Ref.9737
Antique cast iron fireback with De Jannel de Belval family coat of arms

Ref.10002
Louis XV style brazier in gilt wrought iron

This antique brazier from the Louis XV style was made in gilt wrought iron during the 19th century. Supported by lions paws, this brazier is elaborately decorated with foliage.

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.10328
Antique 19th century fireback with male figure in a Greek style

Small cast iron fireback from the 19th century, square shape. In a scalloped frame made of foliages and leaves, a male figure in Greek style, covered with a drape, is standing.

Ref.10329
Antique cast iron fireback with peasant woman decor

Antique square shape 19th century fireback with a shepherdess decor in a frame of foliages. A same model fireback is in the Museum of Chalons-sur-Marne and is illustrated in the book by Henri Charpentier, "Les plaques de cheminée".

Ref.10820
Rare antique 17th-century fireback with Satan

This rare antique fireback was made during the 17th century. Two men are supporting an imposing crown and two intertwined banners with inscriptions. The man on the right, with its craggy body and its strong chin with a beard, reminds Satan.

Ref.13050
TAHAN: Malachite and Marble Inkwell

 The discreet refinement of this very elegant piece comes from the materials used. Here Black Belgium marble, highly appreciated for its purity and fine texture allowing for a perfect finish, is inlaid with malachite and adorned with finely chiseled gilded bronze. The contrast between the depth of the black and the intensity and luminosity of the green stone is striking.The body of the inkwell rests on a round plate. The sides of the plate curve up and are a decorated with a geometrical frieze underlining the edge, and its center, which rises to support the inkwell, is surrounded by a design of four linked arrows. The ogee curved stand of the inkwell is gilded bronze; it is ringed and rises to support the remarkably polished marble bowl. The bases of the vertical handles are adorned with bronze ram heads topped with acanthus leaves and show an exquisite delicacy of carving. The high point of the handles level off and form a flower blossom in a square.  The handles then split and link to the inkwell in a floral motif, bringing lightness to the composition. The top of the bowl is short, adorned with a frieze that echoes the one on the plate below. A gilded frieze around the opening of the bowl and the cover links the two esthetically and hides the hinge. Two malachite circles underline the cover, which is crowned with a gilded flower blossom.  

Ref.12288
Pair of double-sided wrought iron doors and mirror back

Pair of double-sided doors in patinated wrought iron with openwork decoration of ribboned floral scrolls and mirror background.

Ref.4358
Louis XV period Rouge du Nord marble mantel

This belgian rouge marble mantel was made in the 18th century, its sculpted decor is typical of the Louis XV style. the fluted jambs are slightly curved on their upper parts. They support the curved entablature, adorned on its center with a beautiful stylized shell flanked by an oblong moulding. The sides were made later.

Ref.12373
Small antique fireback with soldier in armor decoration, 19th century

This antique Louis XVI cast iron fireback was made in the 19th century. It is adorned with a man dressed with a roman armor, leaned with a hand on tree trunk and and his elbow on a shield in an arabesc decoration.

Ref.13201
"L'Amour d'Hercule", beautiful Louis XV period cast iron fireback

This antique large fireback was made in the 18th century. In a beautiful Louis XV decoration composed of shells, acanthus leaves and scrolls, a scene is represented depicting Heracles's loves as indicates the inscription, there it is "Heracles and Omphale". After his works and the madness that made him kill his family, Heracles is submitted by the Delphi oracle to a a year of servitude, to pay for his fault. Thus, he is bought by Omphale, queen of Lydia. Heracles is here represented spinning the wool, spindle and distaff in hand, kneeling down in front of Omphale and another woman. A similar model is illustrated in Henri Carpentier's book "Firebacks", while an other one is visible in the Louvre Museum.

Ref.13875
Antique cast iron fireback with the French coat of arms of the 18th century

This exceptionally large fireback with the French coat of arms was made in the 18th century century. In the centre of a frame are the main arms, azure with three golden fleurs-de-lys, topped by a royal crown. They are surrounded by two palm leaves joined at the ends by a ribbon. At the four corners of the frame, four fleurs-de-lys point towards the centre. The edge of the frame is adorned with a decorative frieze. On the outside, the arms of France are again depicted six times, in a smaller scale; those in the upper corners of the plaque face the corners of the frame.

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.14326
Cast iron fireback decorated with a smoking incense burner

Fireback in the rocaille style decorated with a smoking incense burner. This motif is carved on the façade of the Louvre du bord de l'eau. A similar fireback is reproduced on page 155 of Henri Carpentier's "Plaques de Cheminées". It is mentioned as being part of the author's collection.

Ref.5285
Louis XVI period mantel in Rouge Royal marble

Ref.15445
Gabriel VIARDOT, Japonist bed with a canopy and accompanying nightstand, second half of the 19th century

Nightstand : H. 81 cm / 31’’ 7/8 ; L. 59 cm / 23” 1/4 ; P. 38 cm / 14” 15/16 This set of a Japonist bed and nightstand was crafted by Gabriel Viardot in the second half of the 19th century. A talented wood sculptor, Gabriel Viardot opened a furniture workshop and store in Paris in 1853. In the 1870s, he decided to dedicate himself to “Chinese-Japanese style furniture”. He received prestigious awards at the Universal Exhibitions in Paris in 1878, 1889, and 1900, and won a gold medal at the International Exhibition in Antwerp in 1884. The foot of the bed features carved ornamentation in low and very low relief, inspired by Far Eastern art: on the left, a dragon moves across a geometric structure that extends beyond the frame in which it is inscribed, while on the right, a second frame houses a delicate mother-of-pearl marquetry depicting a sakura (cherry blossom) branch, accompanied by a bas-relief sculpture of a flowering branch mirroring the dragon. The contours display ornamentation characteristic of the artist: the feet are adorned with geometric scrolls, while the top mimics the shape of a cloud. The headboard is topped with two birds fluttering near a sakura branch, surmounted by cloud or smoke scrolls. On either side, there are panels inlaid with mother-of-pearl from the Far East. Four columns rise from the headboard, connected in pairs by an openwork design typical of Viardot’s style. On the left, a sakura branch seems to sprout from one of the two columns, first spreading between them, then into the central space, giving the piece a beautiful asymmetry. The canopy is also adorned with openwork motifs. The two top beams curve upwards at each end to evoke the roof of pagodas. At the front, another blossoming cherry branch harmoniously integrates into the central openwork design. The nightstand rests on four lion paws. It features asymmetrical open shelves reminiscent of Japanese “cha’dansu” (tea cabinets). One of these, covered with white marble on the inside, is closed by a lacquer panel, imported during that period to Europe. At the top, the small drawer, equipped with a decorative handle, displays an engraved bamboo leaf motif, while the sculpted tabletop is raised on one side and lowered on the other, a layout characteristic of the artist’s creations. The nightstand is also signed, a rare occurrence in Viardot’s work, indicating the exceptional care he took in crafting this piece. With this set, Gabriel Viardot follows one of the conventions of Japonism that developed in Europe from the 1870s: he adapts ornamentation inspired by Far Eastern art to an eminently European structure, as both the bed (especially when equipped with a canopy) and the nightstand are furniture pieces that do not exist in Far Eastern culture. One of the drawings found in Viardot’s archives depicts a canopy bed very similar to this one; the posts of the canopy and their ornamentation are quite similar, as is the overall shape of the bed, and much of the ornamentation shows numerous similarities.