Ref.1702
Louis XIV style mantel in Rouge du Nord marble

Grand Louis XIV style fireplace made out of Rouge du Nord marble during the 19th century. The opening of the fireplace is enhanced with a large molding known as "boudin" molding. It is crowned by a decorative element inlaid in Noir Maquina marble.

Ref.10060
Antique cast iron fireback with French coat of Arms and angels

This cast iron fireback from the 18th century is elaborately decorated. In the centre, there is a medallion containing three fleurs de lys and is framed by two intertwined palm leafs. On either side, two angels are blowing on a trumpet and hold onto the royal crown.

Ref.10109
Antique Louis XV style andirons made out of gilded bronze with putti decor

This exceptionally beautiful pair of Louis XV style antique andirons was made in gilded bronze in the 19th century. Two putti adorn these andirons and support large garlands of flowers.

Ref.10905
Antique Art Deco wrought iron door with fruit basket, 1930s

The decorative balls are made of brass. This Art Deco style door was made in wrought iron around 1930. The two leaves, with perfectly geometric perforated decoration, are decorated with arabesques and decorative balls made of brass whose color adds a certain sophistication. The upper part is decorated with a large basket of fruits.

Ref.11664
Little set of terracotta floor tiles in square shape

Antique terracotta floor tiles in a square shape, from the 19th century. Dim. 6.69 x 7.48 inc. Thickness : Surface of the whole : about 139.93 sq ft.

Ref.12075
Antique Louis XV style trumeau with a pediment decorated with a beautiful shell

Antique Louis XV style trumeau, painted, made in the 19th century, with a pediment decorated with a beautiful shell.

Ref.13258
Cast iron fireback with the crowned arms of France

Cast iron fireback with the coat of arms of the House of Bourbon, a royal house of French origin that became a major dynasty in Europe, with kings in Spain (Navarre), France, the Kingdom of the Two Sicilies and Parma. Bourbon kings ruled in France from 1589 until the French Revolution, and for short periods thereafter. The coat of arms consists of a crown surmounting a medallion adorned with three fleur-de-lys, symbol of purity and royalty. The palm leaves on either side of the medallion symbolise victory.

Ref.14654
Fountain center model "Fontana delle Tartarughe", XIX century

Fountain named after Pope Alexander VII, featuring at its center a triton surrounded at its feet by four basins representing seashells, resting on a base. On the latter, a dedication is inscribed, divided into four cartouches surrounded by motifs, placed between each basin. The triton is depicted kneeling, the body turned to the left, his left arm raised upwards, his right arm in the same position, the palm open to the sky. This posture suggests that originally he was supposed to hold an element in his two hands (a large bowl, perhaps?) adding another level to the fountain. On the pedestal, cartouches bear inscriptions in Latin, the translation of which can be provided as: "ANNO PONTIFIC IV ALEXANDER VII RESTAURAUIT ORNAVITQUE," which can be translated as: "In the 4th year of the pontificate, Alexander VII restored and adorned." Alexander VII (1599-1667) was Pope from 1655 until his death in 1667. The model of the fountain (the base) as well as the text inscribed in the cartouches closely resemble the Turtle Fountain in Rome, located in Piazza Mattei, the design of which was drawn by Giacomo della Porta in 1582, and the bronzes executed by Tadeo Landini, the whole completed in 1585. The figures were originally supposed to hold dolphins in their hands, but these were never placed on the fountain due to water pressure. In 1658, during the pontificate of Alexander VII, the existing fountain was restored and transformed, with the addition of turtles, which are believed to have been sculpted by Bernini. Bibliography : Steven Ostrow, "Collecting Copies of 'the most charming fountain in Rome'. Taddeo Landini's Fontana delle Tartarughe".

Ref.15358
Louis XVI style trumeau with rounded mirror decorated with a ribbon

Ref.3684
Louis XIV style Bolection mantel in Rouge Griotte marble

Ref.5602
Louis XVI style mantel in Rouge du Nord marble

Ref.15760
Jules VIEILLARD – “Chien de Fô” Polychrome Faience Clock

This unique hexagonal clock in polychrome glazed faience was produced by the workshops of Jules Vieillard in Bordeaux. The body is richly decorated with floral motifs in vibrant turquoise and cobalt blue enamels. The central dial, framed by a copper bezel, features stylized numerals and a matching floral medallion at its center. The sides are adorned with sculpted handles in the form of fantastical creatures inspired by Asian mythology. The top is surmounted by a Fo dog, a traditional Chinese symbol of protection. The back of the clock is pierced with a floral motif, designed to allow sound from the internal mechanism to resonate outward. The underside bears the marks of the Vieillard manufactory and model numbers. A fine example of 19th-century French faience with pronounced Far Eastern decorative influences.

Ref.15764
Louis XVI style trumeau decorated with a plant crown

Ref.5981
Louis XVI style fireplace in Carrara marble, decorated with pearls and macaroons

This straight fireplace, crafted in the 19th century from white Carrara marble with grey veining, is characteristic of the Louis XVI style through its balanced proportions and refined decorative elements. The central projection of the panel features a symmetrical frieze composed of medallions delicately sculpted in low relief, arranged on a smooth background. This decoration is framed by fine linear moldings and a beaded frieze, emphasizing the geometry of the whole. The straight jambs display a vertical alternation of narrow fluted grooves with rudentures. Within these grooves, the ornamentation is distinguished by finely sculpted asparagus motifs, whose soft relief tempers the strictness of the design. The jambs rest on molded bases. The mantel shelf, of great sobriety, follows the rhythm of the panel with a slight central projection. It is molded with a simple cavetto, without excessive overhang. The fireplace comes with a cast iron interior, decorated with diamond patterns framed by rosettes, arranged in symmetrical panels. The ensemble reflects a precise craftsmanship, typical of 19th-century creations inspired by the neoclassical decorative vocabulary.

Ref.15893
Louis XVI style gilded trumeau decorated with pearls

Ref.10567
Ingé & Soyer, Bronze representing Hercules and Lichas after the model by Canova, bronze, circa 1834

This group depicting Hercules and Lichas was inspired by Canova's famous model of Hercules holding the body of Lichas in a dynamic, organic composition. Sculpted in marble, it was completed in 1815 and soon displayed in the palace of the Marquis of Torlonia. The first bronze editions of this group in France are closely linked to the presence of a preliminary model, probably in terracotta, in Paris. This sculpted group recounts an episode from Greek mythology. Lichas, a companion of Heracles (Hercules), is asked by Dejanira to give Heracles a poisoned tunic that consumes him as soon as he puts it on. Feeling his own body being consumed, Heracles blames Lichas and throws him into the sea. From 1831, Ingé and Soyer, working together, exhibited one of their castings of the group of Hercules and Lichas after Canova at the 1834 Exposition des produits de l'industrie française, alongside other sand castings which won them a silver medal. Their exhibition received rave reviews from the Central Jury, which, in its report published in 1836, stated: "We owe Mr Ingé and Mr Soyer products that are no less remarkable for the perfection of sand casting than for the work of chasing. We should be grateful for the efforts they have made to simplify the work of the chiseller. Of particular note are Canova's Hercules group, the Magdalene by the same sculptor, a reduction of Michelangelo's Moses, and representations of animals that the chisel and file have barely touched. The importance of these products and their variety merit a silver medal". Bibliography : Baron Charles Dupin, Rapport du Jury Central sur les produits de l'industrie française exposés en 1834, Paris, 1836, t. 3, p. 140. Geneviève Lacambre, De l'usage de la sculpture par les peintres: Gustave Moreau regarde Canova, La sculpture au XIXe siècle, Mélanges pour Anne Pingeot, 2008, p. 167.

Ref.6305
Louis XVI style fireplace with fluted decoration in Arabescato marble

Ref.16154
Louis XVI style trumeau with pearl decoration

Ref.6319
Louis XVI style fireplace in semi-statuary marble, decorated with a sunflower