Ref.10257
"Venus Asks Vulcan to Cast Arms for Her Son Aeneas" - Louis XVI period overmantel in carved wood

Rare Louis XVI style and period overmantel in carved wood, with a modern gilding. The upper part is decorated with a garland of flowers. Both sides are sculpted in form of pilasters, with roses, ribbons, quiver, sword, spear, helmet and griffin. A perl friez fram an oil on canvas figuring "Venus Asks Vulcan to Cast Arms for Her Son Aeneas" and an original mercury mirror.

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The monumental mirror coming from an exceptional furniture set realized by Moses Michelangelo Guggenheim for the Palazzo Papadopoli in Venice, Italy

This gigantic mirror uses the same decorative collection as the side table and large dresser. The carved wood frame has the same motifs. The uprights are decorated with bearded sheathed men, whose long sleeves are decorated with acanthus leaves. One finds this same pattern on the uprights of the window. The representation of the body with generous muscles demonstrates the skill of the sculptor. The upper part contains the identical entablature of the credenza with a frieze of festoons topped with shells alternating with masks of fantastic creatures. As on the credenza, a projecting cornice rests on carved corbels. Here again we see how an overall design directed the production of this furniture, where each piece contains a decorative element of another while enriching it.

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Antique 18th-century fireback with the coat of arms of the Fontaine de Biré family

Rare antique fireback made during the 18th century and bearing the coat of arms of the Fontaine de Bire family : Azure to chevron with two clovers and a sheaf the whole of gold. The Fontaine de Bire family is originating from Anjou, France. One of his most famous representatives, Marie-Sébastien-Charles-François Fontaine de Biré, asked for his bust in marble by Jean-Antoine Houdon in 1785, which can quite correspond to the date of realization of our fireback. This bust is now preserved at the J. Paul Getty Museum in Los Angeles, USA.

Ref.3438
Antique Napoleon III style fireplace in Belgian Black marble with Fior di Pesco marble inlays

This antique Napoleon III style fireplace was made in the 19th century in a beautiful Belgium black marble , also called "Fine Black of Belgium", and decorated with inlays in Fleur de Pêcher marble (Fior du Pesco). The tapered legs are fluted while the rudentures are madeout of Fleur de Pêcher marble. The frieze is composed of three molded panels also inlaid with Fleur de Pêcher marble.

Ref.3457
Antique Neo-Renaissance fireplace in oak with a portrait of woman

This antique Neo-Renaissance fireplace in oak wood was made during the 19th century. On the monumental upper part is a portrait of a woman with a blue cloth and holding a small bouquet of flowers. A cariatide and an atlante draped and bare-chested are carved on the jambs. They support a frieze richly decorated with foliage and flowers characteristic of the Neo-Renaissance aesthetic.

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Beautiful antique paire of Onyx lamps with cloisonné enamels and gilded bronze with Sphinx decor

This beautiful pair of Napoleon III style lamps was made around 1870. The central part, made of onyx , is shaped like an antique amphora. It is adorned with a very colorful frieze of cloisonné enamels and two handles topped with gilt-bronze busts of female sphinxes (see our article about sphinx ). The foot, also made of gilt bronze, is sculpted with spirals. It is placed on a rather simple, round base made of gilt bronze, onyx , and cloisonné enamels. This piece epitomizes the Antique artistic current of the 19th century and the Second Empire. Napoleon's 1798 campaign to Egypt initiated “ Egyptomania ” and, more generally, Orientalism. Ancient Greek and Egyptian shapes, colors, designs, and iconography became very popular in the Western world. “Neoclassicism” was popular in painting since Jacques-Louis David, as well as in architecture, and in decorative arts. This pair of lamps features decorative female sphinxes, who resemble the typical Greek sphinx. They have wings and are wearing a helmet and armor. The lamps' shape is like that of an Egyptian or Greek amphora. Moreover, onyx is a stone that was often used in Ancient times for cameos and as an ornament for decorative objects. This object is quite characteristic of the Napoleon III style in particular by the cloisonné enamels decor that bring a rich polychrome, technique rediscovered in France circa 1860 and extensively used in decorative arts, especially by the genius that was Ferdinand Barbedienne , bronze manufacturer. The combination of onyx and bronze was brilliantly used first by the Compagnie des Marbres et Onyx d'Algérie by Eugene Cornu.

Ref.11309
Gabriel VIARDOT, Desk with a Buddhist monk, signed and dated 1886

This beautiful sloping desk is signed by Gabriel Viardot and dated in 1886. The presence of a date on a piece by Gabriel Viardot is a point in itself and worth noting. The great quality of production of this sloping desk probably explains its presence. Faithful to the Japanese productions, this desk with classic construction has an assymetrical composition, notably in its upper part. In the center of it is a drawer around which shelves and cabinets are distributed. The box located in the lower part is closed by a door adorned with Tonkin mother of pearl inlays, an element reused according to a then customary practice. Below, a small square-shaped box is closed by a panel with a lacquer decor from Japan. An Buddhist monk is depicted there seated and dressed in a rich tunic with gilded motifs. His face is very meticulously represented, engraved in the ivory. The panel closing the desk is also decorated with inlaid Tonkin mother of pearl. The great quality of this desk and the attention to the decor that it presents make this piece an exceptional production of Gabriel Viardot.

Ref.17893
VEROT, Cabinetmaker - Neo-Renaissance style dining room set made out of carved walnut

Walnut, Green Estours Marble. This dining room set is made up of a desert table, a dining table and six chairs. Bearing the mark of the cabinetmaker Verot, active in Paris from 1875, this Neo-Renaissance dining room set was carved out of walnut around 1880. The credence dessert table is supported by two fluted jambs, that end with the busts of young women carved in full relief. The top of the desert table is made out of Green Estours marble, beautiful green veins on a cream background. The theme of grotesque features and fanciful animals is found all over the furniture of this dining room set, especially the salamander, emblem of François the first, decorating the lower part of the dining table.

Ref.10940
BAYEUX MANUFACTURE - Four vases with polychrome and gold decoration with Chinese

These Bayeux porcelain vases feature rich decorations treated in polychrome and gold with Chinese characters, flowers and birds in medallions. The golden handles are made of bamboo branches.

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Alexandre Descatoire (1874-1949) - "Pierrot and Colombine" marble sculpture

"Pierrot and Colombine" marble sculpture signed Alexandre Descatoire. Alexandre Descatoire is a French sculptor born in Douai on August 22, 1874 and died in Marquette-lez-Lille on March 17, 1949. Professor at the School of Fine Arts and member of the Academy of Fine Arts (elected in 1939), he notably realized "Youth", allegory of times and ages, one of the gilded statues ordered for the Universal Exhibition of 1937, installed on the edges of the Parvis des Libertés et des Droits de l'Homme, in front of the Eiffel Tower. Knight of the Legion of Honor (1925), a large part of his work is dedicated to the soldiers of the First World War.

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Guglielmo PUGI (1850 - 1915), White Carrara marble bust From the sculpture of Jean-Baptiste CARPEAUX « Dance », Circa 1900

Our Carrara marble bust is signed by the Italian sculptor Guglielmo Pugi (1850 – 1915) who has made it around 1900. It uses the model of the sculpted group realized between 1863 and 1869 by the French sculptor Jean-Baptiste Carpeaux (1827 - 1875), untitled « Dance », for the opera Garnier in Paris. The order of this group is due to Charles Garnier (1825 – 1898), architect of the opera in Paris that now bears his name. In 1863, he asks four artists who have won the Prix de Rome, to realize sculpted groups that will decorate the facade of the opera according to the following themes: Dance, Poetry, Music and Lyrical drama. Jean-Baptiste Carpeaux was in charge of creating the Dance one. At the end of three years during which he made draws and models to give the best move impression, Jean-Baptiste Carpeaux sculpted this group, the original one is kept in the Musée d'Orsay in Paris and a copy is now on the opera's facade. This farandole of naked women that surrounds the incarnation of the Dance's spirit shocked the public opinion. Indeed, they judge the group as improper because of the realism of the feminine nudes. It's only the war of 1870 and the death of the sculptor, five years after, that stops the polemic. For the creation of our bust put on a Paonazzo marble pedestal, Guglielmo Pugi chose to be inspired by the face of the Dance's spirit that he reproduces in an identical way. Indeed, the smiling face is slightly bend toward the bottom, and the glance is turned to the left, the disheveled hair seem to be blown by the wind and the position of the shoulders indicates a move toward the sky. The only difference from the model of the French sculptor is that Pugi chose to dress the Dance's spirit with a fabric that covers his chest. Guglielmo Pugi owned a workshop in Firenze where he sculpted with his two sons Gino and Fiorenzo. His sculptures, directly chiseled in the alabaster or the Carrara marble, were above all made for the United States. Many of them were presented during the American Exhibition of Buffalo in 1901 and the International Exhibition of Saint-Louis in 1904. We owe him many Art Nouveau sculptures but also portraits kept in the historical Museum of Alabaster in Volterra, Italy, or even the bust of the king Humbert Ist on the place in Fiesole. When he died, his two sons kept going the workshop by changing the name «Guglielmo i figli » (and sons) to « Fratelli G. e F. Pugi » (Brothers G. and F. Pugi) as the signature for « Flli Pugi ».

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Lot of about 20m² of Soubise parquet flooring, 19th century

Lot of antique parquet about 20 square meters made in the 19th century of oak and walnut wood composed of 23 Soubise panels, some have some lacks. The sides are 37" 3/8 for 1" to 1" 3/16 thick.

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Faïencerie de Gien - Beautiful Napoleon III style earthenware planter "Bernard" with a gold decor, late 19th century

This beautiful planter with a polychromatic floral decor was made between the late 19th century and the early 20th century in the Gien earthenware factory as indicates the stamp on the bottom. It's the "Bernard" model, with a bulging shape resting on four snail feet and flanked with two handles. Its main decoration is composed of a beautiful lilies patch on a beige background, depicting white or colored with gold blooming flowers and buds surrounded by orange leaves. This decoration is lightened up with larges strips with stylised floral motifs and volutes in purple, green, yellow and turquoise reminding the famous blue of the ceramicist Theodore Deck. About the handles and the feet, they are colored with the same jade green used in this decor, that we also find inside the planter. Among the many earthenware factories born in the 19th century, Gien is one of the most reknown and the most important in Europe. It excels in the imitation art, and makes copies of pieces from the past to an affordable price. Unique pieces were also created thanks to talented artists who decorated them with new decorations, or were inspired by ones from the past or other European and Middle East factories. The factory was born in 1821 initated by Thomas Edme Hulm who buys the lands of the old Minimes convent in Gien to settle an earthenware factory after giving up the one in Montereau managed by his family since 1774. Because of financial difficulties, the Gien factory changes many times its name between 1826 et 1862, it is successively called « Guyon, Boulen & Cie », « Geoffroy, Guérin & Cie » before bearing its definitive name « Faïencerie de Gien » from 1875. The factory participates to the numerous exhibitions of the second half of the 19th centuryn especially the Wolds Fairs and wins many rewards. A planter with the same shape and a similar decor is conserved in the Charles VII museum in Mehun-sur-Yèvre in France

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Gabriel Viardot (attributed to) - Japanese style presentation cabinet with a laquer and mother-of-pearl decor

This presentation furniture made of tainted sycamore made in the 19th century was certainely a work by the Japanese style furniture maker Gabriel Viardot (1830-1904). Gabriel Viardot became famous from the 1870 with his production of furniture inspired by the Asiatic ones, of which he makes his specialty. He takes his inspiration from the 1867 Worlds's Fair where Japan participates for the first time. His very characteristic furniture production was sometimes inlaid with Tonkin mother-of-pearl, but always made with tinted sycamore wood. Thus, our furniture is divided into two parts. The superior part forms a display opening by a glass door and giving access to the asymmetrical shelves. It is surmounted by a polished varnished bronze dragon that we find very often on the furniture maker's production. The lower part also shows shelves of which the mount is adorned with coiled polished varnished dragon and a lacquered door adorned with birds in a roses and hydrangeas mother-of-pearls decoration.

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Paul SOYER, Renaissance-Style Clock Set, circa 1875

This clock set in the spirit of the Renaissance was executed by Paul Soyer around 1875. Paul Soyer (1832-1903) worked as a chaser in Paris from the 1850s. Gradually, he learned the technique of enamel to replace ornamental bronzes in furniture decoration. He opened a workshop as an engraver-enameller in 1861 and then collaborated with renowned enamelers and goldsmiths, such as Claudius Popelin, Charles Duron, and Gustave Baugrand. It was as a collaborator of the latter that he won his first bronze medal at the 1867 Universal Exposition. Following this success, he opened a larger workshop and specialized in various enamel techniques, with a preference for painted enamel. He participated in all the French and foreign Universal Expositions, as well as the Expositions of the Union Centrale des Beaux Arts appliqués à l'Industrie. Regularly rewarded, notably with a gold medal in 1878, he was hors concours and a jury member from 1889, the year he received the Legion of Honor. His production, very varied, includes both small decorations for jewelry and true enamel paintings, as well as enameled art objects for goldsmithing and plaques intended for cabinetry. A follower of Popelin, he remained faithful to the art of the Renaissance and the early 17th century, particularly fond of the technique of polychrome enamels associated with grisaille, and that of gold camaieu.

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Large Louis XVI style mantel in yellow Sienna marble with entablature adorned with the head of Apollo and arrow heads on the jambs

This large Louis XVI style mantelpiece was carved in Sienna yellow marble in the 19th century. The lintel is adorned with a rich and delicate low relief sculpture: in the centre, a head of Apollo with plaited hair is framed by an oval motif of reeds and acanthus scrolls. Further on, a tree branch laden with leaves and fruit intertwines with a bow. The whole is framed by a frieze of pearls, beneath which run fasces. At the base of the jambs, a floral motif is set in a small cartouche surrounded by pearls. The protruding jambs are adorned with arrow heads, a geometrical frieze, a fluted engaged sheathed column ending in a water leaf pattern and rounded fasces above the base of the mantelpiece.

Ref.15380
TIFFANY Studios, Mosque Lamp in "favrile" glass, early 20th century

This mosque lamp was created by the Tiffany Studios at the beginning of the 20th century. Its design was conceived by Louis Comfort Tiffany in 1905. Louis Comfort Tiffany was the son of Charles Tiffany, the founder of Tiffany and Co., a renowned New York jewelry and silverware company. Initially a painter and interior decorator, he later became interested in the art of glass. In 1893, he founded his first glass factory under his name. He notably invented “favrile glass”, a term derived from the English “fabrile” (“belonging to an artist or their art”) to mimic the iridescent effect of antique glass, achieving a lustrous and shimmering appearance by adding metallic salts to the molten glass. The base, body, and cover of the lamp are three distinct, separable parts of the piece. The octagonal ebony base holds the lamp's foot of the same shape, topped by a spherical cap, with a matching cover above it. While the base glass is matte, the upper part is decorated with lustrous green and mauve petal-shaped motifs. When lit, the lamp emits a warm glow. This creation falls within the Art Nouveau movement, in which Tiffany excelled, particularly at the end of the 19th and beginning of the 20th centuries. Its shape resembles a mushroom, and the plant motifs in its decoration reflect the object’s natural inspiration. It also reveals Tiffany’s fascination with all kinds of lighting, from the antique oil lamps of Pompeii to the Near Eastern inspiration of this mosque lamp from the artist’s travels. Several other lamps were made following this model. One of them, similar to ours, is listed in the book Louis C. Tiffany. The Garden Museum Collection by Alastair Duncan (p. 317), as being present in this museum’s collection.

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Napoleon III style mantel decorated with garlands of flowers carved in wood

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Entrance Door in Oak and Cast Iron, France, 19th Century

French entrance door from the 19th century, made of solid oak and adorned in its upper section with a finely cast iron grille. The ironwork, visible on both sides, features a symmetrical composition of leafy scrolls, palmettes, and floral rosettes. The glazed section is protected by an interior hinged panel that can be opened independently. The lower moulded wood panel retains a beautiful aged patina with wear marks attesting to its authenticity. The original cast iron handle is still present. This door combines strength, elegance, and the decorative craftsmanship typical of 19th-century French architecture.

Ref.15841
La Sortie du bain – Young woman, monumental Art Deco sculpture in the style of Félix-Pascal Févola

Graceful and slender, this monumental white marble sculpture perfectly embodies the elegance of 1930s Art Deco, in the style of the French sculptor Félix-Pascal Févola (1882–1953). Entitled La Sortie du bain (The Bath Exit), it depicts a young woman captured in a suspended moment, radiating calm and restrained sensuality. Her body, frontally composed, rises with refined verticality. The arms extend gently backward, fingertips brushing the marble, while her uplifted face—eyes closed and lips slightly parted—suggests serene introspection. The stylized geometric hairstyle evokes the Egyptomania typical of decorative sculpture from the interwar period. Originally intended for a garden or a grand interior, this piece captivates with its formal purity, delicate modeling, and quiet poetic presence. The white stone enhances the softness of the lines while affirming the figure’s sculptural power.