Ref.10855
Large antique Regence style overmantel pierglass with putti playing in the vineyards

This large Regence style overmantel pierglass was made during the 19th century in France in wood and painted stucco. Volutes and Rocaille -inspired shells decorate this overmantel pierglass whose upper part is occupied by a large medallion in which a scene about wine is represented. Putti hold bunches of grapes in their hands while another climbs onto a tree at the end of which clusters of grapes hang. This scene evokes with tenderness and naivety the pleasures of wine. The medallion itself is framed by rococo curves and by a large shell in the center, at the top.

Ref.15705
Léon MESSAGÉ (1842-1901) (att. to) - Clock with Cupidon

Gilded bronze, enameled face.  This exceptional Louis XV style clock is attributed to the sculptor and decorator, Leon Message, active in the last quarter of the nineteenth century. Made of gilded bronze, this piece adopts the forms of the eighteenth century. Indeed, the arabesques, and decorative vocabulary, are characteristic of the rococo style and of a Juste-Aurele Meissonier, leader of this movement. The clock stands on four winding feet, that suppor themselves on a shelf, in the style of Louis XV decorative clocks. The decorative motifs consist of an inverted shell, foliage and coils, are also specific to the rococo style through their asymmetric treatment, the abundance and decorative character somewhat extravagant. Moreover, the term 'rococo' means, originally, artificial caves, which contained imitations of shells. The abundance of curved lines and the relatively pronounced fantasy of the ensemble are from the eighteenth century. Similarly, the rockery used a lot of grotesques, which is well illustrated here by the presence of a mask of a bearded man crowned with laurel, beneath the clock face. From both sides of this grotesque are dolphins, a motif which one often finds in the works of Léon Messagé. The clock face is surrounded by garlands of leaves lined with flowers, which bloom in the upper part of the clock, giving birth to a small horn on which sits a Cupid, holding his bow in his left hand and wearing his quiver on his back. LÉON MESSAGÉ(March 8, 1842 - May 16, 1901?)Léon Messagé was born March 8, 1842 in Sens, Yonne. At 20 years old, he lived in Paris at 23 rue de Rivoli and was then referred to as 'stone carver.' Around 1885, he began collaborating with François Linke, important cabinetmaker of the Belle Epoque,  providing him models for furniture and ornamental bronzes. They collaborated until the death of Messagé, who lived until the age of 58 and died May, 16 1901. It is through this collaboration with François Linke, that Messagé would be successful during the last decades of the nineteenth century. In fact, Messagé was awarded a gold medal at the 1889 World Fair and it was he who designed all the important furniture for the stand of François Linke for the Universal Exhibition in 1900. Even though he worked hard for Linke, Messagé still remained an independent craftsman, working on his own account. In his studio at 40 rue Sedaine, in the 11th arrondissement of Paris, he was the designer and creator of its models. The fundamental principle of the designs by Messagé is a light rococo, a characteristic asymmetry of rock that Parisian artisans developed in the 1720s. This clock is a good testimony of this lively design and the unique style of Leon Messagé.Although this clock is not signed by him, there is no doubt that it was made by his hand. Indeed, in his notebook drawings and sketches Style Louis XV, published in 1890, there are two drawings of pendulums, very similar to the one presented here. ? ?Moreover, in a book on Francois Linke, a clock very similar to it is illustrated (Christopher Payne, Francois Linke 1855-1946. The Belle Epoque of French Furniture, p. 93). We find the same decorative vocabulary, the same overall composition crowned by a cherub and a similar work of sculpture. On the dial is the signature of Emile Colin et Co, art foundry located at 29 rue Sevigne in Paris, starting in 1843. The latter has participated in numerous expositions, notably that of Chicago in 1893 where she presented a bronze clock mounted on a column of white marble. Everything was completed by a female figure made of bronze according to a work by Piat et Steiner. Like the clock, Emile Colin worked regularly for many renowned artists, such as Carrier-Belleuse Feuchère, Charpentier or Mathurin Moreau. Around 1900, we know that she was making parts based on the models of Léon Messagé, which leads us to date this clock to that time. Colin's company was also present at the Exposition Universelle in Paris in 1900. 

Ref.3732
An antique Louis Xv style fireplace, Pompadour model, made out of Campan rubané marble

Antique Louis XV style fireplace, Pompadour model, made out of Campan Rubané marble in the 19th century. High decorative qualities for this marble.

Ref.12448
Pair of antique Louis XV style gilt bronze andirons with characters in costume

This beautiful pair of Louis XV style chenets was made of gilt bronze in the 19th century. It represents a couple of gallant characters in 18th century costume.

Ref.13361
Fireback with the coat of arms of Pierre Godart, 19th century

This fireback was made in the late 19th century, it was made moulded from a model made in the 18th century. It is adorned with the Godard coat of arms, could be Pierre Godard's one, dead in 1751, knight, Lord of Belbeuf, general prosecutor in the Rouen parliament. He marries Augustine-Hélène Le Pelletier, lady of Saint Gervais, daughter and heir of Louis Le Pelletier, Lord of La Fosse, near Vendôme (see REF 9534). He obtains the belbeuf land to be marquisate in 1719. Or it could be Jean Pierre Prosper Godart's ones, son of the previous, titled second Marquis of Belbeuf in 1751, general lawyer and prosecutor general in the Normandie parliament in 1762. The original fireback is now in the Musée d'Art, d'histoire et d'archéologie of Evreux and comes from the Belbeuf castle.

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.14116
Small trumeau of Louis XVI style with pediment decorated in half circle

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.5665
Louis XVI style Carrara marble mantel with floral and sunflower 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.