Ref.3461
Rare antique door in oak wood with nails, 18th century

This rare antique door in oak wood was made during the 18th century. It is decorated with nails.

Ref.16314
Pair of Japanese-blackened wooden frames decorated with embroidered silk

This pair of frames was made out of black wood around 1880-1890. Their wooden frame, decorated according to a Far East style, is made up of openwork friezes. In their upper part, the two frames are decorated with a calligraphic inscription, inspired by the Far East. The two frames are crowned by two winged dragons facing each other. The frames have medallions with a silk embroidered border, recovered with convex glass. Delicately embroidered, the silk is decorated with wild animals among a vegetal environment. These two frames are characteristic of the Far East trend which came to Europe at the end of the 19th century, in particular a trend towards Japanese and Chinese style. Made by a French artist, unfortunately anonymous, they are the privileged evidence of a profound taste for exoticism. The high quality of this pair of frames makes them very original and rare.

Ref.11558
Pair of Louis XV gilded bronze wall lights

Rare pair of sconces with two arms of light, Louis XV period, 18th century, made out of gilded bronze. Asymmetrical decoration characteristic of the taste for Rococo.

Ref.12463
Antique Louis XVI style trumeau in polychrome and gilded wood

Antique Louis XVI style trumeau, in polychrome and gilded carved wood, with foliated shell decoration.

Ref.13358
Louis XV style trumeau of painted in white wood with a shell

This Louis Xv style trumeau was made of wood and stucco painted in white in the late 19th century. The mirror with curved edges is surmounted by a Louis XV style decoration composed of acanthus leaves motifs on the corners and a beautiful shell in relief. It lays on a small pedestal also adorned on the corners with climbing acanthus leaves.

Ref.13071
Set of around 13,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 13,5 m² in a square shape, from the 19th century. The sides are 9" 7/8 to 9" 5/8 for 1" to 3/16" thick.

Ref.11849
Beautiful cement doghouse in Rocaille style

Beautiful doghouse taking the form a small house with his chimney, 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 planks and branches.

Ref.14215
Louis XV style wood paneling in lacquered wood

Height : 3,60 m. Total length : 11,5 m approximately. Including: 2 panels width 150 cm ; 1 panel 105 cm ; 2 frames of passage with transom width of one 180 cm ; 9 parecloses largeur 44 cm.

Ref.12287
Set of Empire-style mahogany and bronze panelling and bookcases

Ref.14229
A precious Egyptian ship, a rare earthenware piece by Emile GALLÉ

This Egyptian boat in faience was designed by Émile Gallé in the second half of the 19th century. Considered the founding father of Art Nouveau, Émile Gallé took over the workshop founded by his father and gave it a decisive impetus, which he sustained throughout his life with constantly renewed creativity. Ancient Egypt and its culture were one of his favored sources of inspiration, as evidenced by this piece. This artwork depicts a boat with raised prow and stern, inspired by frescoes of ships from Pharaonic Egypt. The body of the vessel rests on a base formed by multiple oars; the hull is adorned with various insects and a turtle on the right. At the center, a lotus flower decorated with numerous gold accents hosts a fanciful insect reminiscent of the “trucsal” design by Gallé, preserved at the Musée d’Orsay in Paris. On the other side, the center of the lotus flower is occupied by a scarab, a sacred animal that held a central place in the iconography of Ancient Egypt. The only other known example of this model to date is the Grand Prix version, which required significant expertise and an expensive technique.

Ref.14982
Mathurin Moreau for the Val d’Osne foundry, The Flower Fairy, late 19th century

This cast-iron sculpture was created by Mathurin Moreau for the Val d'Osne foundry, with which he collaborated, at the end of the 19th century. It depicts a winged young girl being led by a cherub. The composition of the sculpture is complex: the woman is seated in the form of an Amazon; her naked body forms a circular arc, her arm raised above her intertwining with long garlands of flowers. These link her to the cherub, who seems to be dragging the fairy through them, setting the whole composition in motion. The sculptor paid great attention to detail: the simple headband on the woman's head, the modest drape over her thigh and falling over the base, and the cherub's hair pulled back by the wind give the composition its liveliness. The sculpture's imposing pedestal is in harmony with it. It is divided into several compartments, the inside of which is decorated with floral motifs and various symbolic objects: two recorders forming an aulos (ancient wind instrument) accompanied by small birds, embodying harmonious music; a panpipes associated with grapes evoking the world of Dionysus; a sheaf of wheat and tools symbolising agriculture; a theatrical mask and a fool's hat with a tambourine and a curtain representing the performing arts. The sculpture of the Flower Fairy is shown in the catalogue of the Val d'Osne foundry (on plate 583), as is its pedestal, independently (on plate 570 bis). The combination of the two works was therefore the result of a desire on the part of the patron, who imposed his own taste on the commission. The Museum of Fine Arts in Houston owns a copy of the Flower Fairy identical to our own. Mathurin Moreau also created another Flower Fairy, a statuette. This one is a young woman in a dancing posture, whose nudity is emphasised rather than concealed by a wet drape around her body. This very delicate figurine echoes the larger but no less elegant bronze sculpture.

Ref.15975
Carved stone outdoor vase with spiral handle

This stone garden vase features rich sculptural ornamentation. While the base and pedestal are simple, the lower part of the body is decorated with gadroons, before being interrupted by a succession of sculpted flowers linked by a rope. The concave counter-curve above this frieze accommodates the scrolls of the two handles. Finally, the top is also carved with gadroons, echoing those on the lower part of the vase.

Ref.5576
Louis XVI style mantel in Arabescato marble with pearl entablature

This Louis XVI-style fireplace in Arabescato marble features beaded and geometrical friezes, elements often found in the Louis XVI style. The band of the fireplace is adorned with these friezes. The central geometric frieze is framed by a small rectangle, which in turn is framed by a larger rectangle of pearls. These two rectangular friezes cover the entire band. On the console part of the leg, acanthus leaves are arranged to form a flower motif with its center in relief. The rest of the leg is curved, leaving places for scrolls on the sides. The face of the leg is fluted with three flutes. The central one features a motif echoing one of the band's geometrical friezes. The fireplace is carved in Arabescato marble, a white marble veined with gray or black. It is one of the white marbles of Carrara, and its main quarries are located in the Carrara basin in Italy, at Seravezza Lucca.

Ref.5560
Louis XIV style mantel in Rouge de Rance marble adorned with bronze ornaments

Ref.5443
Beautiful Regency style fireplace, in a superb Royal Red with lots of veins

This fireplace was crafted in Rouge Royal marble, a rich and nuanced material. Its surface shows a deep red background traversed by white and grey veining, creating a lively, contrasting effect that enhances the sculptural work. The overall form follows the codes of the Régence style. The mantel shelf is straight and slightly projecting, supported by a moulded entablature that curves gracefully around the opening. The firebox is tall and semi-circular, emphasised by an accentuated curve that continues into the jambs. These rest on a simple, massive rectangular base. The carved decoration remains restrained, focused on the mouldings. The entablature is enlivened by a play of profiles and chamfered angles forming discreet rectangular frames, visible on the side panels and jambs. These geometric lines lighten the structure without diminishing its imposing character.

Ref.16006
Henri CHAPU — À la Jeunesse

High relief in white marble, red stone and bronze, signed High relief depicting a draped young woman ascending a red stone wall, her arm reaching toward a partially gilt bronze olive branch. The work combines multiple materials: white marble for the figure, veined red stone left rough for the background, and bronze for the branch. The base is inscribed “À LA JEUNESSE”, and the signature “H. Chapu” appears on the plinth.