Paris

Oriental saber, also called Shamshir Ottoman Empire, late 18th century  Handle in horn, silver mounted, Damascus blade, scabbard garnished of black ...

Oriental saber, also called Shamshir Ottoman Empire late 18th century Handle in horn, silver mounted, Damascus blade, scabbard garnished of black ...

Oriental Saber, called Pala Ottoman Empire, Late 18th century Handle in horn, silver mounted, Damascus blade, scabbard garnished with black leather...

Column small petrified wood D in solid petrified wood from Indonesia. Petrified wood has turned into stone. Trees have been buried for many years under sediment they transitioned i...

Oriental Saber, also called Shamshir Ottoman Empire, late 18th century Handle in horn, silver mounted, damascus blade, scabbard garnished of black l...

Joachim von Sandrart (1606-1688) Three Biblical episodes, 3 original drawings - The Ascent of Elijah - The Judgment of Solomon - Benjamin receiving presents Each one : 9.2 x 7.7 cm...

France circa 1770 Two lovers surprised in bed Black chalk on paper 13 x 17 cm Modern frame : 34 x 38 cm This drawing had been attributed to Gabriel de Saint Aubin (1724-1780). It's...

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

18th century LXV sideboard in solid walnut, with beautiful molding and fine fittings. Two doors and two drawers. Original lock.

Spanish Navaja, Spain 1806 This exceptional knife lates of the Spanish wars (1808-1813). Superb quality. The Blade is engraved on one face « LA INVENCI...

François Boitard (1670-1715) Abraham and the Three Angels, Signed lower left "Boitard (...) fecit (...)" 28 x 44 cm Pen and ink on yellow prepared paper I...

Exceptional series of Louis XVI lyre chairs in lacquered wood, a prized model and symbol of refinement in the 18th century. While these chairs are unstamped, their details are strongly reminiscent of a production by Jacob: finessed sculpture with sophisticated grooves…these proportions are perfect and light, a touch of exquisite taste. These chairs feature ancient lacquer in two tones (white with blue highlights) The fabric of seats have been restored The assembly of these chairs has been checked and remains solid - The original trim on the springs and straps have been preserved and remain in good condition. The laque is in it original statement, we do not like to make up the antic pieces preferring to leave them in their statements. Nevertheless we work with highly qualified restorers and at your request and charge we can care of it. The 7th chair is free and not included on the picture as it has more cracks and fissures. These armchairs are covered with a luxurious silk a blue gray and silver combination that perfectly matches the original lacquer from Maison Tassinari and Chatel...

Brussels tapestry handwoven in the 18th century. Representation of a wolf attacking a horse. Contour of flowers and ornaments. Oval shape. Reinforcement by a fabric on the back of t...

French school of the 18th century An ancient shipyard or building site (?) Ink and ink wash on paper 17.5 x 23 cm In a modern frame 32 x 37 cm

Hubert-François Gravelot (1699-1773) Two Allegories : Vigilance and Faith Pen, black Ink, and black wash on paper 7.9 x 4.8 each one Framed 22 x 26 cm Old framing that needs to be...

Ceiling designs. A set of three architectural engravings. These engravings are framed in white gold covered french frames. From the publication publishe...

Allegory of the four seasons. A pair of engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Different ornam...

Oriental Saber, called Shamshir Ottoman Empire, late 18th century Handle in horn, steel mounted, Damascus blade, scabbard garnished of black leath...

Exceptional antique African Tribal Art terracotta sculpture representing a rider on his horse. It dates back from the 14th -15th century AD ...

Chandelier designs. A pair of architectural engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Different o...

Architectural designs. A set of nine architectural engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Diff...

Shamshir Saber Turquey Made of 18-karat gold. Handle garnished of blond horn, All part made of gold. In the middle of the guard, a star inlaid of ruby and diamonds. Dimensions Wh...

Oriental saber, also called Killich Ottoman Empire, late 18th century Handle in horn, silver mounted, Damascus blade, scabbard garnished of black le...

Fine Quality Hand Decorated in underglaze blue and white ground Chinese Export small dish of Octagonal outline with canted corners, of exceptional quality and good condition, last qu...

Rare pair of large garden vases from the Directoire period (1795-1799), in cast iron, formerly painted green-black. They are in very good condition, ...

Bust of Saint Barbara School of Troyes, Champagne Circa 1520-1530 Partially polychrome limestone h. 13 in., w. 12.6 in., d. 9.84 in. This remarkable stone sculpture belongs to the traditional Champagne repertoire from the first third of the 16th century. Saint Barbara is one of the most venerated saints in Champagne during the Renaissance. The very small corpus of saints sculpted in the region during the Renaissance only includes Saints Marguerite or Savine, or anonymous saints, and is mainly dominated by numerous Saints Beards. In the guise of a sweet and kind young girl, the Saint has an oval face with a high domed forehead, almond-shaped eyes with modestly lowered eyelids. The long, wavy middle-parted locks of hair flow down either side of her shoulders. A beaded crown sits atop her slightly inclined head. She is dressed in a dress with a square neckline and an open coat covering the shoulders. The tower, symbol of suffering, which serves as an attribute of the young martyr, is in the form of a dovecote tower in cut stone with a conical roof covered with flat tiles, pierced by a dormer window and equipped with a large arched door . As an essential attribute, the integrity of the tower displaying the door at its base indicates that our sculpture, although executed as a bust, could in no way constitute a fragment of a larger statue. The work of a talented anonymous sculptor from the Troyes region, our Saint Barbara with a delicate face and meditative expression reveals all her inner grace and arouses emotion and offer a feeling of benevolence. The essential effects that the artists sought to transmit through their artistic creations, but above all spiritual. Saint Barbara There is no certain historical data on Barbara who probably died a martyr at the beginning of the 4th century. However, its story is located in Turkey during the persecutions of Maximilian. The figure of the saint became legendary following the compilation of the acts of her life in the 7th century and the subsequent publication of “The Golden Legend...

A French gothic iron casket Dimensions: h. 18 cm, l. 23 cm, p. 14cm 15th century France Without key A rare parallelepipedal box with a domed lid, it is d...

Florence, Italie Late 15th century Dimensions: h. 23 cm, w. 45cm, d. 29 cm Walnut with inlays of different types of stained native wood Rare writing box with intricate decoration of...

Very large scale winged angel (1.63 m high), on a sculpted sphere in the round, probably part of an altarpiece? The whole, imposing in size, nevertheless gives an impression of light...

French school of the end of the 18th century Pen and wash on paper Unsigned 11 x 18 cm (30.5 x 35 cm with the frame) This drawing represents the regi...

Pierre Etienne LESUEUR (Attributed to) (Active between 1791 and 1810) Oil on panel 27 x 38.5 cm (42 x 53 cm with the frame) Very beautiful frame in carved and gilded wood from the be...

Winter Landscape at the farm, Circle of Klaes Molenaer, 17th Century The composition of our work is divided into two distinct parts, to the left the far...

We would like to thank Marco Riccòmini for his help in preparing this note and in particular for pointing out the existence of the drawing in the Musei Civici of Reggio Emilia. The ...

We wish to thank Mrs. Bożena Anna Kowalczyk who suggested this drawing be attributed to Giuseppe Bernardino Bison during a direct examination of the artwork. This drawing, perfectly representative of Giuseppe Bison's technique, represents an episode in Caesar's life that may have been inspired by his incursions on the Brittany coast. It is presented in an exceptional 18th...

Important white marble “Cercles Tournants” mantel clock. Gilt bronze mounts attributed to Pierre Gouthière. Paris, Louis XVI period, circa 1775...

François Viger, reçu maître horloger reçu maître en 1744 Case Attributed to Robert Osmond (1711-1789), reçu maître fondeur en janvier 1746 Im...

Dieudonné Kinable Enamel Dial Attributed to Dubuisson (1731-1815) Exceptional Porcelain Lyre Mantel Clock from the Royal Sèvres Porcelain Manufactory Paris, late Louis XVI period, circa 1785-1790 Height 62 cm; width 26 cm; depth 16 cm The round enamel dial, signed “Kinable”, indicates the hours in Roman numerals, the fifteen-minute intervals in Arabic numerals, the annual calendar and the signs of the Zodiac, by means of four hands, two of which are made of pierced gilt bronze, the two others in blued steel. The magnificent lyre-shaped case is made of “bleu nouveau” Sèvres porcelain and finely chased and gilt bronze. The bezel is made up of a gilt bronze twisted rope; the pendulum is adorned with brilliant-cut paste stones; the body of the lyre is adorned with gilt bronze beading and with laurel leaf and seed motifs, with two rosettes issuing floral and foliate swags. The clock is surmounted by a mask with radiating sunrays. The spreading foot is decorated with beading and twisted rope motifs and a leafy garland. The en-suite decorated oval base is raised upon four flattened ball feet. The Royal Sèvres Porcelain Factory produced the lyre clock model as of 1785. Four colours were offered: turquoise, green, pink and bleu nouveau. These exceptional clocks were made for the connoisseurs of the time. Louis XVI had a similar clock in his Salon des jeux in Versailles; its dial bore the signature of the clockmaker Courieult (this is almost certainly the example illustrated in P. Verlet, Les bronzes dorés français du XVIIIe siècle, Paris, 1999, p. 41). Kinable, however, was the clockmaker who purchased the greatest number of lyre cases from the factory, and he developed the model in the late 18th century. Among the porcelain lyre clocks signed by this brilliant horologer, one example is in the Victoria & Albert Museum in London (illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Munich, 1986, p. 252, fig. 4.6.26). A second such clock is in the Royal British Collection (see C. Jagger, Royal Clocks, The British Monarchy & its Timekeepers 1300-1900, 1983, p. 130, fig. 176). Bibliography: M. Gay and A. Lemaire, “Les pendules lyre”, in Bulletin de l’Association nationale des Collectionneurs et Amateurs d’Horlogerie ancienne, Winter 1993, n° 68, p. 5-40. Dieudonné Kinable (active circa 1785-1810) One of the most important Parisian clockmakers of the late 18th century. His shop was located at n° 131 Palais Royal. He purchased a great number of lyre-type porcelain clock cases...