Ref.12476
Lot of 23 m² of Chassagne pink stone square tiles

This set is composed Chassagne pink stone square tiles. Each side be 11"3/4. Total surface about 23 m².

Ref.4522
Beautiful Louis XV style fireplace in Red of the North marble

This wonderful fireplace made in the late 19th century out of Red of the north marble, takes the esthetic codes of the Louis XV fireplaces. With curves and counter-curves, the jambs are adorned with small shells on their upper part, they frame the serpentine entablature decorated with a remarkable shell on the center, underlined with an oblong moulding.

Ref.4512
Louis XVI fireplace of white marble with a Greek frieze

This beautiful fireplace was made in the early 19th century of white marble. Its straight entablature is adorned with an elegant Greek frieze and roses on each corner. The entablature is supported by slightly curved jambs decorated with a wide acanthus leaf falling down. The cast iron insert adorned with a hunting trophy and laurel leaves was painted in gold but could be painted in black on request.

Ref.5577
Louis XVI style mantel in Arabescato marble decorated with a frieze of pearls

Ref.5696
Louis XIV style mantel with acroterion in Rouge du Nord marble

Ref.15726
CARRIER-BELLEUSE Albert-Ernest — Enameled Porcelain Covered Vase from Sèvres

Refined covered vase in enameled porcelain, produced by the Manufacture nationale de Sèvres and mounted on a finely chiseled gilt bronze base. This model, known as "Saïgon", was developed under the artistic direction of Albert-Ernest CARRIER-BELLEUSE in the late 19th century, and reflects the influence of Asian aesthetics and cloisonné techniques that were highly fashionable at the time. The decoration features a profusion of stylized floral motifs, rendered in nuanced tones of blue, green, pink, and white, highlighted with gilded outlines. Butterflies and insects in raised polychrome enamel add a delicate sense of relief and intricacy to the ivory-toned surface. A gadrooned frieze in blue enamel and gold encircles the neck and base, enhancing the ornamental harmony of the piece. The underside bears several marks: a red stencil "DECORE A SEVRES" with monogram, green painted number "S.80", and various incised and painted inventory numbers. This piece exemplifies the technical virtuosity and decorative elegance of Sèvres' artistic production during the 1880s.

Ref.16004
JOUNEAU Prosper – Large Hispano-Moorish Pierced Vase, Parthenay, 1889

This remarkable pierced polychrome earthenware vase is signed and dated by Prosper JOUNEAU (1849‑1910), ceramist and founder of the Faïences d’Art de Parthenay. Created in 1889, this rare piece reflects Hispano-Moorish influence, blending Islamic and Persian art with Western ceramic techniques. The piece features a tall twisted pierced neck using the reticulated technique, creating a lace-like effect. The body is richly decorated with symmetrical motifs reminiscent of Arabic calligraphy. The foot, shaped with four stylized scrolls, is enhanced by intricate geometric and floral ornamentation in earthy tones—olive green, ivory, dark blue, and brown. Jouneau, trained as a sculptor and a student of Alphonse Salvétat at the Sèvres Manufactory, founded his workshop in Parthenay in 1882. He was awarded a gold medal at the Antwerp World’s Fair in 1885. In the same year this vase was made, he completed an ambitious Renaissance-style faience ceiling for the French state, which was never paid for—leading to financial ruin for the manufacture. Never employing more than ten workers and never seeking industrial production, the Parthenay factory closed in 1914. This vase is thus a rare witness to technical mastery, artistic innovation, and the rich cross-cultural inspiration that shaped French decorative arts in the late 19th century.

Ref.6100
Gabriel VIARDOT (1830-1901) – Japanese-style fireplace in stained sycamore wood, topped with a dragon and an imposing circular mirror

A talented wood sculptor, Gabriel Viardot opened a furniture factory and store in Paris in 1853. In the 1870s, he decided to dedicate himself to Japanese-style furniture. Participating in the numerous exhibitions that marked the art scene of the second half of the 19th century, each of his contributions was met with success. He won a silver medal at the Universal Exhibitions of 1878, 1885, and 1889, and then a gold medal at the Universal Exhibition of 1900. Measuring 261.5 cm in height and 160.5 cm in width, this fireplace is among the cabinetmaker's most imposing creations. The design of our fireplace is particularly original in that it is based on the complementary superposition of a circular mirror and a rectangular firebox. Technically and artistically, the creation of such a piece is a tour de force. The jambs are each adorned with a rampant dragon whose menacing heads are turned outwards. Their contorted bodies form an "S" shape, and their claws are firmly anchored in the wood. The lintel is richly decorated with geometric motifs typical of Japonisme and features a medallion adorned with flowers at its center. Evoking the overhanging roofs of Japanese temples, the lintel's projecting ends are slightly curved inwards. The upper part of the fireplace is remarkably complex. In the center, a secondary structure replicates the same notched profile as the lintel, and Viardot adds exquisitely openwork spandrels. At the top of this pagoda-like structure, a dragon with its mouth slightly open looms over the composition with a menacing air. The use of stained sycamore allows for a high degree of finish, particularly noticeable in the rendering of musculature and details. Set back against the wall, an imposing circular mirror defines the visual balance of the ensemble. The wooden crossbars that span it serve as a pretext for ornamentation: thus segmented, the different sections of the mirror act as a changing backdrop to this Japanese-inspired fantasy where plants and abstract geometric forms mingle. In 1887, the Revue des Arts Décoratifs praised Gabriel Viardot's work: "Inspired by Chinese and Japanese art, these pieces of furniture, adapted to European tastes, are far superior in craftsmanship to the originals, which most often have only decorative value and whose joinery is almost always defective; this adaptation is very interesting, for Mr. Viardot knows how to give his furniture a special character, while retaining the Asian style." » The fireplace attributed to Gabriel Viardot, which was sold in New York in 2013 (Christie’s, New York, April 18, 2013, lot 13), does not include a mirror and features a design and treatment of detail particularly close to our example.