Ref.0366
Wooden overmantel, Louis XIII period

The sculptures on this wooden overmantel are made up of expressions and fruit. This Provincial work is very original for the period it is from. From the period and in the style of Louis XIII.

Ref.1548
Antique Louis XVI mantel in Yellow marble

The sleek lines of this antique mantel are typical of the Louis XVI style. The straight jambs are decorated with filleted flutes and rise up to molded square framed rosettes. The front of the entablature also has a sober decor, with an interlaced design forming a frieze of circles. The straight lined shelf juts out above the mantel. The simplicity of this mantel is enhanced by the use of a variety of marble with a delicate yellow hue.

Ref.1558
Large Oak antique mantel with Hood from a Chateau

This exceptional Neo-Renaissance style fireplace comes from the Péclavé castle in the town of Samazan in the Aquitaine region. The castle belonged to the De Dieu de Samazan family and came into the possession of the Merle de Massonneau family by inheritance, Marie-Thérèse Josèphe De Dieu having married in 1880, Simon Merle de Massonneau d’Aiguillon. The coat of arms of the DE DIEU DE SAMAZAN family is carved on the arched overmantel. The shield has three geometrical features, a square, a circle and a triangle, considered by some to be Greek letters. The blazon’s crest bears a count’s crown, a helm with a hackle and a banner engraved with the words “MONTJOYE St DENIS”. The blazon is supported by winged lions standing in profile and carved in high relief. On either side are shields, swords, lances and halberds. Laurel leaves complete the decoration. Such use of wood and of a large decorative features above the mantel evokes the Renaissance style. The jambs are fluted columns carved in full relief and have a very unusual design of a carved rounded base. They rise up to composite order capitals, decorated with acanthus leaves and volutes. The consoles above are decorated with square rosettes, which are characteristic of the Louis XVI style. Elaborately carved, this mantel is of the highest quality and is a rare work of art.

Ref.1679
Antique oak mantel from the 19th century

Large oak fireplace made during the early nineteenth century. Two slender jambs, decorated with half columns, support a wide entablature. A marble Red Griotte inlay is placed in the center of the entablature. The top of the entablature is decorated with coat of arms scattered with ermines.

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.10900
Achille FIDI, "The Source", an important garden statue in white marble

This beautiful statue represents a young woman, allegory of the Source, holding an jug in her right hand. She is naked and sat on a rock, her eyes lowered towards the container she’s tilting and from which water could be flowing. Her position, knees and feet together, is both chaste and sensual. A great sweetness emerges from her fine-featured face surrounded by curly hair, gathered in an elegant bun. Beside his feet, reeds evoke the aquatic world, an attribute - like the jug or the shell - associated with the allegory of the Source, personified by a young woman. It is indeed a naiad, nymph of springs, fountains and lakes from Greek mythology. Two doves, sheltered in a hollow formed by the stone, embrace each other. Nature personification - and especially of elements related to water - is very common in Greco-Roman mythology representations. The publication in 1593 of Cesare Ripa's Iconologia, translated in French by Jean Baudouin in 1637, has been a source and a reference for artists who often chose to express themselves through allegories. It was then a question of creating a codification, a universal language that can be found in the most diverse genres, whether in painting or sculpture. One of the most famous representations of the Source in the 19th century is the painting sketched by Jean-Auguste-Dominique Ingres around 1820 and completed in 1856. The naiad is represented with the same attributes as those present on our sculpture: the jug and an aquatic plant right next to his feet. The model’s pose as well as the painting composition lead the critics to compare it to a marble statue, a comparison that makes perfect sense with regard to the importance of antique statuary for the Neoclassical movement of which Ingres is the leader. This taste for Antiquity is also perceptible in a work that can be quite close to ours: La Source by Laure Coutan-Montorgueuil, a marble sculpture now kept in Bourges, at the Musée du Berry. A plaster edition was exhibited at the Salon of 1891 and deposited at the Museum of Douai. The model’s pose recalls that of our statue, the young woman sitting on a rock, leaning on one hand, the elbow slightly bent and face down. Our sculpture bears the signature "A. Fidi". Achille Fidi was a sculptor of Italian origin living in Asnieres, near Paris. Many of the documents of the period mentioning this sculptor relate to an episode which made him infamous: the case of the "false Rodin sculptures" in 1919. Achille Fidi - mentioned as being a "talented sculptor" aged 58 at the moment of the facts - was indeed involved, arrested and then charged with "counterfeiting and forgeries in artistic matters" and "affixing false name or false signature on works of art" as well as for fraud. The Minister of Fine Arts had warned the curator of the Rodin Museum, Mr. Benedite, that doubtful reproductions were in circulation in Paris at that time. It was learned that Jacques Bouyon de Chalus - known as Count de Chalus - husband of the widow of the oculist doctor who was Rodin’s friend, thus justified the provenance of the bronzes he sold. However, a search at the Count's house revealed twenty-four new subjects, all signed. He was arrested and denounced Achille Fidi who, for his part, declared that the bronzes came from the workshops of the brothers Montagutelli, two art founders. The fake masterpieces had to be of great quality because they were sold to merchants and knowledgeable amateurs such as Bernheim, Grumbach and Pecquement. The Count de Chalus, Achille Fidi and one of the two brothers Montagutelli then shared the money. In his defense, Achille Fidi mentioned his five young children, explaining that misery threatened his family. Several other persons were charged with forgery, art conterfeiting and affixing a false name or false signature on works of art. This was particularly the case of Paul Gallimard, famous collector and bibliophile whose son founded the publishing house of the same name, who was also convicted in this case. The case was widely relayed by the press, especially because it involved Amelie Diéterle, mistress of Paul Gallimard, famous actress who was the muse of many writers and artists such as Stéphane Mallarmé, Renoir or Henri de Toulouse-Lautrec.

Ref.11721
19th century stone planter

Small antique carved stone planter made in the 19th century.

Ref.4045
Antique Louis XV style curved Pompadour fireplace in Bleu Fleuri marble

Antique Louis XV style fireplace, curved Pompadour model carved in the 19th century in Bleu Fleuri marble.

Ref.13664
Versailles oak modern parquet flooring set of about 40 m²

Important lot of Versailles oak parquet flooring realized circa 1900. The set is composed of 30 full panels measuring 100 x 100 cm on each side coming from a rectangular room mesuring 850 cm x 550 cm.

Ref.13529
Painted and moulded wood trumeau

This trumeau was made in the 19th century in wood painted in white. It is adorned with thick mouldings that are framing the mirror with a curved top and also come to adorn the pediment.

Ref.13076
Batch of around 3,5 m² of terracotta floor tiles in square shape

Antique terracotta floor tiles of around 3,5 m² in a square shape, from the 19th century. The sides are 7" 7/8 for 3/16" to 1" thick.

Ref.14357
Fireback, dating from around 1600, representing the arms of Angelique d'Estrées

Ref.14609
Large Regency style overmantel with carved shell in wood and stucco

Trumeau of the Napoleon III period in the Regency style with carved shell in wood and painted stucco and mercury mirror.

Ref.13996
Large quadruple door with Napoleon III decor

Ref.14676
Louis XVI style trumeau with pearl decoration

Ref.5318
Louis XVI periode two-tone mantel with half columns in Turquin and statuary marble

This Louis XVI style mantelpiece was carved in the 19th century in Turquin marble and statuary marble. The centre of the lintel is adorned with a white marble plate carved in low-relief with a neoclassical perfume burner supporting garlands. On either side, the lintel is decorated with a fasces, a frieze of cabling and a frieze of pearls. Within the dice are two marble... inlays depicting female profiles carved in the manner of cameos, bordered by a frieze of pearls and a smooth oval frame. The jambs are flanked by fasces carved in white marble.

Ref.5441
Louis XVI style mantel in Rouge du Nord marble

Ref.5579
Louis XVI style mantel in Carrara marble adorned with a laurel wreath

Ref.5562
Napoleon III style mantel in Rouge du Nord marble

Ref.15315
Quadruple glass door

Ref.5688
Louis XIV style mantel in black Marquina marble

Ref.5357
Louis XVI style stone mantel with diamond carved heads

Ref.5716
Louis XV style mantel richly carved in Carrara marble

Ref.15595
Louis XVI style trumeau decorated with pearls

Ref.5954
Louis XV style fireplace in Carrara marble with flowering palmette

Ref.6105
Two-tone Art Deco style fireplace in Carrara marble and dark Turquin

Ref.5604
Louis XIV style fireplace in Rouge du Nord marble

Ref.5211
A highly sculpted Louis XV style fireplace in Carrara marble, decorated with a shell motif.

This fireplace, crafted in the 19th century from Carrara marble, features a façade typical of the Louis XV style, with a wide and continuous overall movement. The frieze, with its sinuous profile, is adorned with carved decoration running across its entire length. At the centre, a large shell unfolds, framed by symmetrical volutes and scrolls. These are enriched with various floral elements: well-defined petals, small flowers in relief, finely cut leaves and curling stems. The composition follows a regular pattern in which each element fits naturally within the curved line of the façade. The curved jambs extend this same decorative vocabulary. They display carved leaf drops, volutes, and isolated floral motifs, all sculpted from the solid marble. The bases remain simply moulded, while the upper sections present denser ornamentation that flows seamlessly into the central frieze. The overall decoration is characterised by strong relief and an alternation of vegetal forms and scrolls. The mantel shelf, also in Carrara marble, follows the curve of the façade with a multi-profiled edge. The proportions are balanced, and the top surface shows the subtle grey nuances typical of this marble.

Ref.6150
Curved Louis XVI style fireplace with beaded decoration, in semi-statuary marble.

This curved Louis XVI–style fireplace was crafted in demi-statuaire marble, a white material lightly veined with grey. The mantel shelf features a softened profile and sober lines that follow the overall curve of the façade. The entablature is enhanced with a beaded frieze forming a regular band and framing a central carved decoration. The structure adopts a slightly curved façade, characteristic of late Louis XVI models. The frieze is long and rectilinear, punctuated by a band of linked leaves carved in low relief. The curved jambs rest on simple block bases and present an elegant, elongated silhouette. The fireplace is adorned with carved decoration distributed across several areas. At the centre of the frieze is a large motif composed of a central knot with foliage and trailing ribbons. Long, ribbed leaves unfold horizontally on each side, following the length of the façade. A row of beads frames the whole at both the top and bottom. The blocks above the jambs each display a square floral motif, carved in relief, with radiating petals around a small central medallion. The jambs are decorated with large overlapping acanthus leaves that follow the curved profile and extend the ornamentation vertically. The cast iron interior is present and features a black surface decorated with repeating relief motifs. The side panels show a series of slightly sinuous vertical ribs, while the corners are enriched with fine volutes.