Rococo Art

Nicolas de Largillierre painted Elisabeth Marguerite in oil on canvas. A larger version of this work was offered by Sotheby's for $500,000 and is now in a French Museum - Palais ...

French School 18th Century Portrait of a Young Man Charcoal and pastel on paper Image size: 11 x 7 inches Contemporary gilt frame

Rococo design for a gate, etching, by Joseph Baumann (active 1740-1760), circa 1750. Published by Martin Engelbrecht (1684–1756). Similar works ar...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

Rococo interior design and furniture, etching, by Franz Xaver Habermann (1721-1796), circa 1750. Lettered 'F. X. Haberman, inv. et del. loh. Georg Hertel, excud : Aug. Vind., number...

This splendid sculpture represents Young Girl with a Goat (Amalthea and Jupiter's Goat), after the original by Pierre Julien commissioned by Louis XVI in 1785 and completed in 1787 for the cot of Queen Marie-Antoinette in Rambouillet. The work of the sculptor Pierre Julien decorated the interior of a grotto in a pavilion decorated with bas-reliefs by the same sculptor (acquired by the State by dation in 2003). The work was the main element of a rock basin, which was destroyed during the renovation of the gardens of the small castle. The same sculpture was seized during the Revolution and exhibited in the Louvre from 1829. The terracotta sketch, which belonged to the collector Ernst May, must have adorned his château de la Couharde (Yvelines) before entering the Louvre's collections in 1920. The bronze set with a beautiful gilded patina presented here is a work after the original by Pierre Julien (1731-1804) and dates from the 19th century (around 1850). The superbly preserved sculpture, which has belonged to the same family since its acquisition, is presented on its original base in grey serpentine marble. The quality of this work is doubly certified: - on the one hand it is stamped with a round stamp at the top "A. This stamp is a sign of high quality. Achille Collas (1794 - 1859) was the French engineer, engraver and illustrator, inventor among other things of the patented mathematical reduction process of the 19th century to reproduce sculpted objects in reduction, which was very successful. He was awarded a prize at the 1855 exhibition: his "Procédé mécanique", the name under which he prints all his productions, is easily recognisable by the finesse of its execution and by the famous stamp which appears on the base (terrace) of this sculpture. - On the other hand, an important signature is found on the terrace of the sculpture "F. Barbedienne Fondeur", founder. In 1844, Achille Collas, in order to protect his invention, formed the Société Collas et Barbedienne (Paris) with the art founder Ferdinand Barbedienne (1810-1892), which began to produce and sell famous but smaller sculptures in plaster, wood, bronze or ivory. The first object to be marketed was the Venus de Milo after the original in the Louvre Museum. Other sculptures such as the sculpture of George Washington, of which a bronze bust was made by the Barbedienne & Process Collas foundry, are currently in the Metropolitan Museum of Art. HEIGHT OF THE SCULPTURE without base 69CM + BASE = 84CM WIDTH OF THE SCULPTURE without base 28 CM + BASE = 30,5 CM LENGTH OF THE SCULPTURE without base 46 CM + BASE 51 CM The Collas and Barbedienne company was highlighted at the Great Exhibition in London in 1851, the objects of the Barbedienne foundry received a medal and sales soared. At the 1889 Universal Exhibition in Paris, the Barbedienne company again presented a large number of its compositions, including the large neo-Renaissance clock of 1878. This clock, which was part of the Leblanc-Barbedienne estate, was donated by his heirs to the city of Paris, and is kept in the city hall. Pierre Julien (20 June 1731 - 17 December 1804) was a French neo-classical sculptor who worked in the full range of rococo and neoclassical styles. He had an early apprenticeship in Le Puy-en-Velay, near his native village of Saint-Paulien, and then at the École de Dessin in Lyon, before entering the Paris workshop of Guillaume Coustou le Jeune. In 1765, he won the Prix de Rome for sculpture with a bas-relief panel depicting a subject from Antiquity and entered the Royal School for Protected Pupils, which offered a special curriculum under the direction of the painter Louis-Michel van Loo. He was a boarder at the Académie de France in Rome from 1768 to 1773, where he was influenced by the wave of neoclassicism affecting his fellow students. As boarders were required to do, he sent back to France a slightly reduced marble copy of the so-called Cleopatra, the Sleeping Ariadne from the Vatican, which survives in Versailles. Back in France and with his former master, he worked on the sculpture of the mausoleum of Louis, the Grand Dauphin, in the cathedral of Sens. After a failed attempt in 1776, with his Ganymede, he was accepted by the Royal Academy of Painting and Sculpture in 1778, with a Dying Gladiator. He was appointed one of the first members of the Institut de France in 1795, and knight of the Legion of Honour in 1804. He was commissioned by the Count of Angiviller, director of the King's Buildings, on behalf of Louis XVI, to paint the figures for a series of life-size portraits of the great men of France: he produced a Jean de La Fontaine and a Nicolas Poussin, whom he chose to depict in a nightgown, similar to the draperies of a Roman toga. While fulfilling commissions in Paris, for the church of Sainte-Geneviève (now the Panthéon, Paris), or for the Pavillon de Flore in the Louvre, he sculpted in 1785 a virtuoso marble set representing the nymph Amalthée and Jupiter's nurse goat for the Queen's Dairy at the Château de Rambouillet; for his model, he adapted the pose of the famous Venus of the Capitoline. The bas-reliefs of the Dairy, considered his masterpieces, were sold at auction in 1819, but were recovered by the State in 2005, thanks to a gift from the son of the great dealer-collector Daniel Wildenstein. 19th century French school, after Pierre Julien (1731-1804)Amalthea and Jupiter's Goat Bronze with a light brown patina and gilding, reduction made after the marble by Pierre-Julien 1785 executed for Marie-Antoinette at the Laiterie du parc du château de Rambouillet in the Louvre Museum. Among his major works: - Dying Gladiator, marble, 1779, Musée du Louvre. - Ganymede pouring nectar to Jupiter changed into an eagle, [4] marble group, 1776-1778, Paris, Musée du Louvre. - Jean de La Fontaine, marble, 1783-85. Musée du Louvre - Nicolas Poussin, marble, 1789 - 1804. Musée du Louvre - Sketch of a model in terracotta by Nicolas Poussin, ca. 1787 - 1788. Musée du Louvre - Amalthea and Jupiter's goat, marble group, 1787 for the Rambouillet Dairy. The Queen's Dairy at Rambouillet - The girl with the goat, terracotta statuette, 1786. Louvre Museum - Sainte Geneviève restoring her mother's sight, terracotta bas-relief, 1776. Musée du Louvre The works of the famous sculptor Pierre Julien have been referenced in several books and catalogues, including The exhibition catalogue. Gilles Grandjean and Guilhem Scherf. "Pierre Julien 1731-1804". Le Puy-en-Velay, France: Musée Crozatier, 2004. The Lure of Classical Sculpture 1500-1900 (Yale University Press, 1981), cat. no. 24, pp 184-87). Michael Preston Worley, 2003. Pierre Julien: Sculptor to Queen Marie Antoinette. The first modern monograph. Europe in the age of enlightenment and revolution, a catalogue from the libraries of the Metropolitan Museum of Art (fully available online in PDF format), which contains information on Julien. Excerpts from the Grove Dictionary of Art online Pierre Julien in American Public Collections, on the French Sculpture Census website STATUE BARE (BODY) NANNY GOAT (ANIMAL) AMALTHAEA SITTING WOMAN ABOUT US: AYN GALLERY is located in the heart of old Paris on the Ile Saint-Louis surrounded by the Seine, in the most prestigious district of Paris. Just a few steps away from Notre Dame, like a village, this place preserved from urbanists offers a setting as it existed centuries ago with its numerous private mansions which earned the island the nickname "island of palaces" and its illustrious occupants: Charles Baudelaire, Marie Curie, Georges Pompidou or Camille Claudel Our gallery is located just opposite one of the oldest churches in Paris. As the eponymous name of the place indicates, Yasmine Azzi, the owner and artistic director of the place, has a keen eye. Born from the desire to bring together, in a unique space, vintage pieces of 20th century design, contemporary creations, original works of art and interior design know-how, AYN GALLERY was created in 2017. Our gallery presents an eclectic and daring mix, driven by a total freedom of styles and periods. We offer a collection that combines aesthetics and authenticity, in a word what we like and what our customers like. We offer an inspiring selection of furniture from the last century with rare antiques, but also precious objects and lighting with a special emphasis on vintage Italian...

Amazing works of the genre scene, dates to the late 18th century. After the famous French artist Francois Boucher, who was the court painter to King Louis XV. It is in its origina...

Playing Cherubim French School, circa 1900 oil painting on canvas laid down on panel within oyster shell scrolled gilt frame overall measurements: 23 x 40 inches provenance: private collection, the South of France A very beautiful and original antique painting, depicting these playful cherubim. The work is typical of the French Rococo...

Collection of two 19th century Neoclassical black and white etchings by Giovanni Battista Piranesi housed in gold frames. Left: Giovanni Battista Piranesi, Ornamental Frieze, 19th ce...

French School, Portrait of a Lady, Rococo, 18th Century, Fine drawing in Pastel/ Oil Pastel on Paper in the style of Vivien. The Lady might be a woman from Marie Antoinette's Court. It is part of a Pendant (see the other listing with the portrait of Queen Marie Antoinette...

These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...

French School, circa 1720's circle of Nicolas Lancret (1690-1743) oil painting on canvas 15 x 23 inches provenance: private collection, UK Fine depic...

Paper Size: 19.25 x 15.5 inches ( 48.895 x 39.37 cm ) Image Size: 12.5 x 9 inches ( 31.75 x 22.86 cm ) Framed: Yes Condition: B: Very Good Condition, with signs of handling or age...

A voluptuous woman lies prone on a divan, bearing her backside and turning her head flirtatiously to the viewer, though averting her eyes slightly, as if to maintain a coy demeanor. Surrounded by lush fabrics of deep blues, the creamy tones of her skin and dressing gown are thrown in sharp contrast, making the figure glow luminously. The whole painting is ordered by folds - of flesh, of fabric, of cushions, of the rug - inviting the viewer's eye to look closely across the topography of the canvas. One of Boucher's cabinet paintings (that is, paintings made for private collectors rather than official exhibition at the Salon), the open eroticism of this work invites a voyeuristic gaze. Although it was created for a private audience, it was later displayed at the Salon of 1767, where the critic Denis Diderot found it shocking and lascivious. Nonetheless, Boucher would later paint another iteration of this reclining pose, this time using Marie-Louise O'Murphy, a favorite mistress of King Louis XV, as his model, suggesting that the provocative composition was a stock figure for Boucher's private commissions. "The Brunette Odalisque" (French: L'Odalisque or l'Odalisque brune) is a painting of c. 1745 by François Boucher, now in the Louvre in Paris. He later produced two other works in the odalisque genre, both known as "The Blonde Odalisque". The present painting is another version of Bouchers painting which differs in minor details. The quality of the paint is very fine and the whole technique and style allows a dating to c. 1750. As Boucher's Painting was very famous there were several copies and versions which were made by his studio. The present painting can be attributed to the close circle of Boucher. The Painting is framed in a golden frame which was built in the Rococo style in c. 1990. Both the title of Boucher's painting and the objects found in the interior fix the subject as an odalisque, a concubine within the harem of the Ottoman sultan. The sumptuous textiles and exotic, decorative objects suggest early traces of Orientalism, although the figure appears European. Odalisque paintings...

Early 19th century oil on panel portrait of a young girl spinning. Pietro Longhi was a Venetian painter who mastered the portrayal of scenes of everyda...

The Supreme Fisher Boy, is the elevation of what is an everyday task to a celebration of a boy who elegantly rides the back of a dolphin while netting the r...

Amazing works of the genre scene, dates to the late 18th century. After the famous French artist Francois Boucher, who was the court painter to King Louis XV. It is in its origina...

Michael Stumbras Vase Year: 2019 Materials: Porcelain, Gold Luster Size: 10.25 x 6.75 inches Michael Stumbras work explores the beauty and horror of our existential uncertainties as...

Émile Bemindt was a French artist active between 1859 and 1872 and is best known for work in the style of the Rococo Revival: During the late nineteenth ...

Rococo design for a gate, etching, by Joseph Baumann (active 1740-1760), circa 1750. Published by Martin Engelbrecht (1684–1756). Similar works ar...

Engraving from a book titled, "The Gentleman and Cabinet-Maker's Director" printed in 1753. Thomas Chippendale was the designer and Mary and Matthew Darly...

These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...

The Hunter French School, late 19th century oil painting on canvas, framed framed size: 32 x 42 inches provenance: private collection, France Superb large scale French oil painting,...

Antique Rococo Oil Painting, around 1800, Royal Dance in the Garden Oil on canvas. Canvas relined. Stretcher renewed. Dimensions are without fra...

Signed 'G. Flamand' for Georges Flamand (French, 1895-1925) and created circa 1920. Standing on a later striated, jade-green marble base. Base dimensions: 1.25 H x 4.25 D x 7.5 W Inc...

A substantial, late 19th century, French School portrait of an elegantly dressed young woman of the court, shown holding her English spaniel in her arms and gazing towards the viewer...

Circle of Jean-Baptiste Greuze 1725 - 1805 Portrait of a Young Boy with Birdcage Oil on canvas Image size: 15½ x 12 inches Original frame J...

Bacchanal Cupids Playing French School, early 1900's oil painting on canvas, framed canvas: 22 x 39 inches framed: 27 x 44 inches Large scale French Rococo style oil painting on ca...

Originally painted for Louis XV's mistress Madame de Pompadour, this sensuous work of voluptuous bathing nudes is a copy of Boucher's "The Four Seasons...

In the mid-18th century, Bénard was famous for his genre paintings, portraits and landscapes. Drawing on Jean-Antoine Watteau’s sense of poetry and Jean –Honoré Fragonard’s use of...

The Armoire Etching 340 x 469 mm.; 13 3/8 x 18 1/8 inches Reference: Inventaire 18e siècle 9: 289-90, No. 22 Wildenstein 1956, cat. No. 23, State II/IV Regency to Empire, 1...

French School 18th Century Pastoral Scenes Oil on canvas A delightful pair of 18th-century pastoral scenes, this charming set of oil paintings depicts two quintessential tableaus ...

Follower of Rosalba Carriera (Venice 1673 - there 1757) - Portrait of a lady. 51 x 42 cm without frame, 79 x 67 cm with frame. Antique pastel painting on paper, in a carved, perfor...

Giovanni Domenico Ferretti, known as L'Imola (Florence 1692 - Florence 1768) - Sketch with mythological allegory. 52 x 66 cm without frame, 64 x 78.5 cm with frame. Antique oil pai...

Andreas Amrhein The Fortune Teller 3D-Construction on Hahnemühle Velvet Year: 2022 Signed by hand Edition 25 Size: 22.4 × 16.3 on 24.0 × 16.9 inches...

Clodion Michel (1738-1814) : 19th C. sculpture, bronze with medal patina, nude faun woman sitting on a rock and 2 puttis, signed on the back cast by Vittoz Claude Michel Clodion was ...

"Marquis of Sourches and his family at the Country Concert" After Hubert DROUAIS (1699-1767) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 61 x 50 cm (24 x 19.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 17th century Renaissance painting by Hubert DROUAIS (1699-1767), "Marquis of Sourches and family at the Country Concert". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher...

"Renaud and Arminde" After François BOUCHER (1703-1770) oil painting on canvas, late 20th century from the studio of Dagher, Paris (read notes below), stamped verso canvas: 92 x 73 cm (36.25 x 28.75 inches) unframed. provenance: the atelier Dagher, Paris Very fine quality large scale oil painting after the 18th century Renaissance painting by François BOUCHER (1703-1770) , "Renaud and Armide". The painting itself dates to the late 20th century and is an original work by the world famous studio in Paris, the "Atelier Dagher". The Atelier Dagher have for 35 years been faithfully painting Old Masters copies and are one of the few artists to be authorised by the Louvre and Orsay Museums in Paris to paint in situ. Mr Amal Dagher, the senior member of the family of painters, is often present in front of his easel in the Louvre Museum to paint in the way of a genuine Great Master painting...