Ref.2116
"The lady with the greyhound", stained glass window signed by Hubert Martineau Paris

The double window features a woman dressed in the fashion of the 19th century, resting on a bench next to a greyhound and an ornamental pond. The glass window follows the techniques of enameled glass and acid-etching. Hubert and Martineau were Parisian glass painters and stained glass manufacturer in the last quarter of the 19th century. They realized the superb decor of the Fermette Marbeuf, a restaurant located on the corner of Rue Boccador and Rue Marbeuf in Paris. They also realized in 1891 - 1893, the stained glass of the Saint-Rémi church of Draveil, Essonne.

Ref.2117
Double door with stained glass windows, man and woman's profile in medallion

Double glass door decorated with Neo-Renaissance style stained glass panels, with profiles of man and woman in a medallion. This double door was made during the 19th century.

Ref.2289
Antique Louis XV style fireplace made out of Campan Rubané marble

This beautiful antique Louis XV style fireplace was made out of Campan Rubané marble during the 19th century. This relatively rare marble is commendable for its unique decorative qualities. This antique fireplace is decorated with a carved shell and foilage in the middle of the entablature. The feet are curved.

Ref.9969
Antique pair of columns made out of Breche Violette and carved and gilded wood

The marble is a Breche Violette one, high quality and highly prized. Columns are crowned with Corinthians capitale made ouf ot carved and gilded wood. Louis XVI style .

Ref.2805
Antique Napoleon III style fireplace with lion's paws in Vert des Alpes marble

Elegant Napoleon III style fireplace realized in Vert des Alpes marble during the 19th century. Decor with lion's paws and foliages.

Ref.3052
Antique Louis XV style fireplace in Red from the North marble, 19th century

Antique Louis XV style fireplace mantel made out of Red from the North marble during the 19th century.

Ref.16684
Maison TAHAN and Julien-Nicolas RIVART (1802-1867) - Perfume box decorated with porcelain marquetry

Bibliography: Marc Maison and Emmanuelle Arnauld, Masterpices of Marquetry in the 19th century, Patents. Rivart, Cremer, Fourdinois, Kayser Sohn et Duvinage, Dijon, Faton, 2012, p. 45. This elegant perfume box, signed by the Maison Tahan , is a rare example of their collaboration with an artist outside the company. Decorated with gilt-bronze ornaments and porcelain marquetry panels, this piece is a fine example of the new technique of inlaid porcelain that Julien-Nicolas Rivart patented in 1849. In this process, each piece of porcelain is used as true marquetry where each element is independent. Rivart 's patent allowed him to retain exclusivity on this type of work and he was obviously closely involved with the box's fabrication. Rivart won awards for his porcelain marquetry on several occasions at international exhibitions, as this technique was highly esteemed for its great naturalism in reproducing flowers. In this example, the roses that decorate the lid of the box are executed in a range of elegant pastel tones that depict each petal with great precision while conveying the fragile quality of the flowers. The use of green-tinted resin for the delicate stems adds to the refinement and realistic look of the bouquet of flowers. The four small panels decorating the side panels continue the floral theme, a favorite device used by Rivart . Pansies, lilacs and rose leaves cover the surface of the wood, painted in delicate, monochrome tones of white and mauve. This technique, patented by Rivart in 1849, was described as a "delicious process" and won immediate and unanimous praise for the charming quality of these decorations in porcelain marquetry, as well as for the originality of his technique. Rivart was critically acclaimed at the World's Fairs where he won several medals, thus leading him to further develop this type of ornamentation until his death, in 1867. For more than twenty years, Rivart was the only one to create works using this technique, a fact that explains the rarity of this type of production. There is no signature of the painted inlaid flowers; however, it is possible to attribute the work to Pierre-Joseph Guérou , a painter who worked at the Sèvres factory in 1847 and 1848 and whose signature appears on several pieces of furniture made by Rivart , such as the jewel cabinet at the Château de Compiègne. When looking at the delicacy and naturalism of porcelain marquetry, we too can experience the feelings described by the commentators at the International Exhibition when they enthusiastically wrote: "one cannot help but admire the graceful richness of these inlaid painted porcelain flowers" (Paris en 1855, journal de l'exposition générale…, May 27, 1855). The origins of the Maison Tahan go back to Belgium at the beginning of the 19th century when Pierre Lambert Tahan founded a workshop that produced small tabletry objects using wood from the resort town of Spa, the small village in the Ardennes. Pierre Lambert decided to leave Spa shortly before 1806 to set up shop in the Temple area of Paris. He worked there as a cabinetmaker and also produced nécessaire boxes. In 1825, Pierre Lambert and his son, Jean Pierre Alexandre, ran two factories producing these same types of wares. In 1844, Pierre Lambert Tahan retired and left the direction of the company to his son who would completely reorganize the business by separating the factory from the shop, located at number 32 rue de la Paix. A year later, he was already known as a "Supplier to the King and Princes". In 1855, he held the title of "Supplier to the Emperor" which allows us to date this perfume box to after that time. The Court gave him a great number of commissions for bookcases, tables, pedestal tables and nécessaires. Pierre Alexandre Tahan participated in the great international exhibitions of his time. It was at the International Exhibition of 1855, in Paris, that he showed an extraordinary aviary in walnut sculpted with leaves and birds in flight.

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.3160
Beautiful antique Louis XV style fireplace with rich decor in white Carrara marble

Beautiful antique Louis XV style fireplace made out of white Carrara marble during the 19th century. The jambs feature curves and counter-curves and are carved with large acanthus leaves, shells and foliage with windings. The center of the frieze, also strongly curved, is adorned with a beautiful inverted leafy shell from which large leaves of acanthus escape. The sides of this fireplace are paneled and curved, bringing preciousness to this beautiful fireplace model.

Ref.10882
Beautiful antique cast iron fireback with the Fyot family coat of arms, 18th century

This beautiful antique Louis XV period fireback was made in the 18h century. It shows the coat of arms of the Fyot family. A crown of marquis and a président à mortier’s head covering are represented. This fireback was very probably for Claude-Philippe Fyot de La Marche (1694-1768), chevalier, Marquis de la Marche, Count of Bosjean, Baron de Montpont who was magistrate at the Parliament of Burgundy.

Ref.11075
Antique Napoleon III overmantel pierglass with friezes of laurel branches and wide shell

This antique Napoleon III style overmantel pierglass was made in France in the 19th century. The mirror is framed by friezes of laurel branches and at the top is a large shell. On both sides, two small naturalistic rosettes have been carved.

Ref.11452
Eugène SOLEAU - Chandelier with Beshimi masks

Japanese style chandelier in gilded bronze with four lights, featuring three Beshimi masks inspired by the Japanese Nô theater and three fans, lined with green, orange and violet glass paste, fans ornated on their base by a tarantula, a seahorse and a dragonfly, blooming branches of cherry trees. Signatures engraved on the handle of a fan "E. SOLEAU" and "PARIS" . It is likely that Eugène Soleau drew inspiration from the sculptor Emmanuel Fremiet (1824-1910) for this chandelier. We find the composition of Beshimi's masks on a model of chandelier created by Fremiet and by the architect Emile Vaudremer (1829-1914) for the Hotel Dervillé now in the permanent collection of the Orsay Museum (OAO 1651). The Fremiet chandelier is composed of an interwoven boa around the stem ending with a Beshimi mask. Bibliography : Alastair Duncan, "The Paris Salons, 1895-1914, Volume V: Objects of Art," Antique Collectors' Club, Woodbridge, 1999, model to be compared with that reproduced on p. 501.

Ref.16867
Maison KAYSER SOHN, Renaissance Personalities, Pair of plates decorated in corviniello

Copper, mother-of-pearl, tortoiseshell Signed “J. P. Kayser Sohn, Crefeld”; on the reverse “Corviniello Patent 82” (female figure) Signed “J. P. Kayser Sohn, Crefeld”; on the reverse “Corviniello Patent 83” (male figure) The house of Kayser Sohn, founded in 1862, in the area of Dusseldorf, originally specialized in the manufacture of metal objects. The company made a name for itself mainly in the production of Art Nouveau pewter ware that was manufactured in Krefeld based on highly finished models designed in their Cologne workshop. The Kayser Shon brothers reached the height of their careers between 1889 and 1902 and participated in various exhibitions at the beginning of the 20th century, notably in Paris, in 1900, where they won a gold medal, at the Exhibition of Decorative Arts in Turin, in 1902 (again winning a gold metal), and at the International Exhibition that took place in Saint Louis, in 1904.         The company was equally well known at the beginning of the 20th century for the very original inlay technique that used mother-of-pearl and tortoiseshell, a process that also involved electroplating, known as corviniello. This is a perfect example of the union of art and industrial technique, and this process was used to create the ornamentation in the central part of this plate.    One of the plates represents a young, elegant woman attired in a shimmering costume and wearing a feathered hat. The figure is finely engraved, giving an extremely realistic effect. The pendant plate represents a man with a belligerent look whose hand rests on the hilt of his sword. The artist has used the various materials to their best advantage in portraying his doublet. The close similarity in the treatment of the hands and the eyes allows us to attribute the design of the two personages to the same draughtsman. Executed mainly in mother-of-pearl and tortoiseshell, the two figures wear the Renaissance style costumes that were so fashionable at the end of the 19th century.    Perfected by Otto von Corvin, this technique required extreme precision in its execution and demanded both great concentration and expert knowledge of the materials used. The artisan first had to cut out the mother-of-pearl and tortoiseshell elements in the most meticulous manner and then temporarily glue the pieces onto a die mould. The die mould was then varnished with an insulating coating while the pieces that were to be inlaid were covered with a conducting substance. The deposit of the metallic layer was done by electrolysis and it covered the bottom of the die mould, surrounding the glued elements. The die mould was then detached, exposing a smooth surface where the joints are extremely precise, with metallic filaments filling in the cracks.    Certain parts of the figures have been left blank and were not inlaid, such as the rings or the edge of the book the woman carries, thus leaving the metal background of the plate exposed and demonstrating the technical virtuosity of the casting.    The border, made entirely of metal, emphasizes the contrast between the polished gilt copper and the delicate scrolls interspersed with foliage. The finely engraved decoration is identical to those produced on other plates made by the Kayser Sohn company, which indicates that such plates with the same border were likely produced in quantity, differing only in the decoration used for the center. The difference of the dating of the two pieces (1882 for the female figure and 1883 for the man) further supports this supposition. Neo-Renaissance style. 

Ref.15523
Pair of Japenese Vases by Alphonse Giroux and Charles Ficquenet

Signed “ALPH. GIROUX PARIS”, this pair of square base vases features a décor of flowers on a white background. These natural flowers, are made up of soft, pastel colours, the petals of each flower create a delicate gradation of pink, yellow, blue and white. The vase is outlined in bronze, and frames two parts of the vase. It frames the base, with feet featuring dragons' heads, and it frames the top of the vase. From Japanese inspiration, these vases come from the Japanese vogue, which became known in France during the 1860s-1870s, thanks to Japan opening foreign markets under the Meiji era. This vogue style is wonderfully illustrated by the famous “Service Rousseau” the name for the Parisian seller Eugène Rousseau, named so by the painter and engraver Félix Bracquemond. The Alphonse Giroux house was a famous marquetry and cabinet making store, situated at 7, rue du Coq-Saint-Honoré, in Paris, which expanded from 1799 to the end of the Second Empire. This house was created by François-Simon-Alphonse Giroux, and his two sons Alphonse-Gustave et André took over the business on the 19th May 1838. In his shop, Alphonse Giroux sold objects of curiosity, marquetry, stationary, but also pictures, paintings, and engravings, like an 18th century Marchand-mercier. Louis XVIII and Charles X chose gifts for the young princes in Alphonse-Giroux's shop. It was his son, in particular, who gave a real boost to the family business and made it enter the top ranking of luxury shops. The house was highly influenced by Japonism during the 1860s and 1870s, as can be seen by this pair of vases. In 1885, the Giroux house definitively closed its doors.

Ref.11383
Restauration style overmantel mirror with palmettes, wood and painted stucco

Ref.4112
Antique Louis XVI style fireplace in Fine Black Belgium marble

Antique Louis XVI style fireplace mantel, made in the 19th century in Fine Black marble from Belgium. The entablature is carved with a beautiful Vitruvian frieze and square rosettes at the ends.

Ref.12468
Antique Louis XVI style trumeau gilded painting

Antique Louis XVI style trumeau, realized in the 19th century, the frame carved with laurel branches, a pearl frieze and gilded painting.

Ref.13005
Set of 5,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of 5,5 m² in a square shape, from the 19th century. The sides are 15,5 cm and 16 cm for 1" to 1"3/16 thick.

Ref.13145
Important lot of 7 Louis XV style double doors

Important and beautiful lot of seven double doors of painted in white wood, adorned with a Louis XV style sculpted decoration in slight relief on the two sides, composed of acanthus leaves and flowers scrolls and garlands, different on each door. The handles and locks are also all different, some show a very remarkable chiseled decoration.

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.4703
Louis XVI style mantel with roses in Breccia Nuvolata marble

This small Louis XVI style mantel was made in the late 19th century in Breccia Nuvolata marble. The straight entablature is adorned with three beautiful roses, on the middle and the corners. It is supported by the slightly curved jambs adorned with flutes and asperagus heads.

Ref.11848
Beautiful cement doghouse in Rocaille style

Beautiful doghouse taking the form a small house with, in the "rocaille" style, a rustic art very popular at the end of the 19th century. This doghouse was built in reinforced cement, imitating wood logs and planks.

Ref.13742
Louis XVI style trumeau with a curved top and a ribbon

This Louis XVI style trumeau was made of wood and stucco painted in white. The mirror with a curved top is framed by a ribbon frieze knotted on the top.

Ref.5007
Louis XVI style mantel in semi-statuary marble with curved entablature

Louis XVI style mantel carved in the second half of the 19th century in half statuary Carrara marble. The rounded entablature is panelled. The curved console jambs are fluted.

Ref.11029
BACCARAT, Garniture with Japanese landscape, circa 1880

This decoration with a Japanese landscape was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal factory Baccarat demonstrated its excellence at Universal Exhibitions throughout the 19th century. This ruby crystal trim is made up of two vases and a planter. The whole is emblematic of the quality of the crystal works. The gold enamelled decorations of the vases represent a Japanese landscape with Far Eastern fauna and flora. The waders are particularly characteristic. The planter is decorated with an aquatic landscape flown over by wild geese. A vast golden sun emerges from a mountainous background. The transparent crystal handles are also decorated with decorative gold motifs. Each element of the trim is assembled. The crystal maker's stamp, affixed since 1875, shortly before the creation of this piece, is found under the base of the gilded bronze frame. Baccarat produced, in the same period, another decoration mounted in red crystal enameled with gold, with slightly different shapes and a very similar Japanese decoration.

Ref.5467
Louis XIV style mantel carved in Breche Sanguine

Ref.5454
Louis XV style mantel in Rouge du Nord marble adorned with a shell motif

Ref.15505
Louis XVI style trumeau richly decorated with a wreath of flowers

Ref.5817
Louis XVI period two-tone Turquin marble mantel decorated with acanthus leaves

Ref.15765
Louis XV period trumeau with pastoral scene

Ref.16036
Louis XVI style trumeau decorated with a floral wreath

Ref.14016
JÉRÔME MASSIER – Iridescent dish, L’Aurore

Established in Vallauris since the mid-18th century, the Massier family is a dynasty of ceramists closely linked to the town's modern ceramics industry. The family became famous in the mid-19th century thanks to technical innovations such as the metallic luster exemplified by this dish. This technique, virtually lost since the Renaissance, is a complex process that gives the surface of the pieces shimmering reflections. This appearance is achieved through a glaze rich in metallic oxides and a delicate third firing in a reducing atmosphere. The signature "J. Massier Fils" corresponds to the business name used after the death of Jérôme Massier Sr. by his direct descendants (notably his son Jules-Jérôme Massier, born in 1872). This iridescent dish, created at the turn of the 20th century, is an ode to nature and a tribute to the Land of the Rising Sun. The mountain and seascape is reminiscent of Hiroshige's prints or Hokusai's Views of Mount Fuji. The rim of the dish is particularly inventive and echoes the landscape: the lower part takes the form of waves, while the upper part depicts a rooster, a symbol of dawn and good fortune. The result is a Japanese-inspired dish with a dreamlike design and texture, a vision with the reflections of mother-of-pearl or opal.

Ref.6189
Louis XVI style fireplace in Carrara marble, decorated with ribbons and floral rosettes

Ref.11162
Mazaroz (attributed to), Neo-Renaissance carved walnut cartel clock

A carved female head crowns the clock, framed by acanthus leaves and latticework. Paul Mazaroz, a sculptor, began his career as a collaborator of Ribailler in the 1850s. At the 1855 Universal Exhibition, Mazaroz presented several pieces of furniture under his own name. His success was subsequently confirmed, notably at the Universal Exhibitions of 1867 and 1878, where he was awarded silver medals. The Mazaroz workshop ceased its activity in 1890.

Ref.6171
Louis XV style fireplace in Arabescato marble, decorated with an asymmetrical palmette

Ref.16070
Louis XVI style trumeau with a floral garland

Ref.16071
Louis XVI style trumeau decorated with a floral garland