Ref.1041
Paneled room and rare parquet flooring from the 18th century

Complete paneled room in pine wood from the study of a town house in Bordeaux, including a door, a double door and a hidden door, a window with French inside shutters, all with their original locks. It also includes a very rare walnut parquet flooring, featuring stars of David. The fireplace was hidden behind one of the panels. The décor is Regence style , a style that transitions from the symmetry of the Louis XIV style to the birth of the Rococo of Louis XV. Under the paint there are traces of gilding.

Ref.10048
Antique cast iron fireback with Leopold the First, Duke of Lorraine, coat of arms

18th century cast iron fireback with the arms of Leopold I (1679-1729), duke of Lorraine and of Bar. Two giants each holding a club reminiscent of Hercules, stand on Renaissance style pedestals and support the coat of arms of the Duke bearing the ducal crown. The arms reveal the different titles of Leopold I: King of Jerusalem, of Hungary and Aragon, Duke of Anjou, of Bar, of Gueldre and Juliers. More precisely from left to right and top to bottom: arms of Hungary; fleur de lys of Naples, Cross of the Kings of Jerusalem, arms of Anjou, of the house of Alsace (in the center), gold fleur de lys of Anjou, the lions of Gueldre and Juliers and finally the arms of the Duke of Bar.

Ref.2911
Beautiful antique Art Nouveau fireplace by Charles Gréber with workers' decorative frieze

This fireplace was made in ceramic and massif walnut by Charles Gréber (1853 -1935) descendant of the Gréber Family , a famous dynasty of ceramists from Beauvais (Oise, France). The front is decorated with a scene of workers with the name of each professions on it : locksmith, carpenter, blacksmith and joiner. This frieze is topped by a shelf in massif walnut and a hod with leafage in relief. The same tiles are framing the workers frieze. The ceramic tiles are in shades of green-beige, very popular in around 1900. Even if this piece of art belongs to the Art Nouveau style, its iconography vocabulary refers to the Realism movement. Artists like Dalou, Millet or Courbet are picturing simple farmers and people from the working class in some of their most famous works of art – See details.

Ref.3017
Oak wood paneled room with satyres heads and drapery patterns, 19th century

Antique 19th century paneled room made out of carved oak. The satyr heads carved decoration is very fine and of quality. The paneled room is composed as follows: - a large basket-handle arch - a large fireplace frame - a large mirror - carved panels with napkin folds and drapery patterns with triple arcades. These panels are 2.96 meters in height (116'' 1/2) to about 4 linear meters (157'' 1/2). See the pictures for more precise dimensions.

Ref.3121
Antique Louis XIV style "Bollection" fireplace in algerian Breche Sanguine

Antique Louis XIV style fireplace made out in a rare marble called " Breche Sanguine" which is found in Kristel in Algeria. The important molding is called "Bollection" and is typical of the Louis XIV style.

Ref.3317
Antique Louis XIV style "Bollection" fireplace mantel in Sarrancolin Ilhet marble with its original marble floor

This Louis XIV style fireplace was built in the 19th century. This is a sophisticated model, with its curved mantel, embossed spandrels, and scrolls on each side of the jamb. Its Sarrancolin Ilhet marble has a very beautiful hue highlighted by the original marble floor in marble Blue Turquin . The contrast of the bluish gray, starred with white veins, with the orange marbles, create a remarkable effect. The design of the floor is also very original.

Ref.3563
Antique set of eight industrial boiler room doors

This antique set of eight industrial boiler room doors was made in France a the end of the 19th century. Hinges, handles and wheels are made of cast iron.

Ref.13774
"Niobe", alabaster statue after an original greek statue

Daughter of the king of Lydia, Tantalus, Niobe is reputed to have brought many children into the world, the Niobids. Vanityous, she dared to mock the goddess Leto, who had given birth to only two children, Apollo and Artemis. The revenge was terrible for the latter were charged by their mother to kill the Niobids. It is said that one of the girls, saved by her mother, escaped the massacre, but she retained a deadly pallor: it is this scene which is represented here in this alabaster sculpture of extreme whiteness.

Ref.3728
Antique Louis XVI style fireplace made out of marble with flutes

This beautiful antique Louis XVI style fireplace was made out of red marble during the 19th century. The frieze, slightly curved, is decorated with rudent flutings. The jambs, placed with cut sides, are feet-consoles with windings. Very beautiful decorative qualities of this veined red marble for this fireplace. This fireplace is sold with its original cast iron insert but without the original marble floor. This one could be made to order (please ask for marble availability).

Ref.11039
An antique large trumeau with garlands of flowers

This antique Louis XVI style trumeau was made out of stucco during the 19th century. Faithful to the 18th century taste, the upper part is decorated with garlands of flowers. The mirror is framed by a thin beaded border and a frieze of ova.

Ref.11209
BACCARAT, Pair of Vases with Bamboo Decor, circa 1880

This pair of vases with bamboo decor was crafted by the Baccarat crystal factory around 1880. Created under the reign of Louis XV, the crystal manufacturer owes its international reputation to its participation in major exhibitions throughout the 19th century and up until 1937. During this period, the manufacture showcased the excellence of its production and its constant pursuit of innovation to the world. Its creations influenced other European glass and crystal manufacturers in the following decades and set the standard for execution techniques and stylistic models.

Ref.10564
Porcelain and gilded bronze clock set with griffin

Clock set consisting of five pieces, a clock and two pairs of cassolettes, made in gilded bronze and porcelain in the 19th century. Two winged griffins adorn the upper part of the clock, while the protomes of griffins are found on the handles of the cassolettes. The syncretism of various stylistic influences is characteristic of the Napoleon III style.

Ref.11456
Earthenware dish with bird decoration, mounted in bronze

A faience dish, decorated with a bird, on a background of yellow lacustrine landscape, the rim enhanced by a gilded bronze frame.

Ref.11850
Beautiful cement doghouse in Rocaille style

Beautiful doghouse with half-timbered decoration and "rocaille" style, a rustic art very popular at the end of the 19th century. This doghouse was built in reinforced cement, imitating tree branches. André TEXIER Plate, mason in Normandy (France).

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.12495
Antique Louis XVI style trumeau decorated with an arch

Antique painted trumeau realized in the XIXth century with a pediment decorated with an arch and a painted flowers garland.

Ref.12745
Rare pair of cast iron andirons shaped as a laying dog, Wallonia, 16th century

Product of the popular figurative art of Wallonia, this pair of andirons made in the 16th century in cast iron shows a naive beauty but is also a testimony of some kind of aesthetic concerns. Made in a zoomorphic shape, the Musée Gaumais, where a similar pair is preserved, describes them as a representation of laying dogs. However, our andirons shows distinctly the representation of hair all around the neck suggesting a mane. Furthermore the representation of the head can also lets us think that a lion is represented instead of a dog. The author of those andirons didn't only give a shape to their visible parts. Indeed the back shows as much precised details with the add of a relief scroll on each side, in which we can see a stylization of the back legs. Also, a small ornamental bolection was added on the andiron's body. It's a very certain inventive spirit, a dexterity but also a sensitivity that the popular art in Wallonia expresses through this pair of andirons. The Wallonia is a French speaking region of the Belgium's south. It is famous for its medieval cities and its Renaissance architecture. Nevertheless, we can't find a real stylistic unity in the region because of the neighbors variety and sometimes the different influences from the outside, without saying the individualism. In olden days, we could count simultaneously and on a very small area, subjects of the Liège Prince-Archbishop, Limbourg or Luxembourg Duke, Prince-Abbot of Stavelot-Malmedy, Namur or Hainaut Count, either independent or under the Burgundian, Spanish, Austrian or French tutelage. This historic past that has divided the actual Wallonia into divided political territories, sometimes rivals, can also explains this dispersal.

Ref.13197
Louis XVI style trumeau with ribbon, late 19th century

This Louis XVI large trumeau painted in ecru was made in the late 19th century. It is adorned with a beautiful knoted ribbon and friezes of pears, ovum and ribbon.

Ref.12994
Set of around 17 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 17 m² in a square shape, from the 19th century. The sides are 8" 7/8 for 9/16" to 11/16" thick.

Ref.13279
Fireback with France and Navarra coat of arms, 19th century

This fireback was made of cast iron in the 19th century. It is adorned with the France and Navarra coat of arms surmounted by the Royal crown and framed by laurel branches. We also find on the upper corners the Cross of Lorraine and on the lower corners the fleur-de-lis.

Ref.13649
Fireback with the coat of arms of a house de Rogres Champignelles's representative, 18th century

This square cast iron fireback from the 18th century is adorned with the coat of arms of a house de Rogres Champignelles's representative, probably one of the fourteen sons of Charles de Rogres, baron of Champignelles and of Marie de Saucière-Tenance, married on the 21st July 1643 and of which seven were knight of Malta. The coat of arms are surmounteed by a Marquis crwon and hold by two mermaids. A similar fireback is illustrated in Philippe Palasi's book "Plaques de cheminée héraldiques" and conserved in the Musée du Berry in Bourges.

Ref.13067
Set of around 8 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 8 m² in a square shape, from the 19th century. The sides are 10" 13/16 for 1" to 3/16" to 1"3/16 thick.

Ref.4724
Louis XVI style Carrara marble mantel with a Greek frieze

This mantel was made of semi statuary Carrara marble in the late 19th century. Its header is adorned with a Greek frieze and square roses on the corner. It is supported by fluted jambs with coiling on their upper parts.

Ref.13667
Approx 15m² of modern oak parquet flooring with a cross motif

This surface of about 15m² of oak parquet flooring is a modern work with a cross motif. The set is composed of 86 panels of which the sides are 17" 1/8, 8 half panels, and 11 panels with some missing parts and some falls.

Ref.13742
Louis XVI style trumeau with a curved top and a ribbon

This Louis XVI style trumeau was made of wood and stucco painted in white. The mirror with a curved top is framed by a ribbon frieze knotted on the top.

Ref.13300
Gaston de PONTALBA - Series of eight composite capitals and bases for pilasters in gilt bronze 1853

This series of eight composite capitals and bases for pilasters wxas made of gilt bronze by Gaston de Pontalba in 1853, as indicates the signature on one of the capitals. They very likely come from one of the Salons of the actual United States embassy in France, then called hôtel de Pontalba, built by Gaston de Pontalba’s mother, the Baroness Micaela Almonester de Pontalba (1795-1874) between 1842 and 1855.

Ref.4781
Antique Neo-gothic style wood and cardboard fireplace

Ref.4964
Beautiful Louis XV period mantel in grey Sainte Anne marble

Ref.4970
Bourgogne mantel in French grey marble from the 18th century

18th century mantel in grey French marble. The entablature has a central plant motif. The hearth opening is underlined by moldings ending in scrolls. The decorated jambs are curved.

Ref.14333
18th century fireback representing a female figure with a flower garland next to an antique vase

Ref.14720
Triple oak door with beautiful sandblasted glass decoration

Early 20th century oak triple door with beautiful sandblasted glass decoration of the Federal Union of French Veterans' Associations.

Ref.14536
Quadruple sliding door with stained glass windows featuring birds and plants

Ref.14841
Napoleon III style gilded trumeau with pilasters and flower garlands

Ref.13902
Four mosaic garden vases

Ref.14678
Louis XVI style trumeau with flower and Cupid's arrow decorations

Ref.13009
Émile BRACQUEMOND, Octave GUILLONNET, Winner's vase, 1924

This vase was created by the painter Octave Guillonnet and the ceramicist Émile Bracquemond for the Sèvres Manufacture on the occasion of the Paris Olympic Games in 1924. Octave Guillonnet (Paris, 1872-Montgeron, 1967) was an Orientalist painter who could also be considered a sports painter: he notably exhibited a monumental “rugby match” at the 1899 salon. He was also a member of the Society of Sport Painters and Sculptors from its foundation in 1922. The career of Émile Bracquemond (Paris, 1889-Clichy, 1970) is less well-known. However, it seems that besides his collaboration with the Sèvres Manufacture, he was particularly recognized for his feline sculptures. The order for commemorative vases to be awarded to the winners of sporting events was placed by the city of Paris in anticipation of the 1924 Olympic Games to promote the production of the Sèvres Manufacture. Although Pierre de Coubertin was opposed to awarding trophies to winners, the project, once launched, was completed for this edition only. Subsequently, the rules were changed, and winners were awarded only medals. The shape of this vase is very simple: the body flares out in an almost straight line from the base to two-thirds of its height before tapering towards the neck. The neck is adorned with a gray band bordered by a gold stripe, decorated with silhouettes of biplanes left in reserve. The body of the vase, with its subtly shaded blue glaze, features four pâte-sur-pâte scenes, each honoring a different sport. In the case of our vase, polo, Basque pelota (the athlete holds a chistera), and gymnastics apparatus are represented. The sports are depicted very precisely, with each discipline represented by a characteristic gesture. The slight relief of these decorations gives them greater depth and liveliness. While the winner’s vases were usually covered with a gold and brown decoration representing laurel branches, ours has a plain blue background that distinguishes it from the others. Not all the disciplines represented on our vase were Olympic sports in 1924. Indeed, Basque pelota was only presented as a demonstration sport at this edition of the competition. Moreover, polo, which was an Olympic sport in 1924, is no longer part of the Games today. There are four models in total for these commemorative vases, each depicting four different sports. The Sports Museum has a copy of each model, providing a complete overview. The sports represented on the other vases are as follows: rugby, rowing, diving, and football; javelin, wrestling, shot put, and boxing; tennis, cycling, sailing, and shooting. This winner’s vase is therefore both a historical and artistic testament to the 1924 Olympic Games, which will resonate on the centenary of this event and the Paris Olympic Games in 2024, particularly within the framework of the edition by the manufacture of trophy vases created by six artists from the Beaux-Arts de Paris, intended to be awarded to the French gold medalists at the Paris 2024 Games.

Ref.15354
Théodore DECK, Decorative Dish in Glazed Ceramic with Tulips

Théodore Deck, Decorative Dish in Glazed Ceramic with Tulips This decorative plate with tulips was created by the ceramist Théodore Deck at the end of the 19th century. Théodore Deck initially trained in the stove-making industry. When he established himself in Paris in 1858, he manufactured stove coverings. Buoyed by his success, he then ventured into ceramics. His workshop created numerous plates, sometimes in collaboration with recognized painters. He gradually perfected his technique and achieved significant success at the many Universal Exhibitions he participated in. In 1878, he was made an Officer of the Legion of Honour. He directed the Sèvres manufactory from 1887 until his death in 1891. Against a vivid yellow-orange background adorned with lightly embossed decorations, two tulip flowers stand out, one white and one violet. In the background, a shrub with orange flowers transitions with the colorful background of the plate. The bluish greens of the stems and leaves complement the bright tones of the flowers. This work reflects the fashion of Japonism that swept through European art from the 1870s to the early years of the 20th century, which particularly influenced Théodore Deck, a collector of East Asian art.

Ref.15258
Louis XVI style trumeau adorned with a medallion topped with a ribbon

Ref.5696
Louis XIV style mantel with acroterion in Rouge du Nord marble

Ref.15169
Louis XVI style trumeau with rounded top decorated with pearl friezes

Ref.15632
Lot of about 37m² of Arenberg parquet flooring

Batch of antique parquet flooring of approximately 37m² in various wood species: walnut, cherry, chestnut... Composed of 39 Arenberg panels. The sides of the panels measure approximately 104 cm with a thickness of 3.5 cm

Ref.15732
Persian-style double-sided clock and garnitures, Charles Stanislas MATIFAT, dated 1851

Charles Stanislas Matifat is the creator of this ensemble consisting of a double-sided enameled bronze clock and a matching pair of large garnitures. Dated 1851 and bearing his signature, the clock was designed for both European tastes and the Ottoman-Persian market. This model was presented in the French section of the 1851 Great Exhibition in London. The MATIFAT display was located at the heart of the Crystal Palace, showcasing Parisian decorative arts of the mid-19th century. The clock features two white enamel dials: one with Roman numerals for European time (Paris or London), and the other on the reverse with Turkish numerals. This dual display made the piece suitable for different cultural time systems. Around this time, MATIFAT developed a vitreous enamel process on bronze, enabling highly refined decoration. The gilded bronze case is richly adorned with polychrome enamel motifs inspired by Persian decorative arts: scrollwork, stylized foliage, rosettes, and interlacing patterns. The openwork base includes enameled escutcheons. The two side garnitures echo the same cloisonné enamel decoration, in tones of green, blue, white, and gold. Their complex architectural shapes and scroll-like handles reflect the orientalist aesthetic popular in the decorative arts of the period. Recognized as one of the most important Parisian art founders of his time, MATIFAT also created decorative objects such as chandeliers, fountains, and vases. He collaborated with major sculptors like Carpeaux and Frémiet, and his work was appreciated by Charles Garnier.

Ref.15897
Pair of Cast Iron Andirons "Yanou and Yanetto", Folk Art, 19th Century

Charming pair of cast iron andirons featuring a stylized peasant couple, typical of 19th-century French folk art. Each andiron is topped with a naively sculpted bust: one shows a man wearing a beret, named “YANOU”, the other a woman in a traditional headscarf, named “YANETTO”. Their names are inscribed in raised letters within a heart placed at the center of the scrollwork base. The rustic style and expressive faces suggest regional craftsmanship, likely from Southern France or the Alpine regions. These functional fireplace tools also carry a strong symbolic meaning, celebrating the couple and the home. Aged patina, signs of use.

Ref.10540
STEINER, Hermann, The Lost Soul

This small sculpture in carved walnut, a work of fabulous inventiveness, is by the Tyrolean artist Hermann Steiner (Merano, 1878-1963). Son of the sculptor Sebastian Steiner and husband of the painter Adele Perlemutter, he created works of rare intensity, combining sacred and secular themes. Furniture, ornamental masks, virtuoso sculptures—Steiner's art conjures mysterious figures from the depths of the wood. According to the Thieme-Becker and Benezit biographical dictionaries of artists, Hermann Steiner was awarded a gold medal at the 1904 St. Louis World's Fair. A few of his pieces are exhibited in museum collections: the Vatican Museums hold a carved rosary by the artist. Representing Austria, Steiner participated in the Deutsche Luftkriegsbeute Ausstellung exhibition in Munich in 1918, exhibited at the Milan International Fair in 1952, and at the Bari International Fair in 1955. Our sculpture depicts a swarm of faces from which a bust-length man stands out, representing the human soul, his arms folded in an attitude of both protest and protection. A group of four distorted faces comes to life in a whirlwind of malevolent spirits seeking to drive the soul to its doom. In this chaos, the human soul seems to have found salvation: the exchange of glances with the angelic face is the only reciprocal interaction between the figures in the sculpted group. Seeking the soul with his gaze, a final demon, positioned between the human figure and the cherub, makes one last attempt to lure it toward vice. This virtuoso work, imbued with a palpable sense of inner life, reflects the temptations and choices that torment and trouble the human soul. Signed "H. Steiner," our piece rests on a separate wooden base.

Ref.4825
Louis XVI style fireplace with acanthus leaves and beading, in Carrara marble

Ref.5183
Napoleon III period fireplace with lion's paw feet, in Carrara marble

Ref.14016
JÉRÔME MASSIER – Iridescent dish, L’Aurore

Established in Vallauris since the mid-18th century, the Massier family is a dynasty of ceramists closely linked to the town's modern ceramics industry. The family became famous in the mid-19th century thanks to technical innovations such as the metallic luster exemplified by this dish. This technique, virtually lost since the Renaissance, is a complex process that gives the surface of the pieces shimmering reflections. This appearance is achieved through a glaze rich in metallic oxides and a delicate third firing in a reducing atmosphere. The signature "J. Massier Fils" corresponds to the business name used after the death of Jérôme Massier Sr. by his direct descendants (notably his son Jules-Jérôme Massier, born in 1872). This iridescent dish, created at the turn of the 20th century, is an ode to nature and a tribute to the Land of the Rising Sun. The mountain and seascape is reminiscent of Hiroshige's prints or Hokusai's Views of Mount Fuji. The rim of the dish is particularly inventive and echoes the landscape: the lower part takes the form of waves, while the upper part depicts a rooster, a symbol of dawn and good fortune. The result is a Japanese-inspired dish with a dreamlike design and texture, a vision with the reflections of mother-of-pearl or opal.