Ref.11545
Set of three double doors with mirror

Set of three double doors with mirror made in the 19th century.

Ref.3612
BARDIE Armand (cabinetmaker) - An antique Napoleon III style fireplace with its overmantel

Large oak wood fireplace and pierglass, Napoleon III style, made in the late 19th century or early 20th century. Stamp by BARDIE, cabinetmaker in Bordeaux for Armand Bardié (deceased in 1926) who owned a cabinetmaking factory at the 49 cours Georges Clemenceau in Bordeaux. He is also known as archaeologist and creator of the Museum of the Porte de Calhau and the Museum of Old Bordeaux.

Ref.11663
Small set of 18th century marble slabs

Floor composed of square Carrara marble slabs dating from the 18th century. Dimensions: 8.46 x 8.46 inch ; thickness from 0.59 to 1.18 inch. The package also includes 20 half-squares. The whole for a total surface area of 30.138 sq ft.

Ref.12389
Victor GEOFFROY-DECHAUME, Pair of incense burners made out of silvered bronze, adorned with dogs, circa 1840

This pair of incense burners made out of silvered bronze and adorned with dogs is a work by the goldsmith and sculptor Victor Geoffroy-Dechaume (1816-1892), as indicated by the chiselled signature on the covert’s backs. This pair of incense burners is a testimony of the taste, combining references to the arabic and medieval arts, that develops itself during the 1840 decade, in every field of the decorative arts and in particular in the work of Victor Geoffroy-Dechaume, a prolific designer for civil and religious goldsmithing models. He entered the Beaux-Arts school of Paris in 1831, where he was the student of David d’Agners and James Pradier. His taste pushed him into dedicating himself to decorative arts, and in particular to model designs for goldsmithing, until 1848, when he discovered the medieval sculpture. He gave numerous designs for other artists to use as models, for example the bronzemaker Auguste-Maximilien Delafontaine (1813-1892) or the goldsmith François-Désiré Froment-Meurice (1801-1855). Then, circa 1850, he went for the study of monumental statuary and more accurately of medieval statuary. He became one of Viollet-le-Duc’s principal collaborators and participated thus at some of the biggest restoration sites, like the Chartres cathedral, Notre-Dame of Paris or the Sainte-Chapelle. A multiple and fecund artist, he was at the same time a restorator of religious buildings, a sculptor of monumental pieces, commemorative statues, a goldsmith for the princes and a prolific moulder. In 1855, Geoffroy-Dechaume is appointed director at the Museum for Comparative sculpture (actual Cité de l’Architecture et du Patrimoine). Our pair of incense burners is thus realised according to the main works of the first part of Geoffroy-Dechaume’s career. At this time he dedicated himself to decorative arts and to goldsmithing by producing models and works which ornamental references find their sources into arabic and medieval arts. We recognize these inspirations thanks to the polylobed and animated shapes of our incense burners. Made out of silvered bronze, they present on the top two small sculptures depicting dogs. Their bodies have been pounded with small, abstract patterns bringing them some texture and reminding of the oriental inspiration. The two scenes are different, since on the first one, we can see the dogs fighting, sitted, one biting the other’s neck, while on the other burner, a sitting female is nourishing her babies. These canine figures are set on a ring adorned with oriental patterns and pierced with holes in order for the incense to spread. On the four-feeted base, the sinuous lines and the decoration does form an hybridisation between oriental art and grotesque or even monstruous forms from gothic art, for example with the stylished paw-feet or the scale motif. Bibliography : Catalogue of the exhibition « De plâtre et d’or. Geoffroy-Dechaume sculpteur romantique de Viollet-le-Duc. » Musée d’art et d’Histoire Louis Senlecq, L’Isle-Adam, 1998.

Ref.13210
Modern fireback with the France coat of arms

This cast iron fireback is moderne work from a 17th century original. In a hexagonal shape, our firebasck is dated 1662 and adorned with the France coat of arms composed of the three fleur-de-lis and surmounted by a Royal crown in a laurel leaves branches surround.

Ref.13537
F. BARBEDIENNE - Small bronze inkwell with a cloisonne decor

This small bronze inkwell with cloisonne enamel decoration made circa 1860 is the work of Ferdinand Barbedienne, bronze maker and founder of the famous 19th century foundry of the same name. The decor seems to have been imagined by the designer Constant Sevin. We owe to the associations of the two men – which has lasted for more than thirty years, between 1855 and 1888 – an important collection of works of art and especially vases, showing the same colors and technical. The two men articipate to the reborn of champleve enamel in the middle of the 19th century. he first technical tries of Barbedienne were made near 1858 and four years after he presents in the Great Exhibition of London a stand mainly composed of works of art inlaid of enamels – like the model of our inkwell – which does not leave the critic indifferent. Indeed, we can on its shape and decor a Middle East inspiration but especially eclectic, typical of the artistic trend under the Second Empire.

Ref.4995
Louis XV style Pompadour mantel in Enjugerais marble

Pompadour mantel in the Louis XV style, carved in the second half of the 19th century in Enjugerais marble. The entablature is adorned with a medallion surrounded by moldings that are repeated on the jambs. A continuous molding underlines the hearth opening.

Ref.5201
Louis XV style mantel with rich décor of shells and volutes in Griotte marble

Ref.14036
A briefcase with precious porcelain decoration by Julien-Nicolas RIVART

An extremely rare piece, our leather briefcase features a very fine porcelain marquetry decoration. This is a very original work, Rivart porcelain is usually inlaid on pieces of wooden furniture. Its decorations form real flower paintings. The object transforms into jewelry. Covered in leather, this document holder has two compartments lined with moiré fabrics. Porcelain brings delicacy and shine to matte leather. Rivart, a great name in decorative arts during the Second Empire, had renewed the art of marquetry by replacing the traditional wooden veneer with fine porcelain marquetry. In the 1850s, Rivart was praised in the press for his patent and his technical mastery. His patent provided for the inlay of porcelain on different supports, such as wood, cardboard, leather or velvet and even marble, but very few of his creations have come down to us apart from furniture.

Ref.15271
Sarreguemines Pottery Works for Vermont Brothers, Dinnerware set with "Views of Paris", circa 1890

This cream-colored earthenware set decorated with the arms and monuments of Paris was made by the Sarreguemines Pottery Works around 1890 and distributed by the Vermont Brother store in Paris. The stamp on the base of each piece in the set indicates that it was a Parisian company, located near the Opera. It also indicates that this set is made of “ironstone”, a term for fine earthenware mixed with feldspar and kaolin to make it whiter and more durable; thus, it is very close to porcelain. The pieces in the set are marked with numbers and letters to individualize them on the reverse side. The set includes thirteen large dinner plates, fourteen small plates, six soup plates, three serving dishes, and three compotes. In total, the set features sixteen different designs, as some motifs are repeated on different pieces. It includes representations of the Pantheon, the Carrousel Arc de Triomphe, the Church of the Trinity, the Opera, the Madeleine, the Eiffel Tower, Notre Dame Cathedral, the Étoile Arc de Triomphe, the Medici Fountain in the Luxembourg Gardens, Saint Augustin’s Church, Saint Lazare’s Station, the Louvre Palace, Saint Michel’s Fountain, the Palace of Justice, and Saint-Jacques’ Tower. It also depicts the Palace of Industry, which was demolished in 1896 and replaced by the Grand Palais, indicating that the set likely dates from before its demolition. The monuments are painted like watercolors on a blue sky with pastel colors. The top of the pieces is adorned with the coat of arms of the city of Paris standing out on a laurel branch, while the decorations are underlined by a chestnut branch at the bottom, intertwined with scrolls bearing the name of the depicted monument. Two other sets of the same model, sold at Drouot in 2012 and at Thierry de Maigret in 2023, provide additional representations of the monuments initially depicted in this set: the Central Halls (now demolished), the Pont Neuf, Longchamps, Saint Sulpice’s Church, the Buttes Chaumont Park, the Bastille (although already destroyed when the set was made, it remains a strong symbol of Paris), the Luxembourg Palace, the Longchamps Hippodrome, etc. This set gives a beautiful overview of the most beautiful monuments of the capital. These are represented in a state contemporary to its creation, thus evoking the Parisian landscape at the very end of the 19th century while allowing the viewer to recognize buildings that are still famous today.

Ref.3673
Regence style mantel in veined red marble

Ref.5377
Statuary marble mantel with lion paws

Ref.5519
Regence style mantel in Campan marble

Ref.5591
Louis XVI style mantel carved in Carrara marble

Ref.5918
Curved Louis XVI style fireplace in Arabescato marble, decorated with a laurel wreath

Ref.5462
Louis XVI style fireplace in Médous breccia

Ref.6060
Louis XV style fireplace, Pompadour model, in red Campan marble