Ref.2503
Monumental oak wood fireplace with painting on canvas depicting Joan of Arc

This large antique Neo-Renaissance style fireplace was made out of oak wood during the 19th century. Coming from the Lille region, the fireplace is decorated with a painted canvas featuring the profile of Jeanne d'Arc set in a medallion surrounded by a floral wreath. On one side of the medallion is the coat of arms of Jeanne d'Arc, made up of a sword supporting a crown and two fleurs de lys, and on the other side is the coat of arms with the cross of Lorraine which is often associated with Jeanne d'Arc. The fireplace is elaborately carved with lions' heads, columns rising to capitals, and a colonnade. An enameled faience plaque decorates the opening of the fireplace, which is decorated with dragons and foliage.

Ref.9962
Antique Louis XVI pierglass with pomychrome stucco decoration representing garlands of flowers

This beautiful antique Louis XVI style overmantel mirror was made during the 19th century. The polychrome stucco decor spreads predominantely over the upper part of the mirror with a double floral wreath decorated with ribbons.

Ref.10401
""Nymph"", cast iron fountain with green patina from the 19th century

Beautiful antique garden cast iron fountain with green patina from the 19th century. A water nymph hold a fish in her arms. This fountain model is shown in the Catalog of the Val d'Osne foundries.

Ref.3320
Rare Napoleon III paneled room in blackened wood with its monumental fireplace in stucco in imitation of porphyry

Rare Napoleon III style paneled room in blackened wood (stained beech) with its fireplace in stucco in imitation of porphyry. The fireplace, which is the centerpiece of this paneled room, is decorated on its tablet with a clock and acanthus leaves placed on both sides. The bronze low-relief on the center of the frieze is adorned with putti. The fireplace is topped with a monumental hood whose two columns are supporting the pediment. The polychromy and the blackened wood are typical of the Napoleon III style . The bookcases embedded into the wood are surrounded by pilasters and topped with foliages in stucco. The wealth of ornementation, the abundance of materials and the impressive decor are characteristic of the Second Empire style. Indeed, the decor is the strong point of this period, as we can see for example in the sumptuous Hôtel de la Païva, built by La Païva between 1856 and 1865 on Champs Élysées avenue.

Ref.10852
Antique Louis XVI style overmantel mirror with flowers frieze, wood and painted stucco

Antique Louis XVI style overmantel pierglass made out of wood and painted stucco in the 19th century. The upper part is decorated with a panel decorated with naturalistic flowers, roses and sunflowers. The frame of the overmantel is decorated with bouquets of flowers and ribbons.

Ref.10837
Anatole J. GUILLOT (1865-1911) (after) - « Young oriental woman», Important figural torchère in polychrome spelter

Anatole J. Guillot (1865-1911), french sculptor of the second half of the 19th century, exhibits at the Salon of French Artists of 1887, a Young Moorish woman (n°4063), plaster bust, of which here is an edition forming a figural torchère. The Young oriental, in polychrome spelter, is representing a young oriental woman veiled , holding in her left hand a torch. It is signed on the back of the terrace J. GUILLOT, and, on the front, a plate bears the mention « Salon de 1887 ». Anatole Jean Guillot (1865 – 1911) is a french sculptor and ceramist of the 19th century. Admitted to the National School of Fine Arts of Paris, he becomes the pupil of the sculptors Alexandre Falguière, 1st Grand Prix of Rome in 1859, and Jean Gautherin. He exhibited at the Salon from 1887 to 1911. This Young oriental is therefore a work of early carreer. Anatole J. Guillot, has endeavored to render the physiognomy as much as the costume of his model in all their particularism and details. He has shown great skill in handling details (hairstyle, drapery, accessory), the delicacy of facial features and this, especially thanks to the work of polychromy. By its subject, a young Moorish woman, this sculpture belongs to the Orientalist movement. Initiated in the late 18th century, the expansion of the orientalist movement in the 19th century is linked to the historical and political context, and in particular the upheavals experienced by the Orient throughout the century, with the expansion of European colonialism and the slow collapse of the Ottoman Empire. The term " Orientalism " designating both the scientific interest for the East and the fascination exercised by this land on the Western countries, was expressed in a literary and artistic movement (painting, sculpture, decorative arts). Like other contemporary sculptors such as Eugène Léon L’Hoëst (1874-1937), Louis Hottot (1834-1905), or Henri-Joseph-Charles Cordier (1827-1905), Anatole J. Guillot strives to depict the Orient, though he has never been there. The artist has indeed made several sculptures with orientalist subjects. Among these favorite topics : Moorish soldiers, Kabyle hunters, Water carriers, Oriental product traders... We can thus mention : a Young oriental woman with jug, a Kabyle fighter, or an Arab standing up. However, Anatole J. Guillot can not be entirely considered as an " Orientalist sculptor " because he has not devoted his entire career to the representation of Oriental subjects. With its remarkable finesse of execution as well as the richness and quality of its polychrome decoration, this superb sculpture is characteristic of the orientalist works of art realized by Anatole J. Guillot.

Ref.3593
Antique Napoleon III style fireplace with salomonic columns made of Red Marble and Black Marquina Marble

This antique Napoleon III style fireplace was made during the 19th century in Red Marble. The jambs constit of salomonic columns made of Black Marquina Marble with Ionic style capitals. The frieze is sculpted with foliate scrolls and has, on its center, an antique vase garnished with fruits surrounded by two chimeras.

Ref.10515
After Jean-Auguste BARRE (1811-1896) - Set clock with Marie de Bourgogne going falcon hunting

This important silvered bronze, gilded bronze and white Statuary marble clock set was probably made around 1840-1844. The central group is depicting Mary of Burgundy on a falcon hunt, silvered bronze group after the model by Jean-Auguste Barre, placed on a pedestal. The only daughter of Charles the Bold, Duke of Burgundy, wife of Maximilian, Archduke of Austria and future Emperor, Mary of Burgundy was born in 1457. She became Duchess of Burgundy at the age of twenty, after the death of his father during the siege of Nancy. She is here represented practicing her favorite hobby, the hawk hunt. The moment chosen by the sculptor is crucial: Mary seems carefree while she will deadly fall in only a few minutes. She does not notice the nervousness of the rearing horse, which is barely restrained by the page. A lively movement animates the sculpted group, counterbalanced by the apparent serenity of the duchess. The fatal outcome is even more tragic: she falls from her horse in the Wijnendaal forest and dies a few days later, at the age of 25. Her destiny fascinates the romantic generation of which Jean-Auguste Barre belongs, in addition to awakening the taste for medieval subjects which is perfectly illustrated in this Troubadour style group. Indeed, the sculptor accurately represents the costumes: Mary wears a sumptuous damask dress and a surcot bordered with ermine and wears a typical small cap of linen under his crown with fleur-de-lys ; the page wears a doublet with broad armholes, breeches, poulaines and a feathered hat. The horse’s harness is meticulously depicted, inlaid with pearls and cabochons. The saddle carpet bears the wedding coat of arms of Burgundy and Habsburg. The Louvre Museum and the Art Institute of Chicago preserve in their collections a bronze group of the same model. After a first apprenticeship as a medalist with his father, Jean-Auguste Barre improved his training with David d'Angers and Achille Devéria. He had a long and successful career, receiving important commissions for the state or the imperial family. Favorite portraitist of Napoleon III, Jean-Auguste Barre executed no less than 26 busts of the Emperor and several others of Empress Eugenie. He also made the funerary monument of Queen Hortense de Beauharnais for the church of Rueil-Malmaison in 1858. For the city of Paris, he sculpts a group of four children in bronze symbolizing the seasons (for the Circus fountain at the Champs- Élysées, 1840), La Prudence (for the Saint-Michel fountain, 1860), Saint Luc (for the Saint-Vincent-de-Paul church), and the monumental bronze statue of Pierre-Antoine Berryer for the city of Marseille. He exhibited at the Salon from 1831 to 1886, winning a second class medal in 1834, a first class medal in 1840 and was appointed knight of the Legion of Honour in 1852. He was also one of the sculptors behind the creation of small female portrait statuettes in the 1830s, giving birth to sculpted groups of small dimensions characteristic of Louis-Philippe's reign and of romantic sculpture. The group of Mary of Burgundy is then a perfect example of the small romantic sculpture of the mid-nineteenth century. The small sizes are now more adapted to the bourgeois interiors and each model knows many casts, allowing a more constant income to the sculptors. Mary of Burgundy appears on the catalogs of the Susse foundry from 1844. The clock set we present here is also composed of two halberdiers in armor and helmets, as perfect example of the Troubadour style.

Ref.11308
Maison des Bambous Alfred PERRET et Ernest VIBERT (attributed to) - Far Eastern inspired display cabinet

The realization of this charming Japanese-inspired cabinet is attributed to the Maison des Bambous by Perret et Vibert. The lower part opens with two doors adorned with panels decorated with Japanese characters in ivory marquetry, bone and mother-of-pearl, and two drawers adorned with horse warriors inlaid with mother-of-pearl. The upper part opens to a door and a drawer adorned with friezes of mother-of-pearl and is embellished with shelves. The whole is surmounted by a display cabinet opening by a glass door surrounded by a geometric frieze of mother-of-pearl, discovering a shelf stretched with red fabric.

Ref.11881
Double door in carved oak decorated with military trophies

Large double door in Napoleon III style, made in the 19th century, in oak carved with military trophies

Ref.12063
Beautiful antique Louis XVI style pier glass with basket decor and flowers in gilded stucco and green lacquer

Ref.12140
Antique Louis XVI style gilded trumeau decorated with a frieze of pearls

Antique gilded trumeau made in the 19th century, in the Louis XVI style decorated with a beautiful frieze of pearls.

Ref.12039
Etienne Maurice FALCONET (from) - Venus removing Cupid's quiver, in Carrara marble

Sculpture in white Carrara marble representing Venus removing Cupid's quiver, from Etienne Maurice Falconet, signature of the founder F. BARBEDIENNE editor.

Ref.11998
Silver plated metal plate with japanese decoration of a carp and insects

Japanese-style silver-plated metal plate, on three ball feet, with a central decoration of a carp, insects, a crab and a frog on the marli.

Ref.12415
Antique trumeau with an oil on canvas representing a scene of children playing with a dog

Antique painted trumeau realized in the 19th century composed in its upper part of an oil on canvas representing a scene of children playing with a dog wearing a dress.

Ref.12414
Antique Louis XVI style trumeau with an oil on canvas with gallant scene decoration

Antique painted trumeau, Louis XVI style, decorated with an oil on canvas representing a gallant scene in a landscape.

Ref.12442
Lot of 25 m2 of 18th century Versailles oak parquet flooring

Lot of Versailles oak parquet flooring, from the 18th century, composed of 8 full panels of about 36.61 Inch, 16 full panels of about 38.19 to 38.98 Inch, 8 half panels or incomplete panels

Ref.12630
Art Nouveau mahogany woodwork from Café Barjot in Paris, 1905

This woodwork characteristic of the Art Nouveau style comes from the Café Barjot located avenue Ledru-Rollin in the 12th district of Paris, it was made in 1905. It is composed on a first wall of a symmetrical set of seven beveled mirrors - one of which is large - framed by mahogany in the shape of a stylized tree with sinuous lines. The same assembly of mirrors is found on the wall facing it, with a decoration of enamelled flowers in relief on some parts of the mirrors. The third wall is composed in its center of an alcove with beveled mirrors and a clock in a mahogany and glass decoration enamelled with plants. On either side of this alcove is a set of mahogany-framed mirrors with a relief enamel decoration of stylized flowers interlaced with leaves on a white background. Two of the panels are also inhabited by ibis. To the left, the wall continues with an arcade flanked by mahogany-framed beveled mirrors, and to the right by the same decoration, but the arcade is replaced by a large beveled mirror. The decoration of this woodwork is characteristic of the Art Nouveau style that emerged at the end of the 19th century in Europe. This style contrasts with the creations of the previous period belonging to the realistic/naturalist style, sometimes considered dark and severe. Thus, the ousting of straight lines and right angles to emphasize instead curved lines inspired by plants is a recurring feature. Fundamental elements such as color and the use of materials such as glass help to create the effect of fantasy and a feeling of lightness. Many Parisian cafés and restaurants decorated at the beginning of the 20th century have seen their walls adorned with Art Nouveau woodwork with sinuous lines decorated with mirrors and stained glass windows with decorations inspired by natural elements. For example, we can mention the restaurant Le Vagenende, boulevard Saint-Germain in the 6th arrondissement or the restaurant Maxim's rue Royale in the 8th arrondissement.

Ref.12923
Lot of 6.4 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 310 tiles of which the six sides are 3,54 inch for 7.08 inch width and 1 inch thick. The whole surface area is about 6.4 m².

Ref.13196
Large Louis XV style trumeau with decoration of acanthus leaves shaped as a shell

This large trumeau was made in wood painted in white in the late 19th century. Its frame is adorned with an oblong moulding curved on its top and joined by an acanthus leaves decoration taking the shape of a shell.

Ref.13339
Small Louis XVI period trumeau with a Summer allegory in sculpted and painted wood

This small trumeau was made of sculpted wood painted in aqua and white in the late 18th century The small mirror is set in a large frame of which the edges are underlined with white. Elegant ribbon and pearls friezes come to frame the mirror. Above a beautiful allegory of Summer under the form of a trophy was sculpted. We can see in a olive tree branches bouquet held by a ribbon, a bird put on roses and sheaf feeding its nestling, in front of a rake and a scythe.

Ref.13206
Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly, 17th century

Cast iron fireback with the wedding coat of arms of Joseph-François de Montecler et Hyacinthe Menon de Turbilly. Joseph-François de Montecler, marquis of Montecler, (1694-1766) married in 1716 Hyacinthe Menon de Turbilly (1699-1742), lady of La Rongère, of who the marquis de Sourches praised the beauty.

Ref.13595
Lot of about 20m² of Soubise parquet flooring, 19th century

Lot of antique parquet about 20 square meters made in the 19th century of oak and walnut wood composed of 23 Soubise panels, some have some lacks. The sides are 37" 3/8 for 1" to 1" 3/16 thick.

Ref.11231
Émile Louis PICAULT (sculptor), Alphonse Mathieu Paris (clock maker), "Dawn and Twilight", Monumental exhibition clock in the taste of the Païva hotel decor in Paris

This spectacular onyx marble and gilded bronze clock is an extremely rare model, with a monumental dimension. The all sides decoration shows that it was designed to be placed in front of a mirror, the observer of this sumptuous antique clock being free to observe it entirely. Two gilded bronze women, languid figures lying on a Grecian couch, are placed back to back, on either side of a large central kerosene lamp. On the left side, eyes closed and head tilted, the woman accompanied by an owl symbolizes the allegory of Twilight. On the right, the head tilted forward but the eyes open, ready to wake up and accompanied by an eagle, she symbolizes Aurora. Also made out of gilded bronze, the central kerosene lamp shows a low-relief decoration pursuing the allegory of night and day : on the front, a woman and putti are inscribed in a crescent moon ; on the back, a male figure is haloed by sun rays. The bronzes are signed four times "E. Picault" for Émile-Louis Picault, French sculptor born in Paris in 1833. While he exhibited for the first time at the Salon of French artists in 1863, he was called, in the early 1860s, on one of the most important sites of the Second Empire, the construction of the Hotel Païva, at 25 avenue of the Champs-Élysées in Paris. The Countess of Païva, a famous parisian courtesan and semi-socialite, commissioned the architect Pierre Manguin in 1856 for the construction of her private mansion. The cost of construction, 10 million gold francs, as well as its duration, 10 years, hit the headlines and animated the social salons. For this prestigious mansion, Émile Picault made the gilt bronze medallions adorning the ground floor and upstairs bedrooms’ doors. He also produced the bronzes for the imposing Louis XIII dresser "very large, made in old walnut with marquetry of the same wood, marble inlays and Legrain sculptures, bronze medallion and statuettes, works by Picault and signed by him" ( in Municipal Commission of Old Paris, "Report of a visit made at the hotel Païva", session of Thursday May 30, 1901, p. 69.) In this regard, it is quite interesting to notice, on our clock, two back-to-back women profiles presenting both features of youth and old age, allegories of time passing, with style and models very similar to the medallions made for the Hotel Païva. Furthermore, the onyx marble used to realize this clock shows remarkable similarities with the onyx of the Countess of Païva's famous grand staircase or bathroom. There are several types of marble called "Onyx" but the best known and most used is that one which comes from Algeria. Algerian Onyx has been mined in Ain-Snara, in the Oran region, since the 19th century. Exploited from Antiquity, the onyx quarries in Algeria were rediscovered in 1849. From this date, the onyx will be used in Europe for the production of works of art, clocks or sculptures. Due to the high price of onyx, it was rather used for small objects and more rarely for furniture, as it is at the Hotel Païva. If it is not possible to affirm that this clock was made for this sumptuous hotel, the fact remains that its monumental dimensions, its decoration and the materials used seem to indicate a particular order worthy of this luxurious private mansion of the Avenue des Champs-Elysees. Certainly, a clock of this quality and size can only be an exceptional work of art intended for a sumptuous home or to be exhibited at a major international exhibition. Sculptor Émile Louis Picault exhibited at the Salon of French Artists from 1863 to 1914, presenting medallions and sculpted groups. At the Salon of 1867, he exhibited The punishment of Tantalus, a bronze group. In 1880, he presented another bronze group called Perseus delivering Andromeda. He was rewarded an Honorable Mention in 1883 by exhibiting a statue of Valentinian I, Christian emperor. His sculpted work was very successful, notably thanks to the edition of bronze statuettes by the Susse foundry, the Colin and Houdebine foundries and the Société des Bronzes de Paris.

Ref.11962
Lot of 15 m² of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from a room of 15 m². The strips are 17" 3/4 to 18" 1/8 long, and 3" 3/4 to 3" 15/16 long.

Ref.13330
Lot of 16,5 m² of antique Point de Hongrie oak parquet flooring

Antique Point de Hongrie oak parquet flooring from a room of 16,5 m². The strips are between 7" 3/4 to 8"1/8 width, and 3" 3/8 long.

Ref.14532
Transition period carved wood trumeau with a couple of birds

Trumeau made of carved wood from the Transition period. The mirror is framed with floral frieze and ribbons frieze. The top of the trumeau is decorated with a symbolic representation of love composed of two birds and a quiver on a plant background.

Ref.14608
Large carved wood and stucco overmantel from the Napoleon III period

Large carved trumeau in wood and painted stucco in Regency style with mercury mirror.

Ref.14719
Napoleon III style trumeau decorated with a garland of flowers

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.15269
Émile HÉBERT, The Champion, circa 1890

The Champion was created by Émile Hébert around 1890. The sculptor Émile Hébert (Paris, 1828-1893) first learned sculpture from his father, Pierre Hébert (1804-1869), and then from Jean-Jacques Feuchère (1807-1852). He participated in the Salons, where he was particularly noticed in 1859, and in the World's Fairs. The Champion is a bronze statuette with a silver patina, depicting a victorious rower with a joyful expression, saluting an invisible crowd with his cap in his right hand while still holding an oar in his left hand. He is dressed in a sports jersey and knee-length pants. The long, slender lines of the skiff rest on waves still stirred by the movement of the boat. The plaque on the base indicates the title of the work: “Le Champion”. The skiff is one of the few rowing events that have always been part of the Olympic disciplines, although events have sometimes had to be canceled due to bad weather. Like a self-referential piece, The Champion can be a trophy intended to be awarded to the winner of a skiff race. This function is even clearer for another version of the sculpture sold by Coutau-Bégarie in 2019, whose base indicates that it is a trophy for the Coupe de Paris 1898, a competition held on the Seine that year. Hébert created at least one other sports-related work in his career: it is Bare-Knuckle Fight, also called The Boxers. This suite different work was sold by Coutau-Bégarie in 2021. It depicts the fight between two men, whose musculature and movements suggest the power of the blow delivered at that moment. Here, the men are in action, in the violence of the sporting effort. However, the sculpture does not require as much technical knowledge of the sport as the one representing the skiff.

Ref.14082
Jules Vieillard & Cie Manufacture, Japanese-style Tea Service, between 1878 and 1886

Cups : H. 6,2 cm/2'' 7/16 ; L. 9,5 cm/3'' 3/4 ; D. 7,2 cm/2'' 13/16 Saucers : H. 2 cm/13/16'' ; D. 13,5 cm/5'' 5/16 Teapot : H. 16 cm/6'' 5/16 ; L. 19,7 cm/7'' 3/4 ; P. 7,5 cm/2'' 15/16 Milk jug : H. 9 cm/3'' 9/16 ; L. 12,5 cm/4'' 15/16 ; P. 6 cm/2'' 3/8 Sugar bowl : H. 15 cm/5'' 15/16 ; L. 17 cm/6'' 11/16 ; P. 8,5 cm/3'' 3/8 This exceptional Japonism tea set was created for the Jules Vieillard & Cie Manufacture in Bordeaux between 1878 and 1886; it is attributed to Amédée de Caranza. After the death of Jules Vieillard in 1868, the Jules Vieillard & Cie Manufacture, then the third largest ceramic factory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes, launching a production of artistic faience intended to decorate the finest interiors. The son of a ceramist, Amédée de Caranza (1843-1914) developed a deep understanding of the art of ceramics and constantly sought new techniques. After working in his own workshop and for the Creil-Montereau factory, he became the workshop manager at the Vieillard Manufacture from around 1878 to 1886. He then opened his own workshop before moving to New York. He served as artistic director at Henri Copillet & Cie, where he worked with glass. For more information on this work, see the video on marcmaison.art

Ref.13994
J. VIEILLARD & CIE Manufacture, Mantel Set, second half of the 19th century

Pot covers: H. 17 cm/6'' 1/2 ; L. 18 cm/7'' 1/16 ; P. 18 cm/7'' 1/16 This Japanese-style mantel set was made by the Jules Vieillard & Cie Manufacture in the second half of the 19th century. Initially a ceramics trader, Jules Vieillard worked for the David Johnston manufactory in Bordeaux from 1840. When it went bankrupt in 1844, he decided to buy it and founded the company Jules Vieillard & Cie, which enjoyed great success. After his death in 1868, the manufactory, then the third largest ceramics manufactory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes. They launched a production of artistic earthenware intended to decorate the finest interiors, which continued until the end of the 19th century. After the death of Jules Vieillard in 1868, the Jules Vieillard & Cie Manufacture, then the third largest ceramic factory in France, passed to his sons, Albert and Charles. The Vieillard brothers then developed new designs and shapes, launching a production of artistic faience intended to decorate the finest interiors.

Ref.15211
SÈVRES Manufacture, Delhy Vase, 1852

This hard-paste porcelain vase was created in 1852 by the Sèvres manufactory. It was executed based on a model designed by Jules Peyre, a draftsman and sculptor at the manufactory, in 1851. Called “Delhy” or “Persian bottle”, this shape is indicative of the Western decorative arts’ fascination with the Middle East in the 19th century. The decoration of the vase follows this same vein. On a white background covered with a continuous pattern of gold scales, stylized flowers bloom, alternating with arabesques of Oriental inspiration. The central ring interrupting the long tapered neck of the vase is adorned with geometric motifs in the same tones of white, blue, and gold. The manufactory’s mark indicating the date of the piece’s creation is found under the base. A vase executed on the same model in 1855-1856, also featuring an Oriental-inspired decoration, is housed in the Musée d’Orsay in Paris.

Ref.15399
Louis XVI period trumeau decorated with an oil on canvas depicting a river bank

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

Ref.15866
Fireplace plate with the coat of arms of France, dated 1654