Ref.11010
Antique large Louis XV style fireback with Diana and the sages, 18th century

This Louis XV style cast iron fireback was made in the 18th century. In a central cartouche, a mythological goddess is depicted talking with bearded men. A moon crescent on her forehead refers to Diana (Artemis in Greek) or Luna (Selene in Greek), two goddesses connected with the moon. 18th century ornaments are surrounding this scene : grid alternating florets, bearded old profiles, acanthus and scrolls.

Ref.11311
Display cabinet of Far Eastern inspiration, hexagonal form

Beautiful Japanese style showcase made in the late 19th century. In the lower part, each side is decorated with oval panels inlaid with mother-of-pearl. Tonkin mother-of-pearl inlays are characteristic of so-called "Japanese" style furniture and attests to a practice that was quite common in the 19th century: the re-use. These inlaid panels were made in the Far East to adorn furniture. Imported in France, these panels were used by Parisian cabinetmakers at the turn of the century to decorate their own creations. The asymmetry of this piece of furniture is one of the hallmarks of Chinese and Japanese style furniture at the end of the 19th century. This piece of Far Eastern inspiration is thus quite representative of the period known as "Japonisme", which expands in Europe in the second half of the 19th century, especially under the impulse of the World's Fairs. Hexagonal in shape, this showcase is designed as a centerpiece for displaying precious objects and works of art.

Ref.12179
Pair of Voltaire and Rousseau busts in patinated bronze and marble

Pair of small busts of Voltaire and Rousseau, made in the second half of the 19th century, in bronze with two patinas and turned legs, molded in the form of a baluster in Rosso Antico marble.

Ref.13295
Small Louis XVI style fireback with an Allegory of Love

This antique Louis XVI style fireback was made in the 19th century. It depicts a scene where two hearts are burning on an altar surrounded by a laurel branches crown and flanked by a quiver with its arrows and a torch, the attributes of Love.

Ref.13649
Fireback with the coat of arms of a house de Rogres Champignelles's representative, 18th century

This square cast iron fireback from the 18th century is adorned with the coat of arms of a house de Rogres Champignelles's representative, probably one of the fourteen sons of Charles de Rogres, baron of Champignelles and of Marie de Saucière-Tenance, married on the 21st July 1643 and of which seven were knight of Malta. The coat of arms are surmounteed by a Marquis crwon and hold by two mermaids. A similar fireback is illustrated in Philippe Palasi's book "Plaques de cheminée héraldiques" and conserved in the Musée du Berry in Bourges.

Ref.13232
Louis XV style fireback " The aristocrats and the beggar"

This fireback was made of cast iron in the late 19th century. It is adorned with a scene where are standing two artistocrat women as show their riche dresses, facing a beggar. The characters a framed by an important Rococo decoration where are mixed acanthus leaves, volutes and shells.

Ref.13261
Small fireback with peasants by the fire

Ref.14314
Fireback with the coat of arms of France from the 17th century

Fireback with the coat of arms of France from the 18th century reproduced in the book "Plaques de Cheminées" by Henri Carpentier, page 206.

Ref.14666
Paul SOYER, Renaissance-Style Clock Set, circa 1875

This clock set in the spirit of the Renaissance was executed by Paul Soyer around 1875. Paul Soyer (1832-1903) worked as a chaser in Paris from the 1850s. Gradually, he learned the technique of enamel to replace ornamental bronzes in furniture decoration. He opened a workshop as an engraver-enameller in 1861 and then collaborated with renowned enamelers and goldsmiths, such as Claudius Popelin, Charles Duron, and Gustave Baugrand. It was as a collaborator of the latter that he won his first bronze medal at the 1867 Universal Exposition. Following this success, he opened a larger workshop and specialized in various enamel techniques, with a preference for painted enamel. He participated in all the French and foreign Universal Expositions, as well as the Expositions of the Union Centrale des Beaux Arts appliqués à l'Industrie. Regularly rewarded, notably with a gold medal in 1878, he was hors concours and a jury member from 1889, the year he received the Legion of Honor. His production, very varied, includes both small decorations for jewelry and true enamel paintings, as well as enameled art objects for goldsmithing and plaques intended for cabinetry. A follower of Popelin, he remained faithful to the art of the Renaissance and the early 17th century, particularly fond of the technique of polychrome enamels associated with grisaille, and that of gold camaieu.