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.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.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.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.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.4299
Important Louis XV period fireplace in Rouge du Nord marble

This important fireplace was made of Rouge du Nord marble in the 18th century.Its decor is characteristic of the Louis XV style, its serpentine shaped frieze is adorned with a large central shell underlined by an oblong moulding. It leans on jambs with paneled decor. The two elements sides were made after in the 19th century.

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.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.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.14684
Louis XVI style trumeau with pearl frieze and rounded corners

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.16006
Henri CHAPU — À la Jeunesse

This sculpture depicts a woman with her arm raised, leaning on a monument at the base of which are inscribed the words: “A LA JEUNESSE” (To Youth). Signed by Henri Chapu, this work is composed of various materials skillfully blended together: carved from white marble, the female figure holds a gilded bronze laurel branch in her hand and leans on a red stone monument left rough in places. Our work should be compared with two sketches dated around 1875, commissioned by the École des Beaux-Arts in Paris in 1872 for a monument in memory of the painter Henri Regnault, who died at the front during the Franco-Prussian War. The first terracotta model is kept at the Musée Carnavalet (inv. S3494). Entitled La Jeunesse (Youth), the stele bears the inscription “LAUREA / NON LACRYMAE / 1870-1871.” Accompanied by the dates of the conflict, the motto “Glory, not tears” explains the motif of the laurel branch. The second sketch is a plaster cast kept at the Musée d'Orsay (inv. RF 1785) on which no date accompanies the sober dedication to Henri Regnault and the artist's signature. Henri Chapu présente le modèle au Salon de 1875 et remporte une médaille d’honneur. Le 12 août 1876, le monument est inauguré dans la cour du mûrier aux Beaux-Arts de Paris. Le succès de cette figure féminine porte le sculpteur à éditer le modèle dans trois dimensions en collaboration avec Ferdinand Barbedienne à partir de 1878. Ces fontes présentent quelques variantes quant à leur dédicace. Notre variante, sculptée de la main de l’artiste, est exceptionnelle : à notre connaissance, elle est la seule version à proposer une telle combinaison de matériaux. La variété des matériaux est soulignée par la diversité de leur traitement : la douceur du modelé de la figure féminine en marbre blanc contraste avec les degrés sommairement dégrossis dans la pierre rouge ou le chapiteau ionique gravé en très bas relief.

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