Baroque Furniture

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...

Gorgeous oval tureen with tray in solid 800 silver produced in Italy in the late 1960s. The body of the tureen is oval, shaped and embossed. An oval base has been soldered under the ...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

Della Robbia style sculpted portrait plaque of Jeweled Maiden, by Cantagalli An impressive late 19th century example, subtly detailed, three dimensional circular portrait...

This pair of very beautiful porcelain sauce boats were handmade at the end of the 18th Century in Italy by Richard Ginori. They were hand painted with the most iconic decor of Richard Ginori: the Tulip decor in red. Nowadays the pieces with this kind of drawings are most required by the collectors and have an higher rating. These elegant pieces can be used to lay an elegant table or can be part of a worth collection. Every sauce boat is composed by 3 pieces: little plate tray, the sauce boat and the little spoon...

an impressively long bench ideal for a hallway or bedroom, in the Baroque taste with rectangular upholstered tight seat above an ornate and symmetrically carved openwork apron with s...

An exceptional Spanish vargueno or collector cabinet with a sophisticated assemblage of decorated drawers and cabinets on the interior with columnar accents. The exterior with except...

The headboard is surmounted with a carved cresting and turned finials at each end, and the frame painted with scrollwork. The centre of the headboard has a cartouche containing a pai...

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...

Spanish 17th Century Walnut drop-leaf Table with charming inlaid Fruitwood details, turned legs and stretchers and shaped swing-legs to support the drop-leaves when opened. The table...

A rare Swedish candle wall sconce from early 18th century with Småland´s landscape arms. Made in brass and with a beautiful patina. Wear consistent ...

Immerse yourself in the world of luxury with our exquisite chandelier. This stunning chandelier will add a touch of royal glamour and elegance to any room. We are proud that our cha...

Gorgeous set of 18 bar glasses with gold Greek Key design rims. 6 of each size, champagne, wine and rocks. Unbranded in the style of Versace.

Styled in the lavish Baroque manner, this highly collectible pattern is our best seller. Introduced in 1941, it captures classic symbols of the Renaissance in the exquisitely carved ...

Simple frame with rounded carved and shaped frame. Mirror plate.

A stunning grand Italian midcentury Venetian Baroque patchwork burlwood sideboard. Exquisitely handcrafted of warm richly figured burled walnut, born in the Veneto region of North...

A pair of French cast bronze doré tall pillar candlestick lamps with colorful champlevé enamel decoration. Triangle base with fantastic winged dragons and claw feet. Excellent qualit...

From Northern Spain, constructed of solid walnut, the rectangular top with molded edge a top a conforming case housing shelves and three drawers, the doors paneled with solid walnut,...

Pair of elegant pillows in a rich, deep blue vintage linen fabric. The pillows feature intricate gold embroidery in an ornate, scrolling acanthus leaf design, reminiscent of classica...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

Vintage Cherub Putti Garden Plant Stand/Table This vintage circular pedestal features three cherubs holding up a round top. Its rough rustic finish make...

Original Walnut Chest of Drawers with Inlaid Top – Restored & Hand-Polished 1740-1750 Beautiful antique walnut chest of drawers featuring an inlaid top with two decorative panels. B...

These sugar bowls are a little collection of interesting Italian porcelain pieces coming from the historical Richard Ginori factory, Doccia, Italy One of them, has the tulip decor, ...

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...

Spanish Colonial baroque style refectory dinning table crafted in narra hardwood. Rectangular 4.5 cm thick one-piece table top with with moulded edge. The Philippines were a Spanish ...

The long baroque style metal console or sofa table has a brushed gold gilt finish and is handcrafted with elegant scroll-work and detailing. The feet have flat iron pads. The console is newly made from antique fencing...

Venetian daybed of hand-carved wood with silver gilt accents on a Venetian grey blue ground. Ornate Rococo carving, highlighted by silver gilding and l...

Odyssee de la Mer. A large 19th century French cast bronze fragment with a mounding growth of over 5000-carat natural citrine and black tourmaline that surround a giant black sea fan...

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...

Couple of architectural capriccio with mythological scenes, oil on canvas, painter from Bologna active in the 18th century The two large and valuable pantings depict two architectur...

Single candlestick with gilt bronze angel sculpture, made in France in the 20th century Ø cm 8.5 Ø cm 7 h cm 24

This elegant frame with projecting corners surrounding a rectangular mirror will be a perfect accent on your entry wall.

An incredible and very rare late 18th century Italian water gilded sunburst, with a formation of clouds surrounded by sunrays, in beautiful time worn condition, one ray has been lost...

19th century Italian hand carved walnut Savonarola chair, circa 1880. Having wonderfully carved frame with scrolling arms, aged black leather seat and back, accented with brass roset...

Housing four lights total. One light in centre top. The three encircling sit on wood posts and crystal bobeches dripping with champagne color Murano drops. Gilt metal with glass flo...

Spanish Damasq Velvet Bench with Back and Walnut Carved Legs

16th Century Spanish Terracotta Vase Hand made marks around the vase.

Hallmarked in London in 1854 by Barnards, this stunning, Victorian, antique sterling silver Centrepiece, features a central glass bowl and 5 spaces for candles. The centrepiece is ri...

Styled in the lavish Baroque manner, this highly collectible pattern is our best seller. Introduced in 1941, it captures classic symbols of the Renaissance in the exquisitely carved pillar and acanthus leaf curved as in nature. The sculptural, hand-wrought quality is evident in the playful open work and intricate, three-dimensional detail, which carries to the functional bowls and tines, and is apparent whether viewed in front, back, or profile. Perfect for traditional and formal settings. Monumental GRANDE BAROQUE by WALLACE sterling silver Flatware...

A beautiful turn of the 17th and 18th century Swedish period Baroque wooden table. This antique table from Sweden features a rectangular-shaped top, with rounded corners, which overh...

Fabulous 18th century Venetian single bed Baroque, richly polychrome inlaid with exotic woods and with gilded bronze decorations. Walnut and burl w...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

Late 20th Century Italian Baroque inspired table or buffet lamp by Maitland Smith. Features a carved mahogany acanthus scrolled urn over a tessellated marble base. Fixture is brass w...

Baroque altar candlestick with a three-legged stand and a balustered shaft with a gold-patinated and dark accentuated setting and a wavy bras...

Antique Weiman Hairloom hand-carved walnut side table. The table light but also sturdy. The top is protected with custom removable glass with polished edge. We prefer to ship this it...

A Savona alzatina or crespina, dish on stand, with blue decor. On the front a heraldic coat of arms with a lion adorned with crown and putto. In the background elaborate architecture...

70309 Vintage Turkish Sparta Rug with Russian Baroque Style 05’09 x 09’06. This hand knotted wool vintage Turkish Sparta rug features an oval central m...

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...

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...

Liturgical chalice in sterling silver. Volutes have been embossed on the base of the chalice, typical of the Baroque style, interspersed with hammered parts. A golden cup...

Mirror wall European black Baroque period 1650-1750 Northern Europe. A mirror made during the Baroque period in Sweden or Northern Europe. Black frame with a beautiful patina.   

These exquisite pillows are crafted from antique Italian brocade, featuring a richly textured design woven in a luxurious ruby red and gold palette. The brocade pattern highlights an...

A fine Nord Italian 18'century walnut Settee with scrolled arm-support on 8 cabriole legs , covered with silk fabric of Rubelli. cm 220x115x70

Wonderful pair of late 19th century Italian chests or commodinis made of burled walnut in the Baroque Venetian style. Each oxbow front chest has a beautifully shaped top, front, and ...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Unique panel depicting a Saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

Madonna with child wall sculpture beautiful woodwork, 20th century. Linden wood with attention to detail.

Early 19th century brass bird cage, circa 1810-1830 The bird cage has two bird seed containers that attaches to the cage.   

A large and very fine Italian 19th century Florentine Baroque style giltwood carved wall console table with marble top. The ornately carved rectangular shaped scrolled body frame in ...

19th Spanish side table with cared Solomonic turned legs and carved edges in top