Ref.2611
Antique Napoleon III style fireplace made out of scagliola painted in Portor marble imitation

This rare antique fireplace was made in the 19th century. The shapes and curves, together with the ornamentation identify this Louis XV style fireplace as one reinterpreted by the eclecticism of art under Napoleon III. Made in scagliola, this fireplace imitates Portor, one of the most sought after types of marble in the world.

Ref.10252
Beautiful antique 18th century fireback with France and Navarre coat of arms

Ref.3449
Large antique oak wood fireplace, Regence style, 1st half of the 19th c.

This antique Regence style fireplace was made in the first half of the 19th century in oak wood. The rounded and paneled jambs support a frieze delicately curved  and adorned with stylized curves. Fine and elongated, this fireplace has important dimensions.

Ref.14182
JULES VIEILLARD AND CO (Attributed to) : Chandelier with suspended earthenware center

Earthenware in relief with slipware partitions, forged iron and gilded bronze.The frame of this celing light was made of wrought iron and has an earthenware suspended center. The mount has an original and stylish design. The top is a spherical element topped with flowers and gadrooned from which spring three heads of fantastic animals. Chains are suspended from these heads. In the middle of the chains, cartridge-shaped ornaments exist. The frame develops around the earthenware center with three candle holders with dramatic shapes. They are decorated with vegetable elements and masks of men. The frame continues into the bottom of the chandelier to support the earthenware center. The egg-shaped and fluted body is decorated with enamel painting in relief. This Far-Eastern inspired decor shows a branch of cherry blossom, bamboo and other foliage plants. In the upper and lower parts of this element unfolds a frieze of lance-shaped palmettes that are Persian or Turkish inspired. The earthenware center is surmounted by a gilded bronze frame decorated with jewels. ? 

Ref.3772
An antique Napoléon III style fireplace, made out of Breche Sanguine marble, with "modillons"

Small antique Napoleon III style fireplace, model called "with modillons", made in the 19th century out of a Sanguine Breccia marble, very bright and decorative.

Ref.11656
Large 19th century bracket clock featuring Hermes and his caduceus

This large bracket clock, made at the end of the 19th century, is made out of richly carved oak wood. Its decoration features Hermes' head and a caduceus in the upper part, a horn of abundance on either side and a shell in the lower part. The dial, with Roman numbers, is in embossed work brass. The Latin word caduceus comes from the Greek kêrukeion which is the "badge of herald" or "stick of the herald". The herald is an officer carrying messages, an annunciator. To reward him for having offered him his lyre and for having made him his syrinx (flute of Pan), Apollon gave to Hermes the caduceus, a gold wand so that he was the messenger of the Gods. As he traveled the slopes of Mount Cithéron, the young god Hermes (Mercury) saw two serpents fighting each other. He threw the caduceus he had received from Apollo to separate them. The snakes then wrapped around this stick, stopped fighting, and stopped facing each other. The caduceus is also called "stick of Arcadia" because it is in Arcadia that Hermes separated the two serpents who fought each other.

Ref.12906
Small Louis XIV period fireback with the France coat of arms

This small fireback was made of cast iron during the 17th century. It depicts a simple decoration composed of three fleur-de-lis adorning the French coat of arms.

Ref.13624
Gabriel VIARDOT (attributed to), Clock shaped as a pagoda with a Foo dog bronze, circa 1870-1880

This clock shaped as a pagoda is very likely a work from the hand of the Parisian furniture maker Gabriel Viardot (1830-1906), specialized in the creation of Chinese and Japanese inspired furntiure. It's during the 1867 World Fair where he discovered the Japanese Art, the Gabriel Viardot decided to devote himself to “Chinese-Japanese style furniture”. It’s with this production that he was awarded a silver medal at the World's Fair of 1878. His furniture was produced thanks to lacquered and carved panels sent directly from China or Japan and decorated with mother of pearl inlays from Tonkin. He enlivened his furniture with bronze decorations, of which he made all the designs by hand. In 1885, he participated in the World Exhibition of Antwerp where he obtained a gold medal. At this time, the shop employed 90 – 100 workers, sculptors or cabinetmakers, a lot of who were educated directly by Gabriel Viardot. Following this exhibition, Gabriel Viardot was promoted to the rank of Knight in the Legion of Honor (December 29 1885). In 1889, he was at the World Exhibition that took place in Paris and awarded a gold medal. He obtained the same award at the World's Fair of 1900. He creates here a beautiful clock taking the shape of an Japanese architecture with a pagoda roof, on the mount of which a slendid bronze dragon is wound. On the right a very big Foo dog also in bronze seems to be going down the roof and is holding itself on a pedestal adorned with Japanese scrolls next to the clock. The exceptional quality of the bronzes and the specific shape of the big Foo dog that we also find on furniture bearing the signature of the artist (see Ref 11321 for instance), prove the extreme attention given for the realization of this clock by Gabriel Viardot.

Ref.13988
Louis XVI style trumeau with plant frieze decoration

Louis XVI style trumeau in white painted stucco with gold painted moldings. The frame is surrounded by a beaded border and a plant frieze with leaves painted in white and gilded.

Ref.14833
Composite stone garden statue of a woman paying tribute to Baccus, circa 1900

Ref.15234
BACCARA - Pair of Japanese style vases in red crystal

Founded under Louis XV, the French crystal factory Baccarat demonstrated its excellence at Universal Exhibitions throughout the 19th century. These ruby-tinted blown crystal roller vases feature an acid-etched decoration and golden. Japanese-style, their decor presents two pairs of finches in different positions. They move in a landscape of roses and other flowers on a carpet of flowering grass. The influence of Japanese prints is perceptible in the theme, as well as in the way of constructing the space and representing the landscape and animals. The Baccarat crystal factory produced numerous ruby-colored vases with decorations very similar to this one, in the 1880s. A set of three roller vases with a similar shape and decoration notably passed to Drouot; their gilded bronze frame bears the stamp of the crystal factory.

Ref.15583
Émile HÉBERT, École de Filles (Girls School), 1871

This bronze bas-relief was created in 1871 based on a model by the sculptor Émile Hébert. Émile Hébert (1828-1893) initially learned sculpture from his father, Pierre Hébert (1804-1869), and later from Jean-Jacques Feuchère (1807-1852). He exhibited regularly at the Salons between 1849 and 1893, and his works were showcased at World’s Fairs, including the 1855 Paris Exposition and the 1873 Vienna Exposition. The sculptor presents a surprising scene that functions as a humorous moral allegory. The bas-relief depicts the door of a girls’ school, forcibly opened (the bolt still protrudes from the lock) by a gaunt figure resembling Death. This figure holds a bow and arrows, likely taken from Cupid, who sits weeping, abandoned at the doorstep, as Death prepares to enter the building. The school is likened to a prison, as the girls are guarded behind bars. The moral of the scene is conveyed by an inscription: “AINSI SERONT TRAITES TOUTS [sic] RODEURS TEME/RAIRES” (“Thus will be treated all rash prowlers”). Cupid seems to symbolize young men who might attempt to loiter near the girls to court them, warned here of the fate that awaits them. The work is signed and dated along the lower edge. The Detroit Institute of Arts holds a terracotta version of this piece. Both in spirit and style, it is characteristic of Émile Hébert’s work. The theme of young girls facing Death recalls his statue Et Toujours ! Et Jamais ! (“And Always! And Never!”), a memento mori or depiction of lovers reunited in death, where fear intertwines with desire. This similarly enigmatic and richly interpretable piece is housed at the Montreal Museum of Fine Arts.

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

Ref.16040
Set of 12 Neo-Gothic chairs featuring four different types of openwork backs

This suite of 12 Neo-Gothic chairs in carved walnut features four different types of openwork backs. Inspired by cathedral choir stalls and the soaring motifs of Flamboyant Gothic design alternating soufflets and mouchettes the backs recall the tracery seen in stained-glass windows between the 14th and 16th centuries. The legs combine twisted and fluted motifs, while the leather upholstery is fastened with bronze buttons decorated with fleurons. Each back is crowned with a fleur-de-lis, emphasizing the chair’s verticality and refinement. This Neo-Gothic furniture is a fine example of the Gothic Revival, popular from 1830 to 1880, particularly in Victorian England with designers such as Augustus Pugin, architect of the Neo-Gothic Palace of Westminster, and in France with Eugène Viollet-le-Duc. Trefoils, lancets, and ogee arches enhance these backs that seem to echo a bygone age.