Early 18th Century Furniture

A fine late George III satinwood and snakewood secretaire cabinet, attributed to George Simson of London, of rectangular form, the upper section with a pair of glazed doors with fine...

A very fine and exquisitely grained bird’s eye maple box of unusual form: the top curved into three concave channels, each one inlaid with contrast...

This is an antique coach road map of South Devon. An English, framed lithograph engraving of regional interest, dating to the early 18th century and later. Delightful early 18th cen...

Large buffet cabinet from Hungary circa 1800 with wood stained doors and painted cinnamon frame. This cabinet has three upper cupboards and drawers and two large cupboards. Cupboard ...

This is a period headboard with a hand painted design in the medieval style. Shows great age on the reverse. Probably late 17th-early 18th century. Grea...

American sampler of silk floss on linen with a modest zig-zag border framing an uppercase letter alphabet, followed by a cursive alphabet, a lower case alphabet, and the numerals one...

Pair of Circa 1800 Period French Directoire Fruitwood Fauteuil Armchairs. Upholstery in light blue striated fabric with white sprigs. Coil spring seat foundation. Aged finish.

This statue is a representative piece excavated from the Ca Mau shipwreck and is so rare that there are only a few pieces like it worldwide. It is even featured on the cover of the c...

Good quality queen Anne period single chair c1720 good shaped legs and seat rails rich colour and patination Size  101 cms high 49cms wide seat 44 cms

Moustiers faience Chinoiserie plate Good condition: light chipping and some usual wear to the rim.

This small Venetian gem has lacca povera decoration which is the Italians version of decoupage. It is hand-painted and lacquered with cut-outs of various ...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Beautiful oil painting on canvas depicting a gentleman belonging to the ancient chivalric order of Saints Maurice and Lazarus, founded in 1572 by the House of Savoy. The protagonist ...

This is an antique coach road map of East Devon. An English, framed lithograph engraving of regional interest, dating to the early 18th century and later. Fascinating 18th century h...

Spanish Charger c1700 with building decoration in the centre and outer decorated rim. Old hanging retained on the back. Diameter: 30 cm / 12”

A nice example of a George II bracket clock in an ebonized mahogany case with brass feet made by clockmaker Edward Browne of Norwich. Edward Browne took over the shop of clockmaker J...

Two polychrome lightning plates Delft, 1700-1730 The Peacock pottery Mark: D(P)AW 9 The dish has a small flange and is painted in polychrome with the...

An exceptional early 18th Century Queen Anne period Walnut Chest On Stand / Highboy , dating to 1702-14 . Impeccable colour and patina . Beautiful figured walnut veneers with delica...

Outstanding Antique Table / Desk, Italian Walnut Trestle Library, Carved, Border, 18th /19th Century, 1700's-1800's! This antique library table/desk is a stunning example of Italian...

This is an antique lithography map of Cumbria. An English, framed engraving of cartographic interest, dating to the early 18th century and later. ...

An antique 18th Century double framed French Giltwood wall mirror, hand carved in wood with the original mirror plate, in good condition. Decorated with an elegant floral border. Min...

A Late Federal Cherrywood Desk and Bookcase, Circa 1830. This unique piece includes a folding desk and make a fabulous looking compact desk with plenty of storage in bookcase above. This was possibly a clerk's desk. Includes plenty of storage and desk...

Slate sundial engraved and decorated with cornucopias, shells and a crown topped with the motto "In Hoc Signo Vinces", which can be translated as "by this sign you will overcome" and...

A gorgeous conical wine glass with elaborate engraving encompassing a monogram below a crown, and a gilt rim. Warmbrunn glass, also known as Warmbrunner glass, refers to a type of ...

This is an antique lithography map of Durham. An English, framed engraving of cartographic interest, dating to the early 18th century and later, circa 1720. Superb lithography of Du...

A rare and unusual pair of walnut Anglo-Dutch side chairs with a saddle chest top rail over a veneered back splat, the stiles carved with bell flowers, having a molded, balloon-shape...

A monumental 18th century French Régence period chateau armoire handcrafted of solid walnut by talented artisans in Lyon, circa 1720, having a chapeau de gendarme crown atop an intri...

Scene with multiple figures on a boat, which is a common theme in Chinese porcelain, reflecting the cultural and economic importance of sea travel and trade in Chinese history. The f...

the shaped lift-top with turreted corners all raised on cabriole supports with lappet carving and in pad feet; adorned overall with seaweed marquetry inlay; the hinged top supported ...

Our monumental pair of 18th century candelabra of French origin depict Roman neoclassical male and female holding cornucopia, finely carved from white marble, with four light ormolu bronze candleholders of foliate design with fruits, nuts and grape bunches. Provenance: Arne Schlesch & José Juárez...

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

18th century Arms of Burgundy fireback, with date of production 1714. The fleurs-de-lys and arms are partially truncated during the French Revolution. The condition is good, no crac...

C1700 small centre table oak with centre stretcher nice turned legs and 2 piece top all of good colour and patination Size 68cms long 48deep 70high

Tyrolean wedding chest Measurements: H.80 – L.156 – P.55 Period: early 18th century Origin: Tyrol Essence: Fir Large Tyrolean chest, in fir wood, with shaped lowering. The front is...

An early 18th century English oak center table with good color having two plank top over baluster turned legs joined by deep rectangular section profiled box stretcher.

Antique period American Colonial Shaker rocking chair retaining an early rush seat and period rails. Hand whittled spindles, posts and rungs.

The drawing captures a scene of trade on blue and white porcelain, where a woman and a man are engaged in a transaction. The woman, dressed in traditional attire, stands with a poise...

For those with discerning taste in French antiques, this is a must see. This beautifully delicate etagere with intricate marquetry, a process of inlay that gained popularity in Franc...

A late 1700s Georgian tall chest of six graduated drawers in oak with pierced batwing brasses and beaded drawers on high bracket feet.

A fine and rare carved gesso console table circa 1720 having a molded and floral carved gesso top resting on a shaped apron having floral carved cabriole legs terminating in stylized...

Beautiful and refined Venetian chest of drawers, characterized by a wavy front veneered in walnut briar and maple briar. It has a linear shelf base whic...

Young Vestal reviving the sacred fire. Oil on canvas, French school of the 1st half of the 18th c., follower of Jean RAOUX 1677-1734. In ancient Rome, the Vestals or Vestal Virgins w...

These set of original antique engravings are from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures" (Antiquity Explained and Represented in Figures), which is a comprehensive collection of engravings illustrating various aspects of ancient life. This work was a significant contribution to the study of antiquity in the early 18th century. The specific volume these images are taken from likely deals with artifacts such as lamps, which were common in burial practices and other rituals of ancient cultures. This collage features two pages from the 18th-century publication just mentioned, displaying a series of intricately detailed engravings of ancient lamps...

This is a beautiful Chinese Export porcelain Bottle Vase with good Imari hand painted decoration, which we date to the first half of the 18th century, circa 1740 or possibly earlier....

A fine pair of Chinese porcelain vases, c. 1700, Kangxi Period, ormolu mounted. The trumpet shaped vases, hand painted in Imari style, with exotic birds amongst flowering plants, abo...

These set of original antique engravings are from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures" (Antiquity Explained and Represented in Figures), which is a comprehensive collection of engravings illustrating various aspects of ancient life. This work was a significant contribution to the study of antiquity in the early 18th century. The specific volume these images are taken from likely deals with artifacts such as lamps, which were common in burial practices and other rituals of ancient cultures. This collage showcases three pages from Bernard de Montfaucon's seminal work "L'Antiquité expliquée et représentée en figures." Each page features detailed engravings of ancient lamps...

A good and impressive late Louis XIV boulle inlaid Religieuse mantel clock with richly ormolu mounted bronzes signed C Bonneual a Paris. The strong Classic Louis XIV Influenced good...

Blue and white plate with deer in a landscape Delft, circa 1700 The plate has a narrow, flat flange and is painted in blue with a landscape with four deer between trees. Birds fly ...

Excellent pair of mid 18th century Delftware plates with a rare geometrical decoration of a stylized flower with foliate scrolls. Border adorn...

This illustration is from Eleazar Albin's work, as indicated by the signature "E. Albin del.", meaning "drawn by Eleazar Albin". It is a plate from his series on natural history, spe...

This 1722 engraving portrays an ancient lamp, intricately designed with the scene of tauroctony, which is a depiction of Mithras slaying a bull, a central...

Fir dowry chest, early 1700s, origins South Tirol, Italy. Original hardware, early 1700s, original painting of the period. Inner drawer. Conservatively restored, Good condition. Ref...

The image features an 18th-century engraving from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures." It depicts a classical lamp in the form of a mounted ride...

Antique French Regence chest of drawers France Kingwood early 18th century Dimensions: H x W x D: 84 x 130 x 65 cm Description: Repr...

Carved stone architectural element depicting a uniformed rider on horseback in a formal pose. Carved from a single block the full round carving includes the horse from just behind th...

A French elaborately-carved wall console with marble top from the 18th century. This antique table from France, which retains its original serpentine-shaped marble top (with flattene...

The interior painted with two spotted horses at play beneath a willow tree, the exterior with a cafe-au-lait glaze. Tea saucer and teabowl set. Period : Qing Dynasty, Yongzheng Peri...

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18TH CENTURY Oil on canvas made in the 18th century, It represents the moment in which the archangel Raphael instructs a young Tobit...