Ref.2303
Antique Louis XIV style fireplace in yellow Brocatelle marble

This antique Louis XIV style fireplace was made out of beautiful and bright yellow Brocatelle marble during the 19th century. The "Bollection", characteristic of Louis XIV style, can be seen in the opening of the fireplace. At the ends of the entablature, the spandrels are made up of moulded panels.

Ref.11829
Set of 20th century Versailles oak parquet flooring

Set of 20th century Versailles oak parquet flooring from the 20th century. The set includes 17 complete panels and 7 half-panels. Dimensions 39,37 x 39,37 inch, thickness 0,98 inch. All this for a surface area of 20 m2

Ref.13526
Small antique and simple door in oak with an oval opening

This small antique door from the 19th century was made of oak. It has an oval opening protected by iron bars, a central round handle and a modern lock. The door comes with its frame.

Ref.13076
Batch of around 3,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 3,5 m² in a square shape, from the 19th century. The sides are 7" 7/8 for 3/16" to 1" thick.

Ref.14357
Fireback, dating from around 1600, representing the arms of Angelique d'Estrées

Ref.14631
Floor lamp with putto, Val d'Osne cast iron

Ref.14301
Louis XV style trumeau with large sunflower

Ref.14158
Louis Philippe style trumeau with pearl decoration, bronzine

Ref.5112
Louis XVI periode mantel in statuary marble adorned with a string of pearls

Ref.5561
Napoleon III style walnut wood mantel with overmantel

Ref.15595
Louis XVI style trumeau decorated with pearls

Ref.15609
Jacques Louis KESSLER, Pair of Vases Engraved with Greek Revival Decor Using the “Kessler” Process, mid-19th century

This pair of vases, crafted in the 19th century, was made using a technique developed by engineer Jacques Louis Kessler in 1855 and patented in 1858. The decoration of these two vases, made of double-layered crystal (blue on the outside and transparent on the inside), was achieved using Kessler’s engraving process. This innovative method utilized alkaline fluorides mixed with acids and a system of stencils, allowing for an immediate contrast between a bright, colored design and a matt background. The Baccarat crystal manufacturer later acquired exclusive rights to this patented process, which brought them widespread acclaim during the 1867 Paris Exhibition. These baluster-shaped vases feature neo-Greek ornamentation, alternating between blue-toned designs and matt crystal. Their clean, elegant lines are accented by several ornamental blue crystal bands. The decoration is composed of three primary scenes: the first depicts two combatants. The second portrays a winged Victory holding a palm in one hand while crowning a resting warrior with laurel in the other; the warrior stands before her. The third depicts three figures: a woman playing the lyre for a king holding a long scepter, with a young ephebe standing behind him. The scenes are separated by depictions of weapon trophies. The iconography draws inspiration from scenes commonly found on ancient Greek vases, while emphasizing the fluidity of the figures’ movements and features. Each vase rests on a circular mount supported by four spheres, with one vase bearing the number “2” engraved under its base. When Baccarat acquired the rights to Kessler’s technique, the company used it to create similar pieces, incorporating this innovative method into its repertoire. At the 1867 Paris Exhibition, Baccarat showcased a celestial blue crystal punch bowl and matching glasses engraved using this process; this set is now housed at the Corning Museum of Glass. The Galerie Marc Maison also presents an elegant neo-Greek vase made using the same technique (reference 15013). Due to Baccarat’s early acquisition of Kessler’s patent, vases like ours remain rare examples of the exceptional quality of pieces produced before the patent transfer, representing some of the earliest works created using Kessler’s revolutionary innovation.

Ref.15637
Small Louis XVI style trumeau decorated with a ribbon

Ref.6056
Louis XV style fireplace, highly sculpted in Carrara marble, decorated with flowers

Crafted in Carrara marble, this Louis XV–style fireplace displays a white tone lightly veined with grey, characteristic of this material. The finely polished marble highlights the richness of the carvings and the refinement of the lines. The entablature adopts a sinuous form, with a central panel adorned with a large carved shell. This is framed by scrolls of acanthus leaves and floral bouquets including roses and daisies, all finely executed. The curved lines of the panel flow harmoniously into the jambs, emphasising the arbalest-shaped opening of the hearth, a hallmark of the Louis XV style. The jambs, curved and carved in high relief, are decorated at their upper section with a large inverted shell accompanied by flower garlands. The lower section is adorned with large acanthus leaves, accentuating the vertical thrust of the composition. The shelf, slightly overhanging in form, follows the sinuous movement of the whole. The cast iron interior is decorated with floral motifs and rocaille cartouches, echoing the ornamental spirit of the façade. The whole demonstrates precise carving work and a balanced composition, typical of creations in the Louis XV style.

Ref.6108
Wall-mounted fireplace with trumeau, carved and gilded wood, elements from the 18th and 19th centuries

Architectural fireplace in carved and gilded wood, composed of a 19th-century fireplace base embellished with 18th-century relief decorations. The 19th-century gilded stucco overmantel is surmounted by a pediment adorned with a crowned coat of arms framed by rocaille scrolls and supported by a protruding lion's head. The central coat of arms bears the Latin motto "Linea recta brevissima" (the shortest path is the straight line). The Latin expression Linea recta brevissima is due to the Greek mathematician Euclid (circa 300 BC) and translates as "the straight line is the shortest." While not strictly speaking a heraldic motto, it was used by many families from the lower ranks of the nobility or the bourgeoisie in northern Italy and France. It is often used by institutions or universities in reference to geometry and the sciences. The base of the fireplace features a high-relief decoration of garlands of flowers and fruit: burst pomegranates, roses, grape clusters, and various foliage, treated with lavish naturalism. The side jambs are each adorned with a sculpted, polychrome cartouche depicting a crowned coat of arms. The coat of arms on the left features a tower, likely of urban or seigneurial origin; the one on the right is quartered with coats of arms featuring rich heraldic motifs, surrounded by a twisted collar. The sculpted elements, likely taken from 18th-century furniture or woodwork, were reused in a later neo-Renaissance structure, following a common practice in the 19th century, in an effort to enhance the original decor.

Ref.3881
Louis XVI style fireplace decorated with a laurel wreath, in Carrara marble

Ref.6164
Louis XIV style fireplace with molding, in Royal Red marble