Ref.1041
Paneled room and rare parquet flooring from the 18th century

Complete paneled room in pine wood from the study of a town house in Bordeaux, including a door, a double door and a hidden door, a window with French inside shutters, all with their original locks. It also includes a very rare walnut parquet flooring, featuring stars of David. The fireplace was hidden behind one of the panels. The décor is Regence style , a style that transitions from the symmetry of the Louis XIV style to the birth of the Rococo of Louis XV. Under the paint there are traces of gilding.

Ref.3326
Beautiful antique Napoleon III fireplace with windings and acanthus leaves in Black Belgium marble

This Napoleon III style fireplace was made in the 19th century. Its shelf rests on doucine-shaped capitals, setting back the entablature. The jambs are richly ornamented, giving relief to the sumptuous Belgium Black marble . Console feet are strongly curved by large scrolls, decorated on the sides with a central flower and a sculpted bellflower. Topped with matching modillions, they are covered with acanthus leaves and adorned with a row of oblong pearls.

Ref.18851
RAINGO FRÈRES (Paris, 1813), Clock with "bleu céleste" porcelain plate, Louis XVI style

Ref.18398
Pair of Candelabras with storks

This pair of Napoleon III patinated-bronze candelabras was made in the 19th century. It is surmounted by a stork standing on a sphere. The five light candelabra terminating with bulbous candle holders. The central part of the candelabra is in the form of a flutted coloumn supported by a classical bust wearing a pine and floral wreath. The base is made of monopodiae griffon heads, on a triform stepped base.

Ref.03131
Diana, enamel by Jeanne Lemerle

The figure of Diana, standing, fills the length of the painting. Totally nude, she leans on a rock, upon which her towel is thrown; the sway of her hips creates a curved line breaking the rigidity of the vertical format. She holds her bow in her left hand, has a moon crescent on her forehead and one of her dogs at her side.For this painting, Jeanne Lemerle chose the theme of Diana resting in a wild rocky landscape, through which water flows. The proximity of the water and her total nudity implies she is about to bathe, or just has. The title of the painting first comes as a surprise because besides the dog, the discreet bow and half moon, no other elements indicate Diana’s hunter identity. As she did with her Daphnis and Chloe painting, Jeanne Lemerle was fond of reinterpreting classical themes.Exhibited at the Salon de Beaux Arts of 1909, along with an enamel portrait, this piece testifies to Jeanne Lemerle’s participation in the artistic life of her times, three years after she was married and had left her father’s workshop.

Ref.11039
An antique large trumeau with garlands of flowers

This antique Louis XVI style trumeau was made out of stucco during the 19th century. Faithful to the 18th century taste, the upper part is decorated with garlands of flowers. The mirror is framed by a thin beaded border and a frieze of ova.

Ref.10972
MANUFACTURE JULES VIEILLARD & CIE - Glazed ceramic dish with a parrot partitioned decoration

Large circular dish in enameled polychrome ceramic with light relief decoration of a parrot perched on a branch of Japanese cherry blossom on aubergine color background. Cartridge with fake Japanese calligraphy in the decoration. At the back, mark of the "Jules Vieillard et Compagnie" factory with the three intertwined croissants that take up the coat of arms of the city of Bordeaux. This mark indicates a period of manufacture between 1868 and 1895, that is to say at the time when the two sons of Jules Vieillard, Charles and Albert, direct the manufacture. But more precisely, one can undoubtedly attribute the genesis of this type of Japanese design to the presence of Amédée de Caranza, visionary workshop manager with a particular taste for Orientalism and Japanism. It is thanks to his talent and knowledge that the Bordeaux factory shines from the World's Fair 1878 . A large dish of the same model is reproduced in the book "Jules Vieillard et Cie, Histoire de la faïence fine à Bordeaux. De l'anglomanie au rêve orientaliste." by Jacqueline du Pasquier, p. 108.

Ref.11880
Double door in carved oak in Napoleon III style

Beautiful Napoleon III style double door in richly carved oak, made in the 19th century. Decor of musical instruments, bow and quiver, theater masks ... The back of the doors is decorated with simple panels.

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.12397
Lot of 25 m2 of antique oak parquet flooring

Straight antique oak parquet flooring with a surface area of about 25 m2.

Ref.12548
Pair of bronze cremone bolts signed "ST BRICARD", mid 19th century

This pair of bronze cremone bolts was made in the middle of the 19th century by the ST BRICARD company, as indicated by the inscription under the handle "ST BRICARD PARIS". The vegetal and floral decoration at the ends and at the level of the handles shows a very beautiful quality of chasing, to note an important patina.

Ref.12195
Pair of Louis XVI style wood, stucco and mirror doors, circa 1970

This pair of Louis XVI style doors was made around 1970. Painted in pastel green, they present three panels composed of mirrors adorned with painted stucco elements such as rosettes in the corners or foliage scrolls. The panels are framed with stucco friezes. The handle, lock and hinges are in chased brass, the handle has an acanthus leaf decoration, the hinges are in pine cone.

Ref.12498
Regency style trumeau in gilded wood and trompe l'oeil marble from Campan, early 19th century

This Regency style overmantel was made at the beginning of the 19th century in trompe l'oeil imitating Campan marble. It is composed of a highly oxidized mercury mirror in three parts framed by a wooden rod gilded with gold leaf, adorned with a frieze of pearls and acanthus leaves. The mirror is flanked by two rectangular panels framed by gilded wooden rods, each with a medallion in the center decorated with a flower in a scroll and acanthus leaf design and a shell at the base in interlacing acanthus leaf. The top of the mirror is decorated on each side with volutes of gold leafed.

Ref.12925
Lot of 1.4 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 80 tiles of which the six sides are 3"9/32 inch for 6"1/2 inch width and 1 inch thick. The whole surface area is about 1.4 m².

Ref.12736
Louis XVI style overmantel in painted wood and stucco with flowers garlands

This overmantel was made in the second half of the 19th century in stucco and wood painted in white. Its elegant decoration is typical of the Louis XVI style, the mirror is framed with friezes and the corners are marked by a square rose. A very rich flowers crown hold by a knotted ribbon is over it. The overmantel's sides are also adorned in their upper and lower parts with roses garlands. This overmantel can eventually be paired with the reference 12737.

Ref.12909
Lot of 9.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 450 tiles of which the six sides are 3" 3/4 for 7" 1/4 length and 13/16 thick. The whole surface area is about 9.5 m².

Ref.13052
Set of around 15 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 15 m² in a square shape, from the 19th century. The sides are 6" 1/2 for 13/16" to 1" thick. Some have been colored in red.

Ref.12870
Lot of around 5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles from Provence. About 300 tiles of which the six sides are 3"9/16 for 6" 11/16 length and 13/16" thick. The whole surface area is about 5 m².

Ref.13321
Louis XVI style trumeau with friezes and flowers crowns

This Louis XVI style trumeau was made in the late 19th century in painted wood and stucco lightened up with gilding. The mounts depicts a paneled decor of friezes of gilt acanthus leaves and pearls, surmounted by a small crown of flowers. The pediment of our trumeau was supposed to receive a painting which was replaced by a night blue fabric. This frame is surmounted by a relief decoration depicting a knotted ribbon noticable by the precision given to the folds.

Ref.12874
Lot of 10.5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 620 tiles of which the six sides are 3 3/8 for 6" 11/16 length and 1" thick. The whole surface area is about 10.5 m².

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.12839
Ferdinand Duvinage – Pair of single-flower vases with a ivory marquetry decoration

This beautiful pair of single-flower vases was made by Ferdinand Duvinage between 1874 and 1884. He files in 1874, 1876 and 1877 patents for a marquetry technique of mosaic with metallic partitioning for furniture and art objects. His method is really original because it involves the combined union of ivory as a base, wood for the designs or ornaments, and copper or other metal to partitioning the ivory fragments. The firm continues to participate to World Fairs where they win many medals, even though they are not that much mentioned by the critics, we know that the productions with the Japanese vocabulary created under the direction of Duvinage were also very appreciated and were a real commercial success. He creates here, a beautiful pair of vases in glass with a shaped thin and elegant shape, that evokes a flower’s corolla and adorned on the walls with a enameled reed decoration. The vases rest on a gilt bronze base remarkably and finely chiseled lightened up with a marquetry decoration of ivory taking from the process invented by the artist.

Ref.13836
Oak game counter

Large game counter made of oak wood, open on each side, topped by a tray made of two very thick boards from the same trunk.

Ref.14308
Fireback with the arms of Leopold I, Duke of Lorraine and Bar

Fireback with the coat of arms of Leopold I, Duke of Lorraine and Bar, son of Charles V, titular Duke of Lorraine and Bar and Eleonore of Austria. Knight of the Golden Fleece in 1690, he married Elisabeth Charlotte of Orleans, daughter of Philippe, Duke of Orleans and Charlotte-Elisabeth of Bavaria, Princess Palatine, in October 1698. He was responsible for the reconstruction of the Château de Lunéville from 1703 to 1723, when the court moved in.

Ref.14204
Albert ANKER (painter), Théodore DECK (ceramist), Ornamental Dish “Cleopatra”, 1869

This ornamental dish, adorned with a design inspired by Egyptian art and executed in 1869, is the result of the long-term collaboration between Albert Anker and Théodore Deck. The Swiss painter Albert Anker (1831-1910) joined the École des Beaux-Arts in Paris in 1855. He collaborated with Théodore Deck between 1866 and 1892 and excelled in the genre of historical portraiture, to which this work is closely related. Théodore Deck initially trained in stove manufacturing. When he established his own business in Paris in 1858, he specialized in stove coverings before expanding into ceramics due to his growing success. The workshop produced numerous plates, sometimes in collaboration with renowned painters, including Edmond Lachenal. Deck gradually perfected his technique and enjoyed significant acclaim at the many World’s Fairs in which he participated. In 1878, he was made an Officer of the Legion of Honor. He directed the Sèvres porcelain manufactory from 1887 until his death in 1891. This plate is decorated with the portrait of a woman bearing the attributes of ancient Egyptian nobility: she wears a vulture headdress, a symbol of the goddess Nekhbet, the tutelary figure of Upper Egypt and protector of the pharaohs, along with a broad usekh collar. The figure represents the famous Egyptian queen Cleopatra, depicted as on one of the bas-reliefs in the Temple of Hathor at Dendera (50-55 B.C.E.). The rim of the dish also features an Egypt-inspired style, with four scenes drawn from temple and tomb art interspersed with hieroglyphic inscriptions. Through its theme and adopted style, this plate reflects the passion for ancient Egypt that swept through the 19th century. The two artists produced several versions of this plate: one is housed in the Gustav-Lübcke Museum in Hamm, Germany; a second in the Kunstmuseum in Bern, Switzerland; and a third, with a slightly different border, in the Théodore Deck and Florival Museum in Guebwiller, France. Our ornamental plate can also be compared to an Assyrian-Inspired Dish created by the same artists a year later, now preserved in the Musée d’Orsay in Paris. For Albert Anker and Théodore Deck, Egyptomania drew on precise archaeological sources, seamlessly integrated into a harmonious contemporary design.

Ref.15386
Clain & Perrier - Glass Paste Vase Decorated With Coloquintes, Circa 1900

This large vase decorated with gourds, worked in glass paste, was made around 1900. It bears the stamp of the Clain & Perrier store in the lower part. Active at the start of the 20th century, Clain and Perrier set up a store on Boulevard Saint-Germain, selling porcelain and crystal wholesale. The artistic objects are purchased from different manufacturers like the Muller brothers and probably Daum. The company has a cold decoration workshop for enamelling and engraving, where objects are decorated and signed. In the organization of the house, Clain is responsible for the porcelain decoration workshops and his associate Perrier is in charge of the glassware. Straight in shape with a narrow neck, our vase has a very beautiful decoration made of gourd glass paste on a lilac background. The precise and polychrome motifs stand out in slight relief over the entire vase.

Ref.15025
Pierre-Adrien Dalpayrat, Small Glazed Stoneware Vase, late 19th century

This glazed stoneware vase was crafted by Pierre-Adrien Dalpayrat in the late 19th century. Pierre-Adrien Dalpayrat (Limoges, 1844-Paris, 1910) is recognized as one of the most significant European ceramists of the late 19th century, particularly for his mastery of flamed stoneware. He worked for various faience factories before establishing his own workshop in Bourg-la-Reine. Dalpayrat’s near-exclusive avoidance of the potter’s wheel showcases his exceptional skill in the art of glazing. He often collaborated with Adèle Lesbros, and their works were met with considerable acclaim at various exhibitions. The vase’s shape is inspired by a gourd, a common motif among Art Nouveau ceramists. The bulbous body culminates in a narrow opening, mimicking the natural form of a stem. The glaze is a testament to Dalpayrat’s extraordinary technical prowess. The rich oxblood red, a signature of Dalpayrat, transitions into a matte gray on the body, with intermediate hues of blue and yellow. Subtle white scratches in relief enhance the already profound texture and depth of the piece. Dalpayrat’s pomegranate mark is visible on the underside of the vase. The Gourd-Shaped Vase housed in the Musée des Arts Décoratifs in Paris, featuring similar color schemes, is another striking example of the artist’s inspiration and technique.

Ref.15224
BACCARAT, Pair of Double Vases with Japanese-Style Decoration, circa 1880

This pair of Japanese-style double vases was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal manufacturer Baccarat showcased its excellence at the World’s Fairs throughout the 19th century. These ruby crystal double vases feature identical decorations: each part is adorned with branches of cherry blossoms (called “sakura”) and birds facing each other. Geometric friezes decorate the top and base of the vases. When the pair is assembled, the decorations mirror each other in two ways: the birds face each other between the two parts of each double vase, and the large vase of one features the same decoration as the small vase of the other, and vice versa. However, the mounts are different: one features cherries on their branches, while the other depicts poppy flowers. Both mounts bear the Baccarat factory stamp, used from 1875 onwards. In addition to the stamp, one of the two vases connected by the mount also carries an original label.

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.5665
Louis XVI style Carrara marble mantel with floral and sunflower ornaments

Ref.3555
Louis XVI style mantel in veined Carrara marble with pearl entablature

Ref.5355
Louis XVI period mantel with pearls and carved ribbon

Ref.15645
Louis Philippe period trumeau with floral and plant decoration

Ref.6057
Louis XVI style fireplace in Paonazzo marble, decorated with a pearl frieze