Ref.1031
Stained glass windows with floral designs

Stained glass windows with floral designs signed Mauméjean, 1852, from a chapel in Bordeaux, Neo-Gothic style. Yellow, red and white elegant flowers on a deep blue backdrop. At the top, there is a five sided rosette with a geometrical design. Each window has a hinged panel for ventilation.

Ref.13468
Willy Guhl, Pair of planters in fiber cement

This pair of planters, model "oreille d'éléphant" , was made of fiber cement by aWilly Guhl (1915-2004) in the 1950's. « Willy Guhl was an inventor, an experimenter, a researcher and a visionary. Despite that, he did not get lost in utopia. He reveals himself to be pragmatic almost a genius. » Robert Haussman .Willy Guhl was part of these historical designers who have contributed to the international reputation of Swiss design. He was one of the big representatives of Neo-Functionalism. From a carpenter father, he followed a furniture maker formation in the Kunstgewerbeschule of Zurich – School of applied arts of Zurich here he taught from 1941 -, and became the director of the interior architecture department 10 years after. He leads in the late 1940's pioneer researches in the plastic furniture field. He develops then a knowledge about moulding techniques that allowhim to reveal himself by transposing them on a new material : the Eternit, also called fiber cement, which he is one of the first to use in Europe. The Eternit is a kind of cement reinforced by asbestos and with a fiber texture which allows to create audacious pieces with new shapes. It takes the aspect of large slabs to which it is possible to give a shape as long as they are not dried. Produced in the origin for the industry, it's a cheap material with an important resistance, so perfectly adapted for the fabrication of external furniture.

Ref.14396
Royal fleur-de-lys fireback

Ref.13940
Medieval capital with demon's head, 12th century

This stone capital was probably executed in the 12th century. It features the head of a demon: its drooping eyelids, imposing, somewhat blunt nose and gaping, toothless mouth, which could form the face of an old man, are reinforced by the presence of pointed ears to identify it. The figure’s head is covered by a headdress that encircles the forehead and falls to the back. In the Middle Ages, demons were an integral part of religious iconography. The infernal world was most often depicted on church tympanums and capitals. On the tympanum of the abbey church of Sainte-Foy in Conques, executed at the beginning of the 12th century, the Devil is depicted with human features (always elderly), but with a grimace that bears witness to his vice; in Autun, at the same period, the demon in The Temptation of Eve has pointed ears, as on our capital.

Ref.4810
Louis XV style fireplace, Pompadour model, in blue floral marble