Baroque Furniture

Il cuore di questo tavolo rotondo si esprime con un raffinato intarsio che fonde armoniosamente legno, ottone e madreperla. Il legno tinto nero diventa la tela su cui motivi floreali...

A large bolection fireplace surround of generous proportions by Ryan and Smith. The substantial 12″ (300mm) wide bolection moulded frame, rests on plai...

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 ...

Blue and white chinoiserie lobed dish The Netherlands, 1630-1650 The blue and white lobed dish is composed of twenty small lobes and is painted in the centre with a floral chinoiser...

LATE 19th CENTURY ITALIAN STONE MORTAR Faithful reproduction of a 13th century mortar in light Sannio limestone. The reproduction was carried out maintaining the original proportio...

Gallon base. Carved and polychrome wood. Inspired by models from the 17th century. Rectangular base with a similar cushion on the top (decorated with plant elements) and complex line...

"Diane de Gabies" French sculpture, late 19th century. Patinated bronze with "Ferdinand Barbedienne" foundry marks. Height: 51 cm. Very good condition.

IMPORTANT CUT-OUT BOX, SÈVRES 18th Century Sèvres. Polychrome and gold decoration with reserves with landscape and figures. Rims and clasp in relief bronz...

Set of three exquisitely handcrafted blown glass goblets from Murano adorned with delicate 24k gold leaf embellishments. The meticulous crafting of each stem, featuring intricate fl...

+VAT. England, modern. Made to order. A very fine white shell mirror of large scale with cresting and scrolled sides and apron. The mirror plate b...

Bronze Bust Of 1600s, cast depicting a young boy with curly hair and a gathered robe over his neck ending in an oval section with beaded border. This antique bronze knob of Italian ...

A large Baroque style cast iron Victorian fire basket with a shaped fire back, a two barred serpentine shaped grate mounted with a pair of brass ...

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...

A baroque period iron armada strongbox, or traveling safe, in its original condition, showcasing a beautiful natural patina. This coffer is richly decorated with small polychrome la...

Venice, Italy, 17th-18th century Old wrought iron tripod base of a basin or a brazier with floral decorations from the 17th or 18th century transformed into a pedestal table / gueri...

Display cabinet in Dutch Baroque style Light mahogany and maple on solid wood. Exceptionally rich intarsia. Work on carved paw-feet. Multiple curved border above bowed four-drawered...

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...

A 17th Century Baroque four-poster bed (ceiling), with headboard The headboard, decorated with boned shaped, shakes and strings, are turned into bobbin-shaped discs and balls in the ...

Antique Tuscan picture inlaid with white Carrara marble 19th Century. Italy Ancient Tuscan terracotta bricks, inlaid by us with 19th Century white Carrara marble. Various dime...

Italian-made cookie table circa 1940s in blond walnut with maple, rose maple, and mahogany inlays. Worked and decorated top. Perfect for a large living room or in between a couple o...

Iron Bust From 1600 depicting a boy with curly hair, dressed in a tunic that leaves one shoulder uncovered. Made of cast iron, the pommel has a dark patina and is in good condition, ...

Rare danish carved mahogany bookcase circa 1840. 2 part bookcase.  Top section with hidden drawer below the cornice.  Applied carving to corners and around the key hole.  Double gla...

Blue and white chinoiserie dish Delft, 1691-1724 The Metal Pot pottery Mark: LVE, period of Lambertus van Eenhoorn (1691-1724) The dish has a narrow, flat flange and is painted in ...

Beautiful and very rare hand carved wooden coat of arms with a crowned lion standing on the water reaching to a star. The Netherlands, circa 1650- 1750. Weathered, small losses and...

Blue and white lobed dish with village in a manganese powdered border Northern Netherlands, 1650-1680 The lobed dish is composed of twenty-seven double lobes. The curved centre is ...

A pair of well preserved Meissen porcelain wall sconses with floral motifs and policromated roses with richly twisted gilded bronze. Reviewd recently and in working conditions. Rev...

Swedish Baroque painted wood buffet from the Mid-18th Century, with two doors . Created in Sweden during the second quarter of the 18th century, this original painted buffet showcase...

Polychrome plaque with oriental floral decoration Delft, 1740-1760 The square, convex plaque has indented corners and a raised rim and is painted in polychrome with an oriental flor...

Absolutly rare to find. First German Translation of the Quran from 1703 Author: NERRETER, DAVID. The book was rebound around 1900.

Blue and white tureen with flowers Delft, 1761-1777 The Three Porcelain Bottles pottery Mark: HB for Hugo Brouwer (1761-1777) The oval tureen s...

Blue and white fish colander Delft, 1725-1750 The blue and white colander stands on three legs and has two round handles. Painted on the front are one large and twenty small fish, p...

Twentieth-century flap cabinet with three front drawers lined inside and two smaller ones in the interior area. Multipurpose cabinet, can be used in a living room or entryway as a p...

An English 18th Century George II sienna and white statuary marble fire surround designed by Isaac Ware for Chesterfield House, London circa 1749. Made from well figured Italian Sienna marble with white Statuary marble shelf and carved embellishments. The serpentine frieze centred by a carved statuary marble peacock, (the symbol of Hera, the wife of Zeus), with scrolling acanthus leaves to either side. The serpentine shaped opening with moulded frame, the jambs with carved marble acanthus...

High relief representing battle carved on white Carrara marble dimensions 28.5 x 22 x 4 cm weight 6" kg very good condition

Blue and white shaving bowl with flute-playing putto on a fountain Delft, 1759-1771 The Fortune pottery Mark: WVDB, period of widow Elling-Van den Briel (1759-1771) The shaving bowl...

Ceramic mortar produced at the Teruel pottery workshops in the 17th century. It has a truncated cone shape with three handles and a pourer. It is tin-...

Large solid silver vase. Of large dimensions, this vase was made entirely by hand in a revisited baroque style. The base is very wide where embossments and hand engravings have been ...

Caltagirone ceramic amphora with satyr mask, mid-19th century.

Jeff Koons 2007 #199/1500 Hardcover in clamshell box 33 x 44 cm / 17 3/8 x 13 Inches 606 pages Published by Taschen Limited Collector’s Edition of 1,500 copies, numbered and signed by Jeff Koons In Excellent, Untouched Condition. This weighty tome, published by Taschen, is the definitive overview of Jeff Koons' work. The exhaustive monograph is one of the 1,600 limited edition, numbered copies, each book being signed by the artist. From kinky to kitsch to conceptual, Jeff Koons’s art is anything but conformist. Since he stirred up the art world establishment in the 1980s with his unapologetic basketball...

Baronette bronze clock with working mechanism, very ornate with a traditional Bavarian theme in Tiche porcelain, decorated with flowers and topped with a couple sitting by a tree. Th...

Rare Canopy bed in mahogany, richly carved with palm leaves, foliage and plants. The headboard is decorated with a nice painting representing the Virgin sur...

An unique specimen, a very rare chest of drawers of the early Portuguese Baroque with double top convertible into a table, 3 drawers, gilded bronze letterhead and handles, of Italian influence, an example in excellent condition of the style that predecessoed D José...

In the heart of a classic French bedroom, where time seems to have stood still and elegance reigns supreme, lies a masterpiece of craftsmanship a gilded wooden bed of unparalleled be...

Large baroque chest of drawers ("commode galbée") from the 2nd half of the 18th century. Solid oak wood and veneered. An authentic piece in absolutely elegant puristic design. Sid...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. It has faults. Mirror with a slightly rectangular frame made of wood...

Sculpture of a Faun's Head Made of Cleopatra yellow marble base in Port st. Laurent marble. Height base included 38 cm, weight 12.5 kg. very good condition.

Light mahogany and maple on solid wood. Very rich, Baroque inlaid work. High-corpuscular body. On balustrade-shaped legs connected with an X-shaped ridge. Above two-wise frame base with profiled cover plate. Three-sided sprout-glazed, single-door display case. Interior shelves, wall covered...

A Capodimonte porcelain painting from 1820 shows a woman in a swinging armchair. Mark near Capodimonte - 1771 to 1834. The first use of the Neapolitan "N" covered with a 5-pointed cr...

A charming italian Capadimonte translucent soft-paste porcelain figurine of a baroque lady with «N» and «203» marks on the base, as seen in the last photo

Painting "Three putti playing with a lion", Italy, late 17th century, oil on canvas, framed Picture size: height 63 cm, width 47.5 cm Frame size: height 78 cm, width 63 cm

High relief representing battle in classical style. carved on white Carrara marble dimensions 46 h x 45 x 10 cm, weight 35.5 kg Skull -""Memento"" sculpted in the smallest anatom...

A 18th Century superb italian sculpture of a draped Madonna with a veil, base with richly carved relief with cherubs and a baby Jesus on her lap in carved polychrome and gilded wood....

Impressive 19th century Italian walnut wall table Richly carved and gilded enriched by Raff carving crowned eagles, yellow Sicilian marble top 19th century Measures: 100cm x 166cm x...

A Neapolitan Capodimonte porcelain in the Baroque style depicting a french salon scene, a woman seated in an armchair playing the lute and a male admirer trying to impress her, marke...

This signed 18th Century painting showcases a beautiful scene of a loving man and woman and their loyal canine companion gathered around a charming fountain, executed in the Baroque ...

Rustic Swedish 2 part baroque cupboard circa 1790. Stained pine baroque cupboard, a real piece of Scandinavian rustic made furniture.  Shaped cornice below and double door cupboard ...

Large grey painted chest of drawers with three drawers in baroque style. The painting is new and has been decoratively patinated. The chest of drawers stands on s-shaped legs and has...

Blue and white chinoiserie jar Delft, 1700-1720 The jar has a narrow straight neck and is painted in blue with a chinoiserie decor. Around the belly are three scenes of a Chinese woman with two dancing children. Interspersed are three different floral still-lifes with birds. Two of them consist of a flower-filled incense burner on three legs, the third of a flower pot on a low Chinese table...