Ref.10370
Important antique fireback with Jean Bouhier de Savigny coat of arms, first half of the 18th century

Importante and beautiful antique cast iron fireback with Jean Bouhier de Savigny coat of arms supported by two greyhounds. Made in the first half of the 18th century. Jean Bouhier de Savigny was President of Parliament of Burgundy since 1704. He was also a historian, translator, scholar and bibliophile. He resigned his post in Parliament in 1728 to devote himself to his historical and literary work following his election to the French Academy in 1727. He died in 1746. A similar fireback is kept at the Troyes Museum.

Ref.10648
Very beautiful antique Napoleon III oval mirror decorated with bunches of grapes and grape leaves

This oval mirror is a very beautiful example of the decorative art of the Napoleon III style , which was the age of leisure and balls. Finely executed, wooden and gilt stucco vines frame the "parecloses", and are reflected in the mirror.

Ref.3703
An antique Louis XIV style fireplace made out of Rosso di Verona marble

Antique Louis XIV style "Bollection" fireplace made in the 19th century out of Rosso di Verona marble, highly decorative.

Ref.11594
Théodore DECK (ceramist) and Anthony Ludovic REGNIER (painter) - Ceramic dish glazed with tiger lily and butterfly on a blue background

This glazed ceramic dish was made in the workshop of the ceramist Théodore Deck (1823-1891) and painted by Anthony Ludovic Régnier (1851-1930) in 1881. It is signed in the decor "A. L. REGNIER" and dated in "1881". In the back, it wears the mark "TH. Deck" ; it is entitled "LIS TIGRE" and bears the number "160". 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 Anthony Ludovic Régnier. 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. Anthony Ludovic Régnier was a prolific artist from the workshop of Théodore Deck, specialising in flower paintings. He is otherwise little known. The painter's mastery is evident in his particularly precise and detailed depiction of the tiger lily, whose flowers are in various stages of bloom. A bindweed flower curls around its stem, adding complexity to the pattern. A butterfly flutters around the lily, as does a small yellow and black striped insect. This work is a fine example of the Japonism that swept through European art from the 1870s until the early years of the 20th century, and which particularly influenced Théodore Deck, a collector of Far Eastern art. The Musée des Arts décoratifs, de la Faïence et de la Mode in Marseille has a dish with daturas and nasturtiums by Deck, decorated by Régnier. The different flowers give the decoration great variety.

Ref.3920
Antique Louis XVI style fireplace made out of Breche Violette marble

Antique Louis XVI style fireplace mantel made in the 19th century in Breche Violette marble.

Ref.12027
Set of four modern cast iron double doors in the style of 18th century gates

Set of 4 large doors of modern manufacture, made of cast iron and gilded bronze ornaments H. 114,57 Inch + 3,94 Inch of foot in the ground, L. 66.93 Inch (59.45 Inch of opening), Depth 8 cm and a door with different decoration H. 116.14 Inch, L. 66.93 Inch (63.39 Inch of opening) Depth 3.15 Inch, with a set of glasses

Ref.12180
Antique Louis XVI style trumeau, decorated with laurel wreaths

Antique trumeau in the Louis XVI style, made in the 19th century, with a pediment decorated with laurel wreaths.

Ref.12004
Napoleon III set clock in gilt bronze and onyx, circa 1860

This beautiful set clock made in Algeria onyx marble depicting a rich gilt bronze decoration is a work made in the 1860's. Its eclectic style is typical of the decorative art production under the reign of Napoleon III. The central element of the set clock, the clock, depicts an onyx structure on wich are taking place numerous decorative elements, all in gilt bronze, starting with the top feet. On the base, some little chiseled fleur-de-lis brighten up the decoration while above, two putti in high-relief frame a hive from where they are picking up the honey with their hands. This triangular composition is surmounted by the clock dial, and framed with slim flowers garlands depicting a very precise chisel work. A vase full of flowers and welcoming birds crowns this delicate but rich whole. The mecanism is accessible on the back of the clock. The candelabrum framing the clock are also made with of onyx mounted and garnished with bronze. Shaped as baluster, they also lay on top feet. On the upper part, seven light arms in gilt bronze are adorned, from the arm base to the bobech with acanthus leaves. The sirens decoration that is adorning the belly of the baluster reminds of the decorative vocalubary of the reign of Louis XIV ande the Regence, composed of flowers garlands and arabesques derived from the Renaissance grotesques. The Algeria onyx marble is a stunning stone, looked after for its transparence wich puts it between the marble and the alabaster. We find it in different shades - white, yellow, red or green. Used during the Ancient time, we have to wait until 1849 for the quarry to be discover again in Aïn Tembalek in the Oran region. Quickly, the exploitation rights fall into the hands of the Société Alphonse Pallu & cie, they transport the raw material from Algeria to the Paris factory where the stone is then debited to make every sort of little objects or archtitectural elements. The company owns also its own bronze workshop to create the mounts. The material wins a huge sucess during the Exposition des Produits d'Algérie in the Palais de l'Industrie in 1860, the in the International Exhibition in 1862 in London during which the Pallu company wins a silver medal. One of the most emblematic construction site of the Algeria marble onyx rise under the Second Empire is the one in Païva hotel, where it has been largely used to create the interior decoration.

Ref.13301
Large Regence style trumeau in painted wood and stucco, late 19th century

This large Regence style trumeau was made in the late 19th century. It curved mirror is framed with a wide laurel leaves torus. It is also surmounted by a very beautiful cartouche in relief flanked by a flowers garland decoration. The angles of the frame with a ribbon moulding are adorned with small roses.

Ref.13535
Elements of ​low panels in oak in Neo-Renaissance style

This series of elements of ​low panels in oak in Neo-Renaissance style is a Belgium work from the end of the 19th century. Made of sculpted oak, it depics a Neo-Renaissance decoration that we recognize because of the abundance of decorative motifs, suche as arabesques, telamons, caryatids, mascarons and floral and geometric elements.

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.13660
GUERET Frères - Splendid oak chest richly sculpted with a forest animal decoration

This splendid chest was made of oak by the Guéret brothers in the 1870. The sculpture work is truly remarkable and shows the virtuosity of its creator who makes a decor on the forest theme in which we can see a fox, a pheasant or even a bird with its wings spread out on the top, in a rocks and tree decoration. Denis-Désiré (born in 1828) and Onésime Guéret (born in 1830) create a factory of sculpted furniture in 1852 or 1853 at 7 rue Buffault in Paris under the name "Guéret Frères". Ten years later, the store is moved at 5 boulevard de la Madeleine, then at 216 rue Lafayette where it stays until the definitive closure. From 1877, the factory is managed by the youngest brother and becomes "Guéret Jeune et Cie", its activity continues until the end of the 19 th century.The Guéret brothers participate to each exhibitions from 1855, win a lot of rewards and acritic always eulogistic,like the one published in the Art Journal, about the InternationalExhibition of 1878 : “M. Gueret, a renowned cabinet-maker of Paris, contributed to theExhibition a large number of admirable works, designed with rare Art power, and executed with refined delicacy, in various woods – generally in satin-wood inlaid – all possessing thorough artistic merit”. The excellency of their work for the sculpted furniture making,often rewarded, increases their orders book. Rich bourgeois but also renowned personalities such as the Duke of Aumale, Napoléon III or even Mr Bryce, buyers of these sumptuous furniture, made some orders. Mr Bryce, for instance, ordered the realization of his whole furniture for his mansion on avenue Gabriel in Paris.

Ref.14324
Fireback decorated with the coat of arms of France

Ref.10941
BACCARAT, Pair of Vases With Peacock, Rooster and Wader, circa 1880

Founded during the reign of Louis XV, the Baccarat crystal glassworks owes its international reputation to its participation in major exhibitions throughout the 19th century and up until 1937. It was during this period that the factory gained worldwide acclaim for the excellence of its production and its constant pursuit of innovation, which earned it numerous medals. Its achievements influenced other European glass and crystal manufacturers in the following decades, setting the standard for execution techniques and stylistic models. Baccarat was one of the first to produce Japanese-style pieces, of which these vases are a fine example.

Ref.15113
DAUM, Émile ROBERT (attributed to), Lamp in delicately openwork wrought iron and glass, circa 1900

This lamp is the result of a collaboration between the Daum company, for the glass lampshade, and Émile Robert, for the wrought iron base. Founded in Nancy in 1878 by Jean Daum, the Daum glassworks was quickly taken over by his sons, Auguste and Antonin. From that moment on, increasingly complex creations from a technical point of view were designed there. Émile Robert (Mehun-sur-Yèvre, 1860-1924) quickly became skilled in artistic ironwork. When he arrived in Paris in 1878, he joined the workshop of locksmith Alphonse Gabriel Moreau, where his talent was quickly recognized, before becoming independent. At the 1900 Universal Exposition, he contributed to the decoration of the Metals Hall of the decorative arts pavilion, and even set up a workshop there to present the blacksmith's craft to visitors. In 1914, he founded a workshop in Enghien-les-Bains to undertake personal projects; in the same year, he was named a Knight of the Legion of Honor. This table lamp, with a base forming openwork wrought iron arms, is inspired by the Gothic style. It rests on an openwork circular base providing great stability. Four equidistant spheres topped by feet in the shape of stylized lion paws join to form a single base. Above, a slight bulge reflects Émile Robert’s interest in Art Nouveau and its vibrant vegetal vitality. The upper part, forming an arm, is decorated with delicate openwork scrolls and ends with a bird head from which the lamp is suspended. The lamp itself is conical, in orange glass tinged with yellow, held in place by four wrought iron scrolls also inspired by Art Nouveau forms. It is signed: “Daum Nancy ☨”.

Ref.15348
Louis XVI style trumeau with flower garland and medallion

Ref.13533
Cupboard door in softwood and plywood

H. 152 cm / 59” 13/16 ; L. 70 cm / 27” 9/16 (with frame) H. 145 cm / 57” 1/16 ; L. 59 cm / 23” 1/4 (without frame)

Ref.15374
Napoleon style trumeau decorated with a bouquet of flowers, painted

This overmantel is remarkable for its highly detailed motifs and the bouquet at the top. The overmantel is straight, but the top has three curves. The central curve is carved with a bouquet of different types and sizes of flowers, tied with a ribbon bow. The outer corners of the overmantel are also decorated. On the upper corners, motifs of shells, acanthus leaves and flowers are mixed together to form a detailed, decorated corner. On the lower corners of the overmantel, we find exactly the same shell, acanthus leaf, and flower motifs, but with an upward, vertical thrust.