Ref.12290
Set of four cast iron columns from the end of the 19th century

Set of four hollow cast-iron columns dating from the end of the 19th century.

Ref.14643
Pair of marble benches in neoclassical style

Ref.14636
Wall fountain basin with lion head in marble

Bassin de fontaine murale orné d’une tête de lion de laquelle coulait l’eau.

Ref.5740
Louis XV style mantel in highly carved Carrara marble

This Louis XV-style Carrara fireplace stands out through its symmetrical and detailed sculpture. White Carrara marble, sometimes with gray veins, has brightening and delicacy qualities that enable the sculptor to work in fine detail. This fineness/delicacy can be seen over the band and fireplace’s legs. The band is thinner on the sides and thickens in the center, producing its curved shape. Thin and hollow moldings follow the contours of the band. In the band’s center, acanthus leaves create the shape of a sun. The leaf tips stand out slightly, creating volume. High-relief curled leaves skirt this central form. On the sides, two flowers with leaves extended on either side. At the top of the fireplace's legs, the central shape of the band is recreated by the acanthus leaves. We can notice that a flower from the acanthus leaves runs/gets down the length of the leg, moving to the right for the right foot and the left for the left. In the second part of the leg, there are four leaves following each other from the largest at the top to the smallest at the bottom. Flutes longing the length of the rest of the leg. These patterns are first hollowed and then filled in. This fireplace is accompanied by its symmetrical cast-iron interior that echoes the mantel's motifs. The center reuses the central pattern of the band formed by the acanthus leaves. In the hollow of the fireplace’s curves, a half-naked woman and a child are set in interlinked circles. These circles are themselves surrounded by intricate scrolls echoing the leaf motif.

Ref.15693
Friedrich EGERMANN, Lithyalin glass vase (between 1832 and 1864)

This vase, with its translucent red appearance and fluorescent green base, features ten facets along a small body and a long neck—a shape typical of the Biedermeier style. Biedermeier was an artistic movement that emerged in Germany and Austria around 1814 and gradually faded by 1848. It reflected a new bourgeois lifestyle and way of thinking in Central Europe during the first half of the 19th century. Everything suggests that this vase was indeed produced by Friedrich Egermann: from its distinctive shape to its so-called “lithyalin” decoration. It was this very technique, invented by the glassmaker himself, that brought him fame. Bohemian glass regained popularity shortly after Napoleon’s fall, particularly due to the development of new coloring techniques. Between 1830 and 1844, Franz Xaver Riedel (1786–1844), a fifth-generation glassmaker from the Riedel family, developed a type of glass known as uranium glass, or “Uranium glass,” which he also called “Annagrün” in honor of his daughter. This glass contains a small amount of uranium, which gives it a fluorescent green hue. The proportion of uranium in such objects generally ranges from 0.1 to 2% of the object’s total weight. Inspired by this invention, Friedrich Egermann (1777–1864) combined it with the cementation technique he had himself developed. This process involves layering the glass with metallic oxides that alter its surface color. Egermann first discovered silver cementation (1816), which gives a yellow tint to the piece, and later, in 1832, developed copper cementation, which produces a translucent red. This glass, which Egermann called “lithyalin,” brought him wealth and renown, as it rivaled objects made of semi-precious stones. The Czech glassmaker remained the only one capable of producing lithyalin until 1840, when his workshop was burgled and his formulas were stolen and sold, even reaching France. Similar productions quickly emerged at the Saint-Louis glassworks and later at Baccarat around 1860. This vase is a precise testament to the combination of Riedel’s uranium glass and Egermann’s cementation. The color hidden within this creation is what gives it its enigmatic allure. To reveal its spectacular effect, the piece must be placed under ultraviolet light.

Ref.6193
Louis XV style Pompadour model fireplace, in Bois Jourdan marble

Ref.6286
Napoleon III style fireplace with acanthus leaf in green marble

Ref.6303
Louis XVI style fireplace with half Corinthian columns, in Carrara marble