Ref.2157
Antique Louis XIV style fireplace made out of Griotte Red marble

This antique Louis XIV style fireplace was made out of Griotte Red marble during the 19th century.

Ref.10206
Large antique Louis XVI style overmantel mirror with mercury glass

Beautiful large Louis XVI style antique overmantel from the 19th century. The upper part is adorned with a large flower-filled vase from which sprout long, slim foliated scrolls and ears of wheat.

Ref.10488
Antique Regence style overmantel mirror with a painting representing a gallant scene

This antique Regence style overmantel mirror was made in the19th century. Molded with shells and painted white, it is divided into two parts, accommodating a mirror in the lower part and a painting in the upper part. The oil on canvas, damaged, represents two characters, a man and a woman, in a landscape not far from small houses. No doubt a gallant scene in the taste of the Regency, the man sits at the edge of a pond, perhaps fishing, while the woman raises her skirt so as not to stain it. The blues and greens of the trees and the brush strokes recall the style of Fragonard.

Ref.3833
Antique cast iron stove in the Napoleon III style decorated with caryatids

Rare antique Napoleon III style stove made in the 19th century out of painted cast iron decorated with caryatids and a lion's head. The top is in Northern Red marble.

Ref.13070
Batch of around 34m² of terracotta floor tiles in square shape

Mixed of antique terracotta floor tiles of around 34 m² in a square shape, from the 19th century. The sides are 8"7/16 for 1" to 1"3/16 thick, for a total of about 800 tiles.

Ref.12806
Louis XVI style trumeau with a ribbon

This Louis XVI style trumeau was made in the 19th century in wood and stucco painted in white. The frame of the rectangular mirror is adorned with pearls edgings and is surmounted by a knotted ribbon. The pediment shows a roses decoration on each corner.

Ref.12875
Batch of 9,5 m² of antique hexagonal terracotta tiles, 19th century

Antique 19th century period floor composed of hexagonal terracotta tiles. About 500 tiles of which the six sides are 3" 9/16 for 7" 1/16 length and 13/16" thick. The whole surface area is about 9,5 m².

Ref.13258
Cast iron fireback with the crowned arms of France

Cast iron fireback with the coat of arms of the House of Bourbon, a royal house of French origin that became a major dynasty in Europe, with kings in Spain (Navarre), France, the Kingdom of the Two Sicilies and Parma. Bourbon kings ruled in France from 1589 until the French Revolution, and for short periods thereafter. The coat of arms consists of a crown surmounting a medallion adorned with three fleur-de-lys, symbol of purity and royalty. The palm leaves on either side of the medallion symbolise victory.

Ref.14654
Fountain center model "Fontana delle Tartarughe", XIX century

Fountain named after Pope Alexander VII, featuring at its center a triton surrounded at its feet by four basins representing seashells, resting on a base. On the latter, a dedication is inscribed, divided into four cartouches surrounded by motifs, placed between each basin. The triton is depicted kneeling, the body turned to the left, his left arm raised upwards, his right arm in the same position, the palm open to the sky. This posture suggests that originally he was supposed to hold an element in his two hands (a large bowl, perhaps?) adding another level to the fountain. On the pedestal, cartouches bear inscriptions in Latin, the translation of which can be provided as: "ANNO PONTIFIC IV ALEXANDER VII RESTAURAUIT ORNAVITQUE," which can be translated as: "In the 4th year of the pontificate, Alexander VII restored and adorned." Alexander VII (1599-1667) was Pope from 1655 until his death in 1667. The model of the fountain (the base) as well as the text inscribed in the cartouches closely resemble the Turtle Fountain in Rome, located in Piazza Mattei, the design of which was drawn by Giacomo della Porta in 1582, and the bronzes executed by Tadeo Landini, the whole completed in 1585. The figures were originally supposed to hold dolphins in their hands, but these were never placed on the fountain due to water pressure. In 1658, during the pontificate of Alexander VII, the existing fountain was restored and transformed, with the addition of turtles, which are believed to have been sculpted by Bernini. Bibliography : Steven Ostrow, "Collecting Copies of 'the most charming fountain in Rome'. Taddeo Landini's Fontana delle Tartarughe".

Ref.5272
Louis XV style Pompadour mantel in Enjugerais marble

Ref.15007
Louis XVI style trumeau decorated with a double laurel wreath

Ref.14989
Joseph Simon Volmar (Berne, 1796-1865), Pair of bears in cast iron

Joseph Simon Volmar (or Vollmar) (Bern, 1796-1865) was a Swiss painter and sculptor. Born to a painter father, he was his student at the Bern Art School and later studied in Paris between 1814 and 1824 under Horace Vernet, Théodore Géricault, and the sculptor David d’Angers. In 1836, he was appointed Extraordinary Professor of Academic Drawing and Oil Painting at the Bern Art School. His reputation extended beyond Swiss borders. Volmar was known for his historical, landscape, and animal paintings and sculptures. During the 19th century, an era marked by the emergence of national consciousness, he secured a significant public commission for the monument to Rudolf von Erlach (c. 1299-1360), the victor of the Battle of Laupen in 1339, which preserved the independence of the city of Bern on that occasion. The architect Gottlieb Debler, the caster Rüetschi von Aarau (for the equestrian statue), and the Bisontine foundry Gandillot et Roy (for the bears) collaborated with Joseph Volmar in the construction of the monument between 1841 and 1848. Its inauguration took place during the Laupenfest in 1849, and the monument is now located on the Grabenpromenade. The presence of bears serves as a reminder of the historical identity of the city. Two of the bears sculpted by Volmar were casted again through a private commission from the Marshal of Saxe, who likely admired the monument. Although the plate indicating their authorship and casting location is missing, a comparison with the monument allows us to attribute them to Volmar. These statues were likely cast in Besançon; since the Gandillot et Roy foundry was acquired by the Degoumois et Cie foundry in 1864, it is certain that the bears were cast before that date. The animals, with their varied poses, detailed fur, and great expressiveness, showcase the sculptor’s mastery of animal art. One, ferocious, bares its fangs and raises its paw as if to attack, while the other is more playful, with its ball and its almost smiling expression. In both cases, the sculptor paid great attention to the detailed representation of the animals’ fur. Volmar had the opportunity to observe bears since the city of Bern housed them, and his graphic work includes numerous representations of these animals. Thus, the bears created by Volmar for the monument to Rudolf von Erlach were so admirable that they served as models for a new casting intended for private use. To our knowledge, these bears are the only two examples that have been cast from the monument. Ours ENPublish at Calameo

Ref.5593
Louis XIV style mantel in Rouge du Nord marble

Ref.15609
Jacques Louis KESSLER, Pair of Vases Engraved with Greek Revival Decor Using the “Kessler” Process, mid-19th century

This pair of vases, crafted in the 19th century, was made using a technique developed by engineer Jacques Louis Kessler in 1855 and patented in 1858. The decoration of these two vases, made of double-layered crystal (blue on the outside and transparent on the inside), was achieved using Kessler’s engraving process. This innovative method utilized alkaline fluorides mixed with acids and a system of stencils, allowing for an immediate contrast between a bright, colored design and a matt background. The Baccarat crystal manufacturer later acquired exclusive rights to this patented process, which brought them widespread acclaim during the 1867 Paris Exhibition. These baluster-shaped vases feature neo-Greek ornamentation, alternating between blue-toned designs and matt crystal. Their clean, elegant lines are accented by several ornamental blue crystal bands. The decoration is composed of three primary scenes: the first depicts two combatants. The second portrays a winged Victory holding a palm in one hand while crowning a resting warrior with laurel in the other; the warrior stands before her. The third depicts three figures: a woman playing the lyre for a king holding a long scepter, with a young ephebe standing behind him. The scenes are separated by depictions of weapon trophies. The iconography draws inspiration from scenes commonly found on ancient Greek vases, while emphasizing the fluidity of the figures’ movements and features. Each vase rests on a circular mount supported by four spheres, with one vase bearing the number “2” engraved under its base. When Baccarat acquired the rights to Kessler’s technique, the company used it to create similar pieces, incorporating this innovative method into its repertoire. At the 1867 Paris Exhibition, Baccarat showcased a celestial blue crystal punch bowl and matching glasses engraved using this process; this set is now housed at the Corning Museum of Glass. The Galerie Marc Maison also presents an elegant neo-Greek vase made using the same technique (reference 15013). Due to Baccarat’s early acquisition of Kessler’s patent, vases like ours remain rare examples of the exceptional quality of pieces produced before the patent transfer, representing some of the earliest works created using Kessler’s revolutionary innovation.

Ref.5841
Louis XIV style boudin fireplace in Jourdan wood

Ref.15672
Louis XV Style Carved Oak Boiserie with Antique Elements

This magnificent carved oak panelling dates from the Louis XV period with elements from the 18th century. It was readapted in the 19th century. The panels are curved and decorated with acanthus leaves and palmettes. The wood panelling includes two double doors of the same size and a larger central double door. The fireplace, the trumeau and the cornices shown in the photos are not part of the panelling.

Ref.6140
Louis XIV style fireplace with acroterion, in Marquina marble

Ref.6155
Louis XVI style fireplace in Arabescato marble, with bronze decoration

The bronzes are not gilded but painted

Ref.16059
Louis XVI style trumeau decorated with a floral basket

Ref.6234
Louis XV style Pompadour model fireplace in Enjugerais marble

Ref.16218
Gilt Louis XV style trumeau mirror surmounted by a shell motif