Jean Pierre Latz

Oak and Marble 18th Century French Commode

Watercolour on paper, signed and dated '1868' lower right Image size: 16 x 11 1/2 inches (40.5 x 29.25 cm) Mounted The scene represents the edge of the piazza at St Mark's Square i...

Pen and Ink, titled lower centre Image size: 11 x 18 inches (28 x 46cm). Priced as Individuals Please note that each image size varies slightly These pen and ink studies show two g...

Red chalk on paper Image size: 9 x 7 inches (23 x 17.75 cm) Acid free mount The Greek god Attis was the spouse of Cybele, the fertility goddess.  He was from Phrygia, a kingdom in c...

Oil on canvas Image size: 21 1/2 x 17 3/4 inches (55 x 45 cm) Original gilt frame In this portrait this young woman is depicted facing forward with her head slightly raised and turned left towards the viewer. She is dressed in a blue satin dress. The low-cut drapery, exposing her décolletage, was not unusual for the time as 18th century women would often wear their dresses off-the-shoulder or fitted with a very open neckline. Her perfectly oval face is enlivened by wide brown eyes, full cheeks and a mouth that sketches a half smile. Her cheeks rose with blush, which was a popular cosmetic style during the Rococo period and contrasts with her ivory skin and powdered hair. Her tied hair is studded with many flowers and the ribbon around the woman's throat accentuates her bare neck. Alexander Roslin Alexander Roslin was one of the most important portrait painters of Europe in the 18th century. He was born in Malmö in Sweden but soon moved into Europe to paint at various royal courts. From 1750 on he worked mainly in Paris. Here he was destined to achieve great success. He had collected letters of recommendation on his journey through Europe, including that of the Duchess of Parma, the sister-in-law of Louis XV. Soon he was admitted to the court and the Royal Academy in Paris and when he married in 1759 he was the most wanted artist in Paris for portraits. He was married to the miniature painter Marie Suzanne Giroust. Although he painted mainly French nobility...

Oil on canvas Image size: 8 x 10½ inches (20 x 27 cm) Contemporary frame This charming portrayal of a rustic house in the early hours of the morning is an excellent example of the e...

Graphite on paper Image size: 13 x 10 1/2 inches (33 x 27 cm) Mounted This is a delicate 19th century academic graphite drawing of a seated female nude in the neoclassical style. A...

A fine & large (34" tall) antique French gilt-bronze on marble column of Diana, cast by Ferdinand Barbedienne (1810-1892) after a statue by Jean Antoine Houdon (1741-1828), the bronz...

The Spring by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Sculpture made in white Carrara marble signed on the base "A. Carrier-Belleuse" France circa 1870 height 76,5 cm width 30 cm depth 24 cm Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois, Eugène Delaplanche, Jules Dalou or Joseph Chéret; but he was best known for having been the master of Auguste Rodin who entered his studio as a practitioner in 1864. Carrier-Belleuse devoted himself a lot to decorative sculpture. He contributed to the decorations of many important buildings. We owe him in particular the caryatids of the Renaissance theater in Paris, the pediment of the main entrance to the Banque de France, the stucco ceilings of the Lesdiguières and La Trémoïlle pavilions at the Louvre Palace, the frieze of the Palais de la Bourse in Brussels, or the decoration of the Hôtel de la Païva on the Champs-Elysées in Paris. He also received State commissions for monuments: that of Jean-Jacques Rousseau in Montmorency, of Alexandre Dumas, in Villers-Cotterêts, of Masséna in Nice. Abroad, he produced the equestrian statue of Michael the brave in Bucharest and the tomb of José de San Martín in Buenos Aires. In 1873, Carrier-Belleuse took part in the construction of the Paris Opera house, directed by his friend Charles Garnier. He created the two monumental torchieres...

Antoine-Denis CHAUDET (1763 - 1810) NAPOLEON Ist, circa 1808 Carrare Marble - First Empire Hermes Bust of Napoleon Ist, after Antoine-Denis CHAUDET Dimen...

Bather by Etienne Hachenburger (19th-20th C.) Sculpture in white Carrara marble Signed on the side of the base "E. Hachenburger" A simiilar model was exhibited at the Paris Salon oh...

Ducks by Josette HEBERT-COEFFIN (1906-1973) Sculpture made in stone signed on the base "J. H. Coëffin" France circa 1930 height 10 cm width 16,5 cm depth 14,1 cm Biography : Jose...

Although the 18th century, the period of the Enlightenment in France, spawned thinkers who criticized the privileges of the clergy and the truthfulness of certain dogmas, the Roman Catholic faith was very much present in everyday life. Since king Louis XIV had issued the Edict of Fontainebleau in 1685, Protestantism was banned from the country. This Madonna with child illustrates the daily practice of faith. Like many 18th-century Madonna statues...