Baroque Furniture

Italian School Sculpture "Hermaphrodite" 19th Century Carrara White Marble Group presented on a marble base Total height: 18 cm Width: 46.5 cm Depth: 25.5 cm good condition some defe...

Beautiful Italian " Torso " 20th century Carrara marble. Measure: H: 43m including base very good condition

" Venus of the Nile " 19th century Italian Carrara marble sculpture Italy Height: 90 cm good conditions.

ROMANTIC SEAT 19th-century Portuguese rosewood sofa. Cane seat and back. Dimensions: 102 x 182 x 56 cm Good condition

Italian sculpture "Ercole" head Begin 20th century Marble Measure: H: 42cm including the base Perfect condition.

OUR LADY OF GLORY WITH ORATORY Brazilian sculpture of the 19th century , in polychrome and gilded wood. Oratory in painted and gilded wood. Small defects. Dim.: (sculpture) 42 cm; (...

Gilt Bronze Devotional Plaque of Saint Sebastian — Spanish, Early 17th Century An exceptional gilt bronze devotional plaque depicting Saint Sebastian, created in Spain during the ea...

Elegant 18th-century reliquary in solid silver, finely hand-engraved, with ornamental decoration typical of Baroque religious art. Its oval shape features floral and symbolic details...

IMPORTANT PORTUGUESE ORATORY WITH CALVARY 18th Century Portuguese, from the 18th century in carved Brazilian rosewood. Decoration with interrupted pediments, volutes, floral motifs...

Iron wrought baroque spanish style torchère mounted like floor lamp, supported on three legs ending.Lampshade is not including

Largest collection of Portuguese tiles in the world 18th Century Portuguese "Saint Antony" Measures: 266 cm x 280 cm Important note: This panel is with the tiles restored 18th ce...

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

Magnificent 18th-century silver-plated reliquary, oval in shape and featuring meticulous ornamentation. Inside, it houses numerous relics of saints, carefully arranged and protected ...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

17TH CENTURY INDO-PORTUGUESE COUNTER 17th-century Indo-Portuguese Mughal cabinet, Teak, ebony, and ivo..... Hinged top with 6 drawers and a central interior door. Decoration depic...

RENAISSANCE TWO BODY CABINET 19th Century In oak wood Upper part with two profusely carved doors. Lower part with two drawers and two doors. Decorated with plant motifs, zoomorphic ...

Devotional plaque, Virgin and Child. Bronze. Spanish School, 17th century. Rectangular devotional plaque, made of bronze, featuring a ring at the top, a molded frame, and a relief ...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " River Scene" Measures: 181cm x 087cm 78 tiles Important note: This panel is with the tiles...

Beautiful Italian Ceramics Plate from the 19th Century Plate with large fire decoration in the center of a mythological scene and on the side a frieze of interlacing, mask, grotesque...

A Wooden Madonna with child Baroque art, Southern Italy, 17th century. Measure: H: 71cm Good condition for the time. With Export Certificate to USA.

"Holy Family with a Saint (oil on copper)" Date: 17th century Medium: Oil on copper Dimensions: Frame: 36 x 29 cm Plate (copper): 27 x 20 cm Description: A beautifully crafted 17t...

JESUS CHRIST CRUCIFIED Sinhalese-Portuguese sculpture, from the 17th century in ivor... The figure is represented dead wearing cendal draped around the waist. With cross in exotic w...

Completely hand-crafted in 18th century Spain, this sculpture of the Virgin stands 1.5 meters / 5 feet tall and was most certainly created for devotional purposes, to be displayed in a church or chapel. Besides its impressive size this sculpture is an excellent, museum-quality example of the Spanish “Estofado” polychrome technique, developed during the Gothic period to imitate rich brocade fabrics. The finely carved “fabric” areas of the sculpture would be first covered in gesso, and then a layer of gold leaf would be applied. The gold leaf would then be painted over with various colors of tempera paints. Once dry, the painted surface would be incised or scratched away in patterns, revealing the gold beneath. The sculpture was professionally restored in 2022 by a firm that is often hired by the Spanish government to work on historic building interiors and museum pieces. The virgin was carefully cleaned, repaired and its condition stabilized. A complete and fully-illustrated restoration report will be included with purchase. Often confused with the virgin birth of Jesus, the belief that the Blessed Virgin Mary herself was conceived “immaculately” without original sin has been variously defended and debated within the Catholic Church since the pre-Middle Ages. For centuries, artists struggled to create an acceptable visual representation of this highly abstract concept, in part taking inspiration from the Book of Revelation and other scriptural sources. We see the Virgin standing on a half moon (biblically inspired, though also an ancient symbol of chastity) with her long natural hair loose down her back, another indication of purity. Both her white tunic and flowing blue mantle...

Important Spanish Cabinet 17th century in blackened wood and tortoiseshell veneer. It opens with eight drawers framing a central door, surrounded by two columns. Richly decorated w...

18th Century Spanish Polychrome Wood Sculpture of the Immaculate Virgin A captivating 18th-century Spanish School sculpture of the Immaculate Virgin, masterfully hand-carved in poly...

D.MARIA WALL MIRROR 19th century Portuguese, in carved and gilded wood. Dim.: 113 x 61 cm. good conditions

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

Circle of Alexis-Simon Belle (1674-1734) "Antique Portrait of a Young Girl" Oil on canvas. Dimensions: H: 70 × W: 57 cm Good condition Alexis Simon Belle was born in Paris. He was t...

Flemish school 17th century "Our Lady with the Child Jesus, St. John, St. Elizabeth and Zacarias". Oil on canvas Relined. Dimensions: 74 x 84 cm good conditions.

Very impressive 19th century solid silver antique German model of a ship, named "Nef" in the renaissance style, impressively large and highly deta...

Italian Bronze sculpture depicting ''DAVID''. Green marble base. Late 19th century. Dimensions Height approx. 108 cm good condition

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...

FOUR-SEATER CHAIR Portuguese, from the 18th Century in carved chestnut wood, decorated with plant motifs. Small defects Dim.: 141 x 181 x 181 cm good conditions

JESUS CHRIST CRUCIFIED Indo-Portuguese sculpture, 17th Century on Ivor.... Wooden cross with ivory plaque. Defects and faults. Height: (christ) 26 cm.; Height: (total) 63 cm good con...

Largest collection of Portuguese tiles in the world 18th Century Portuguese "Saint Antony" Measures: 266 cm x 210 cm Important note: This panel is with the tiles restored 18th ce...

Beautiful Italian " Torso " 20th century Carrara marble. Measure: H: 47m including base, 30cm without very good condition

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Romantic Scene" Measures: 252cm x 140cm 170 tiles Important note: This panel is with the t...

"Saint Sebastian" by Carlo Saraceni 19th Century Italian School with Video Oil painting on canvas, Italian school, 19th century, depicting Saint Sebastian in the style of Carlo Sara...

Silver chest. Basque country, 17th century, 1617. With inscription. Rectangular base and semi-circular lid slightly raised on four legs with vegetal shape finished in hooves (and p...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Panel "Battle Scene" 126cm x 140cm 330 tiles Important note: This panel is with the tiles ...

"The Tears of Saint Peter", Follower Domenikos Theotokopoulos- El Greco 19th Century El Greco Museum. Toledo, Castilla la Mancha, Spain. Saint Peter's Tears El Greco (1541-1614) Oil...

Largest collection of Portuguese tiles in the world 18th Century Portuguese "Saint Antony" Measures: 252 cm x 294 cm Important note: This panel is with the tiles restored 18th ce...

Spectacular Sculptures "The Four Seasons" in Carrara Marble 19th Century total height: 225cm statue height: 183cm base: 48cm x 63cm base height: 40cm good condition for the period

JESUS CHRIST CRUCIFIED European, Germany ? 19th century Christ and font in bronze, wooden cross, covered with enamel. Slight wear. Dim.: (cross) 50 x 30 cm; Height: (christ) 16 cm...

A striking 18th century Spanish giltwood religious sculptural panel, possibly part of an altarpiece, its central decorative motif of a stylized pelican bird and chicks a symbol of th...

Spanish Sculpture of the 17th century "Saint Antony and the Child Jesus" Measures: H: 61cm, polychrome and gilded wood. Good condition.

English School 17th Century "Portrait of George Villiers Duke of Buckingham" Oil on canvas 66X53 cm size without frame George Villiers, 1st Duke of Buckingham (Brooksby, 28 August 1...

Frame. Ebonized wood, metal. Dutch School, 17th century. It has faults. Slightly rectangular frame made of ebonized wood and decorated with a series of smooth moldings of varying w...

17th century Portuguese "Vase" Measures: 73cm x 87cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a painting wi...

Largest collection of Portuguese tiles in the world 18th Century Portuguese " Azulejos " Countryside Scene" Measures: 141cm x 105cm 80 tiles IMPORTANT NOTE: This panel is with the...

This highly decorative silver holy water font or stoup, is stamped with hallmarks placing its manufacture in Aspiazu, Bilbao, Spain during the l...

Largest collection of Portuguese tiles in the world 17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white ti...

MAGNIFICENT AND RARE EUROPEAN CRADLE 18th Century in painted and gilded wood with scrolls, puttis and profuse floral decoration. Small defects. Dim.: 68 x 94 x 43 cm good conditions

Portuguese 18th century cabinet Made of kingwood. Three drawers simulating four. Base with profusely decorated skirts with plant motifs, turned legs and beams. Hardware and fittings ...

Original 18th Century Roman Marble Lion Bath It has the Lions head to the front, rings either side,with a beautifully veined patina These ...

Devotional plaque, Immaculate Conception. Bronze. Spanish School, 17th century. Bronze devotional plaque with a washer at the top and an oval shape featuring a relief on the front....

Peter Paul Rubens (Siegen 1577 - Antwerp 1640) circle of Saint Catherine of Alexandria Never Restored First Canvas Oil on canvas 129.5 x 94 cm The work is based on the painting by Peter Paul Rubens and engraved by Schelte von Bolswert. Rubens, known as "the Prince of the Baroque", was the great master who revolutionized both Flemish and European painting. His first training took place thanks to the masters Otto van Veen and Jan Brueghel the Elder. His trip to Italy, where he stayed, studied and painted for eight years, was fundamental to his artistic growth. His first stop was Venice, where Titian, Veronese and Tintoretto studied. He later came into contact with Vincenzo I Gonzaga, Duke of Mantua, becoming the court painter of the family, a position he held until the end of his stay in Italy. In Mantua, Rubens had the opportunity to study the rich ducal collection closely and assiduously. By making copies of several famous paintings he was able to practice technically on the examples of the greatest masters. In 1601 he was sent by the duke to Rome, where he was able to further broaden his figurative horizons thanks to the copying of the models of Michelangelo and Raphael and the study of the ancient, also looking at the contemporary artistic production of Carracci, Caravaggio and Federico Barocci. After leaving Italy, he settled in Antwerp, where he organized his atelier, applying the methods of organized production, that is, employing his collaborators with rational criteria and on the basis of individual specializations. Among the many painters who came out of Rubens' workshop or were strongly influenced by the master, we remember: Cornelis and Paul de Vos, Jacob Jordaens, Pieter Van Mol, Victor Wolvoet, Joanna Vergouwen, Jan Boeckhorst known as Lange Jan, Lucas Van Uden, Theodor Van Thulden, Peter Van Lint, Willem Van Harp, Vincent Adrianssen, Pieter Van Avont, Jan and Hendrick van Balen, Theodor Boeyemans or Boeijermans, Vincent Malò...

A Wooden Madonna with child Baroque art, Southern Italy, 17th century. Measure: H: 71cm Good condition for the time. With Export Certificate to USA.