Ref.3763
An antique Louis XIV style fireplace, made out of Rouge Royal marble

Antique Louis XIV style "Bollection" fireplace made out of Red Royal marble during the 19th century.

Ref.12719
Statue of a young musician faun in composite stone, 20th century

This statue depicting a young faun put on a squared terra cotta pedestal was made at the beginning of the 20th century in composite stone. It's a child faun that is depicted here, recognizable thanks to his legs and hears taking the ones of a goat. He's holding in his hands cymbals that he's banging against one another.

Ref.12736
Louis XVI style overmantel in painted wood and stucco with flowers garlands

This overmantel was made in the second half of the 19th century in stucco and wood painted in white. Its elegant decoration is typical of the Louis XVI style, the mirror is framed with friezes and the corners are marked by a square rose. A very rich flowers crown hold by a knotted ribbon is over it. The overmantel's sides are also adorned in their upper and lower parts with roses garlands. This overmantel can eventually be paired with the reference 12737.

Ref.13321
Louis XVI style trumeau with friezes and flowers crowns

This Louis XVI style trumeau was made in the late 19th century in painted wood and stucco lightened up with gilding. The mounts depicts a paneled decor of friezes of gilt acanthus leaves and pearls, surmounted by a small crown of flowers. The pediment of our trumeau was supposed to receive a painting which was replaced by a night blue fabric. This frame is surmounted by a relief decoration depicting a knotted ribbon noticable by the precision given to the folds.

Ref.13888
Trumeau in stucco and painted wood in the Louis XVI style

Ref.13988
Louis XVI style trumeau with plant frieze decoration

Louis XVI style trumeau in white painted stucco with gold painted moldings. The frame is surrounded by a beaded border and a plant frieze with leaves painted in white and gilded.

Ref.14507
The Royal Macaw vase painted by Albert-Léon LEBARQUE and its original harness

Exemplary of the 19th century fascination with Asia, the decoration of this spectacular vase is the work of Albert-Léon Lebarque. Painter and sculptor, Lebarque is known for having designed the medals of the Compagnie du Chemin de Fer du Nord. Lebarque also worked as an earthenware painter for renowned ceramists, exhibiting in particular at universal exhibitions. Our vase is presented on its original saddle. Made of wood, it is characterized by its Japanese style, its complex shapes and its great elegance. The vase is decorated with a decoration very rich in patterns and colors, painted on enameled ceramic and signed by the artist. It combines blooming liliums, butterflies and a masterful macaw with its blue and gold dress. It is a royal parrot, an animal symbol of freedom, power and longevity in Asian culture. The chubby belly of our vase also features two grotesque heads, placed symmetrically. Their presence underlines the marvelous character of this setting.

Ref.15038
Trumeau in the Louix XVI style with pearl frieze

Ref.14809
SÈVRES Manufacture, Josse-François-Joseph LERICHE (after), Le Billet doux, 1892

This enameled porcelain statuette was executed at the Sèvres manufactory in 1892, based on a model by Josse-François-Joseph Leriche. Josse-François-Joseph Leriche (1738-1812) worked at the Sèvres manufactory between 1757 and 1801. He directed the sculpture workshop from 1780. He created the group called Le Billet doux, which was produced at the Sèvres manufactory in biscuit from 1751/1752. In this pair of statues, the man extends a note to the woman beside him, who is richly dressed in an imaginative orientalizing costume and holds a fan in her hand. Our sculpture corresponds to the figure of the man from this pair. The man, with black skin, is dressed in a brown tunic, the many folds of which are left in reserve. He is enveloped in a large mantle of a dark red shaded with blue and green. His turban presents the same shades. The fringe of the mantle and the details of the tunic demonstrate the sculptor and designer’s great attention to detail. The man was also reissued independently of his companion from 1881. This sculpture, titled “Kislar Agassi” (the chief of the eunuchs guarding the Ottoman sultans’ seraglio), depicts a character identical in every way to the original man, except that he does not hold a billet doux in his hand. A bronze edition of this version was sold at Tajan in 2020. From the first half of the 18th century, Europeans were fascinated by foreign cultures and were inspired by them in art, often in a fanciful manner. This interest in oriental, Far Eastern, or, as here, African cultures persisted throughout the 19th century. This enduring interest explains the longevity of Leriche’s model, which continued to be reissued from 1751 to at least 1892, the date of our sculpture. Under the base, the mark of the Sèvres manufactory indicates that the sculpture dates from 1892; it is crossed out, indicating that this piece was set aside due to a minor defect in its execution. The sculpture bears a second inscription: 51 st. Furthermore, part of the billet doux that the man was holding is now missing.

Ref.15502
DUCEL Foundry after Pierre LOISON, Young Girl with a Conch, middle of the 19th century

This statue, titled Young Girl with a Conch, was cast by the Ducel Foundry after a work by Pierre Loison in the mid-19th century. The sculptor Pierre Loison (or Loyson) (1816-1886) began his career as an apprentice to a clog maker. Noticed for his talent, he was able to study sculpture in the studio of David d’Angers and at the École des Beaux-Arts in Paris. He received numerous official commissions and exhibited in nearly every Salon from 1845 until 1886, the year of his death, as well as at the 1855 Universal Exhibition. The Ducel Foundry was founded in 1800 in Touraine. It was successively managed by three generations of the Ducel family: Jacques, Jean-Jacques, and Jacques-Gustave. The company had a store in Paris and gained recognition by participating in various international exhibitions held in the second half of the 19th century. It was purchased by the Val d’Osne Foundry in 1878. This sculpture depicts a young girl seated on a rock by the water’s edge. She may represent a naiad, a deity associated with rivers and springs. Her posture conveys movement, as if she is about to enter the water: her face and torso lean forward, she holds onto the rock with her left hand, and in her right hand, she grasps a conch shell, which could emit a jet of water. A drapery covers her waist, and both legs extend toward the water. The statue bears an inscription on the base indicating its origin: “JJ DUCEL / [illegible, probably Me Forges] PARIS”. Thus, the sculpture was cast in the mid-19th century under the direction of Jean-Jacques Ducel (1810-1878). The acquisition of the foundry by the Val d’Osne company ensured the continued distribution of Ducel’s models. As a result, after being featured in Ducel’s catalog around 1856, The Young Girl with a Conch was also included in the Val d’Osne catalog published in 1882. The longevity and continued success of this model are also evident in the number of copies produced and found in both private and public spaces. For instance, a statue of this model can be admired in Montbéliard, at Francisco Ferrer Square, since 1862; at the Apollo, Oregon House, in the United States; and at the Rio de Janeiro Botanical Garden.

Ref.15432
Twenty-Four-Arm Chandelier Based on Château de Versailles Chandeliers, 20th century

This cage chandelier with twenty-four arms of light was made in the second half of the 20th century on a model identical to certain chandeliers at the Château de Versailles. The top of the chandelier forms a flared bowl in gilded metal reflecting the light; it is accompanied by rods embellished with rosettes and poly-lobed crystals of various shapes. The top of the cage is formed by waves of gilded metal ending in Art Deco-style pendants or crystal balusters topped with daggers. The body of the chandelier tapers before unfolding fully. The curves and counter-curves are always punctuated by the presence of crystals: balusters topped with daggers, Art Deco pendants and wave-shaped arms of light whose ends are adorned with basins in the shape of flower corollas supporting dummy candles. A ball carved with ovals and a rosette (below) hangs from the lower end of the chandelier. The Art Deco pendants are electrified. This chandelier was executed after a model made repeatedly in the Château de Versailles, which can be found in the Salon de Mars and in the antechamber of the Grand Couvert in the Grands Appartements for example. These were executed by Baguès in 1863-1864, as a copy of a chandelier in the collections. Despite minor differences, the mounts of these chandeliers are identical, and the ornamentation is very similar (with the exception of the Art Deco decorations).