jambs, adorned with large acanthus leaves deeply carved and symmetrically arranged around a central rib. These leaves, strongly modelled in relief, follow the curved line and emphasise the vertical character of the composition. The entablature, meanwhile, is enlivened by the rhythmic series of flutings framed by fine horizontal mouldings.