Jean-Marc Louis "Market 16" 2017

The abstract portrait from 2017, shown here, is by contemporary artist Jean-Marc Louis. Titled "Petit Zom (Ref #7968)," it is pastel on paper and, like all of Louis's works, finished...

The abstract paintings of Ethan Boisvert often begin with a random sketch and find form and narrative through an overlay of direct painting, drips, homemade print making techniques and stencils. "Candy Stripe...

American artist, Wayne Cunningham is a self-proclaimed 'Outsider Artist' who tends to create his works from unconventional materials. Skilled in the areas of pen & ink drawings, past...

The abstract paintings of Ethan Boisvert often begin with a random sketch and find form and narrative through an overlay of direct painting, drips, homemade print making...

The pair of iron side tables, shown here, are in the style of Jean-Michel Frank. Featuring lean, tapered legs and a red leather top with c...

This mahogany office cabinet was designed by French deco master Louis Neiss and made in 1935. In addition to its beautiful restored mahogany finish, ...

Charles Edouard Edmond Delort (French, 1841-1895) oil on canvas "Game for the Cardinal", depicting a seated cardinal behind an ornate French Louis XV roll-top Bureau du Roi, after the model by Jean-François Oeben currently at Versailles, a young boy delivering a game bird as a gift, all inside an ornately paneled and upholstered wall room with parquet floors and centred with a white bear skin rug...

An exceptional late 19th century gilt bronze Mounted Louis XV/XVI Style Exhibition Bureau a Cylindre By Henry Dasson Henry Dasson – Thought to be made especially for Dasson’s stan...

Author Pamela Golbin and Jean-Louis Deniot A leading name in the international design scene, and a regular in every major shelter magazine in America, his native France and world-...

A fabulous Mid-Century abstract oil painting titled Horse Races by Pierre Bosco. Displayed in a dark wood frame with gold inset and ready to hang. Excellent Condition, Original Condi...

A Monumental Louis XIV style French gilt-bronze mounted wood boulle marquetry casket box, circa 1895 Known in French as a carré de toilette, this casket has canted corners with lavi...

Very cool Brutalist style coffee table by Marc Creates from the 1960s/70s. This intricate and well constructed table is made up of small metal sheets and nails which are held togethe...

A scarce period Charles X (1818-1834) French Restoration mahogany travailleuse sewing (thread stand - side table - jewelry dressing table) with light, warm, beautifully aged patina. Born in France in the early 19th century, almost certainly Parisian work, exquisitely hand-crafted, this exceptionally executed example features ornate gilt bronze ormolu mounts, escutcheons, and elaborate gilt metal trim. Having a highly figured light mahogany hinged lid top, lifting open to reveal a striking finished interior with divided compartments and original inset mirror plate. The conforming rectangular case fitted with a faux drawer front over a dovetailed drawer with sectioned interior. Elegantly rising on oval-shaped medial shelf stretcher-joined curvacious legs. Dimensions (approx): 27" High, 20" Wide, 13.5" Deep Stunning light almost blonde antique mahogany coloring and mellow warm tone, superb wood grain detail, and charming, beautifully aged patina over the whole. Great shape overall. Retaining original antique character marks, wear consistent with age and indicative of minimal use, nothing that detracts from the aesthetics or functionality, but only adds to the overall authenticity, refined elegant warmth, luxurious sophistication, and cozy unpretentious rustic elegance. Delivered cleaned, hand waxed, polished French patina finish, ready for immediate use and generational enjoyment! What is Charles X style: The comte d’Artois – or Charles X - was the son of the dauphin Louis-Ferdinand de Franc and Marie-Josèphe de Saxe. He succeeded his two brothers Louis XVI and Louis XVIII and became the King of France in 1824. Thirty years after the French Revolution, he wanted to embody the return of monarchy and became the leader of the catholic party . As the previous kings, he was crowned in 1825 but he was soon overthrown by the revolution in July, 1830, called "Trois Glorieuses". He left then for England, Scotland, Prague and Istria where he died in 1836. Charles X style lasted from 1818 to 1834 and happened during the Bourbon Restoration (French Restoration). This style did not replace totally the style of furniture from the French Empire but it was different from the formalism in the Napoleonic era, during which strictness and simplicity were inspired by Greco-Roman art. Indeed, artistic fields flourished. In terms of furniture, this renewal was suggested by the softening of shapes. Even though the simple aspect from the French Empire was still visible, shapes became curvier with volutes and arabesques. Another distinction is the loss of the massive aspect of furniture and the decrease of dimensions in order to decorate smaller appartments. Handling ability and comfort were key-words in the making of furniture. Apartments had essential elements such as chests of drawers, big rounded tables in the dining room, desks or secretaries, armoires and even dressing tables, comfortable fainting couches in the living room, small tables, pedestal tables, as well as gondola chairs. The wavy aspect of the latters certainly represent Charles X style the best.  One of the most emblematic features of this style is the use of bois clairs – light woods in warm blond tones - and indigenous woods that are varnished in order to highlight the grains. Bird's-eye maple, ash trees, plane trees, yew trees, beech trees, olive trees and cedar trees were most likely to be used. Indeed, at the beginning of the 19th century dark woods were hard to find. In 1806, the Napoleon’s Continental System was established in order to ruin the United Kingdom by preventing the country from any business with the rest of Europe. Therefore craftsmen had to find alternatives from mahogany which was the most commonly used material at this time. After 1815, the import of wood was even more difficult because of peace treaties and the European political situation, which contributed to the popularity of the bois clairs and indigenous woods. The furniture was often decorated with fine inlays made out of dark wood representing foliage, which contrasted with the veneer. Even though these patterns can look like bronze decorations from the Empire era,  they were far more simple and did not represent any military or mythological attributes. On the tables, trays were sometimes made out of marble as in the French Empire, but it was often put aside and inlaid veneer, Verre Eglomisé – a type of glass with a mirror finish –, mirror or porcelain from Sèvres or Paris were more likely to be used. Decorative elements from the Monarchy were highly appreciated again as they suggested luxury. Indeed, marquetry work was particularly fashionable - Boulle marquetry thrived around 1820 as the works of the Levasseur family can show. In the same way, draperies and trimmings referred to the monarchist splendour. Fabrics were often white – the traditional colour of the Bourbons – or light coloured as oppposed to the typical green from the Napoleonic era.  One of the most symbolic figures from this period of time might be Jean-Jacques Werner (1791-1849), a cabinetmaker who worked for prestigious clients such as the Duchesse de Berry who was Charles’s step-daughter. His works can be seen at the Musée des Arts Décoratifs and at the Grand Trianon in the Palace of Versailles. The duchess’s appartments situated at the pavillon de Marsan and at the Palais de Saint Cloud illustrate Charles X style the best with furniture made out of bois clairs and ornamented with dark wood patterns or fine gold decorations. Chales X style allows a transition between the sobriety of the Empire style and the abundant aspect of Louis-Philippe style. The gothic style started at this time through the "style à la cathédrale", inspired by religious architecture, which thrived from 1827 to 1830. Indeed, at the beginning of the 19th century, Romanticism put the spotlight on the Middle Ages. Cabinetmakers were not inspired by the medieval furniture but rather by architectural elements of churches and cathedrals. For instance the backs of chairs were decorated with arches shaped like rib and serration. In the same way, before Charles X abdicated, pieces of furniture were made out of dark woods – such as mahogany, which was used again in France – and were inlaid with light wood. Romanticism also influenced the layout of furniture in appartments to suggest movement through a mix of various styles, various shapes and various sizes, as opposed to the static aspect of Neoclassicism. The start of industrialisation and mechanisation also influenced this style as early technical developments led to the production of pieces of furniture in series. Credit: Marc Maison Bibliography: FANIEL Stéphane (Dir.), Le Dix-neuvième Siècle Français, Collection Connaissance des Arts, 1957, Hachette SASSONE, Adriana Boidi, Furniture from Rococo to Art Deco, 2000, Evergreen -- Extremely versatile: As warm and attractive as it is useful, this remarkable antique table having the ideal size and small proportions for a variety of different uses, including as a side table, accent or occasional table, tall sofa...

Follower of Jean Restout (Rouen, 1692 - Paris, 1768) Mythological scene with Venus, Mars and Cupid Oil on canvas, 64 x 112 cm Frame 75 x 120 cm The French eighteenth-century pictorial school was affected for a long time, especially in the context of large patrician commissions, from the academic-classicist influence introduced in the country during the previous century. The Italian preponderance in the cultural sphere, both artistic and operatic, had been encouraged with the installation of Mazarin within the court of Louis XIV, successor of Cardinal Richelieu as Principal Minister of the Kingdom. Already inside the Hall of Mars of the Palace of Versailles it was possible to observe King David playing Domenichino's harp, an example of the dominant classicist preference within the structures of power of the Ancién Regime. The present painting is affected by the figurative solutions of Jean Restout (1692-1768), son of art and famous exponent of a cluster of artists who traced the Roman Arcadian climate, updating it to the blatant typically French plastic softness. A pupil of Jean Jouvenet and therefore professor of painting and sculpture at the Académie Royale, Restout was able to observe Italian linearism when he won the coveted Prix de Rome, which granted him the sharing of the Roman manner, like his grandfather Marc-Antoine ( 1616-1684) who worked in the capital in close contact with Poussin. Subsequently, Frederick II of Swabia requested its work in collaboration with his colleagues Jean-Bapstiste Marie Pierre (1714-1789), Carle Van Loo (1705-1765) and Antoine Pesne...

18th century, French School. Portrait of Louis XV of France and queen consort Maria Leszczynska (2) Pastel on paper, 47 x 60 cm With fram...

Author Victoria Botana de Beauvau-Craon, Photographs by Miguel Flores-Vianna, Foreword by Jean-Louis Deniot A dazzling tour of Château de Haroué, the epitome of opulent French style and one of today’s must-see examples of vibrant eighteenth-century architecture and design. Located in a remote village in the Lorraine region of northeastern France, the estate of Château de Haroué is an unrivaled treasure of Gallic culture and heritage. Built between 1720 and 1729 for Marc de Beauvau, Prince de Beauvau-Craon, constable of Lorraine and viceroy of Tuscany, his descendents have inhabited the castle and kept it going in high style ever since. Throughout the pages of this volume, readers are invited to discover the château’s impressive architecture and fashionably chic interior design. Newly commissioned photographs by leading interiors photographer Miguel Flores-Vianna alongside archival documents offer unprecedented access to 82 sumptuous rooms, which are enlivened by dynamic tapestries and family portraits, a breathtaking artwork collection, and stately antique furniture. Informative texts by Victoria Botana de Beauvau, one of France’s preeminent modern-day aristocrats and an It girl in Parisian society, paint a picture of the castle’s architectural splendors, lifestyle, notable events, and her family’s unique approach to keeping history alive—all published in an exquisitely crafted book, with creative direction by Peter Copping, worthy of this stunning property. About the author Victoria Botana de Beauvau is a creative director and producer. Miguel Flores-Vianna is a renowned Argentine-born, London-based photographer whose images regularly appear in Architectural Digest and Cabana magazine...

"TOLDO AZUL" by Luci, 2017. Steel and fabric Conceptual artwork In original condition.

Abstract oil painting Education 1994–1996 MFA, University of British Columbia, Vancouver, Canada 1991–1994 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017/18 Landscape / Still Moving, Rockford Art Museum Annex, Rockford, Illinois, USA 2017 Life Still / In Motion, Kortman Gallery, Rockford, Illinois, USA 2015 Ljósanótt, Keflavik, Iceland 2014 Umbrot, Kaffi Sólon, Reykjavik, Iceland 2012 Brotinn himinn, Kaffi Sólon, Reykjavik, Iceland 2011 Eins og enginn sé morgundagurinn, Listasalur IÐU, Reykjavik, Iceland 2009 Myndbirtingar, B5, Reykjavik, Iceland 2006 ekki endilega hér / hvergi (possibly nowhere), Gallerí List, Reykjavik, Iceland 2006 In Transit, Galeriazero, Barcelona, Spain 2005 Koma og fara, SPH, Garðabaer, Iceland 2001 flökt (taktur einsemd snerting), Café Prestó, Kopavogur, Iceland 1999 Manngervingar (anthropomorphic), The Labour Unions’ Art Gallery, Iceland 1998 hafið bláa hafið, Gallerí smíðar&skart, Reykjavik, Iceland Group Exhibitions 2016 Ljósanótt, Keflavik, Iceland 2002 Anniversary Exhibition, Gallerí List, Reykjavik, Iceland 1998 Brynhildur Gudmundsdottir & Hekla Gudmundsdottir, Bílar&list, Reykjavik, Iceland 1996 Masters of Fine Arts Graduate Exhibition, Belkin Gallery, Vancouver, Canada 1996 XQXQXQX, Skuggi Gallery, Rockford, Illinois, USA 1995 Invitational Drawing Exhibition, OR Gallery, Vancouver, Canada 1995 Annual Erotic Art Exhibition, New-Era Society, Victoria, Canada 1995 Opening Exhibition, Skuggi Gallery, Rockford, Illinois, USA 1995 Gullnáman, Laugarvatn, Iceland 1995 Heart Art...

Abstract oil painting Education 1994-1996 MFA, University of British Columbia, Vancouver, Canada 1991-1994 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017/18 Landscape / Still Moving, Rockford Art Museum Annex, Rockford, Illinois, USA 2017 Life Still / In Motion, Kortman Gallery, Rockford, Illinois, USA 2015 Ljósanótt, Keflavik, Iceland 2014 Umbrot, Kaffi Sólon, Reykjavik, Iceland 2012 Brotinn himinn, Kaffi Sólon, Reykjavik, Iceland 2011 Eins og enginn sé morgundagurinn, Listasalur IÐU, Reykjavik, Iceland 2009 Myndbirtingar, B5, Reykjavik, Iceland 2006 ekki endilega hér / hvergi (possibly nowhere), Gallerí List, Reykjavik, Iceland 2006 In Transit, Galeriazero, Barcelona, Spain 2005 Koma og fara, SPH, Garðabaer, Iceland 2001 flökt (taktur einsemd snerting), Café Prestó, Kopavogur, Iceland 1999 Manngervingar (anthropomorphic), The Labour Unions’ Art Gallery, Iceland 1998 hafið bláa hafið, Gallerí smíðar&skart, Reykjavik, Iceland Group Exhibitions 2016 Ljósanótt, Keflavik, Iceland 2002 Anniversary Exhibition, Gallerí List, Reykjavik, Iceland 1998 Brynhildur Gudmundsdottir & Hekla Gudmundsdottir, Bílar&list, Reykjavik, Iceland 1996 Masters of Fine Arts Graduate Exhibition, Belkin Gallery, Vancouver, Canada 1996 XQXQXQX, Skuggi Gallery, Rockford, Illinois, USA 1995 Invitational Drawing Exhibition, OR Gallery, Vancouver, Canada 1995 Annual Erotic Art Exhibition, New-Era Society, Victoria, Canada 1995 Opening Exhibition, Skuggi Gallery, Rockford, Illinois, USA 1995 Gullnáman, Laugarvatn, Iceland 1995 Heart Art, Rockford College Art Gallery, Illinois, USA 1994 TSYQEOPXHBE, BFA Exhibition, Rockford College Art Gallery, Illinois, USA 1994 Just Another One Night Stand, Rockford College Art Gallery, USA 1993 No Icelandic Conversation, Rockford College Student Art...

Abstract oil painting Education 1994–96 MFA, University of British Columbia, Vancouver, Canada 1991–94 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017/18 Landscape / Still Moving, Rockford Art Museum Annex, Rockford, Illinois, USA 2017 Life Still / In Motion, Kortman Gallery, Rockford, Illinois, USA 2015 Ljósanótt, Keflavik, Iceland 2014 Umbrot, Kaffi Sólon, Reykjavik, Iceland 2012 Brotinn himinn, Kaffi Sólon, Reykjavik, Iceland 2011 Eins og enginn sé morgundagurinn, Listasalur IÐU, Reykjavik, Iceland 2009 Myndbirtingar, B5, Reykjavik, Iceland 2006 ekki endilega hér / hvergi (possibly nowhere), Gallerí List, Reykjavik, Iceland 2006 In Transit, Galeriazero, Barcelona, Spain 2005 Koma og fara, SPH, Garðabaer, Iceland 2001 flökt (taktur einsemd snerting), Café Prestó, Kopavogur, Iceland 1999 Manngervingar (anthropomorphic), The Labour Unions’ Art Gallery, Iceland 1998 hafið bláa hafið, Gallerí smíðar&skart, Reykjavik, Iceland Group Exhibitions 2016 Ljósanótt, Keflavik, Iceland 2002 Anniversary Exhibition, Gallerí List, Reykjavik, Iceland 1998 Brynhildur Gudmundsdottir & Hekla Gudmundsdottir, Bílar&list, Reykjavik, Iceland 1996 Masters of Fine Arts Graduate Exhibition, Belkin Gallery, Vancouver, Canada 1996 XQXQXQX, Skuggi Gallery, Rockford, Illinois, USA 1995 Invitational Drawing Exhibition, OR Gallery, Vancouver, Canada 1995 Annual Erotic Art Exhibition, New-Era Society, Victoria, Canada 1995 Opening Exhibition, Skuggi Gallery, Rockford, Illinois, USA 1995 Gullnáman, Laugarvatn, Iceland 1995 Heart Art, Rockford College Art Gallery, Illinois, USA 1994 TSYQEOPXHBE, BFA Exhibition, Rockford College Art Gallery, Illinois, USA 1994 Just Another One Night Stand, Rockford College Art Gallery, USA 1993 No Icelandic Conversation, Rockford College Student Art...

Abstract oil painting Education 1994–96 MFA, University of British Columbia, Vancouver, Canada 1991–94 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017/18 Landsc...

Abstract oil painting Education 1994–1996 MFA, University of British Columbia, Vancouver, Canada 1991–1994 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017-20118 Landscape / Still Moving, Rockford Art Museum Annex, Rockford, Illinois, USA 2017 Life Still / In Motion, Kortman Gallery, Rockford, Illinois, USA 2015 Ljósanótt, Keflavik, Iceland 2014 Umbrot, Kaffi Sólon, Reykjavik, Iceland 2012 Brotinn himinn, Kaffi Sólon, Reykjavik, Iceland 2011 Eins og enginn sé morgundagurinn, Listasalur IÐU, Reykjavik, Iceland 2009 Myndbirtingar, B5, Reykjavik, Iceland 2006 ekki endilega hér / hvergi (possibly nowhere), Gallerí List, Reykjavik, Iceland 2006 In Transit, Galeriazero, Barcelona, Spain 2005 Koma og fara, SPH, Garðabaer, Iceland 2001 flökt (taktur einsemd snerting), Café Prestó, Kopavogur, Iceland 1999 Manngervingar (anthropomorphic), The Labour Unions’ Art Gallery, Iceland 1998 hafið bláa hafið, Gallerí smíðar&skart, Reykjavik, Iceland Group Exhibitions 2016 Ljósanótt, Keflavik, Iceland 2002 Anniversary Exhibition, Gallerí List, Reykjavik, Iceland 1998 Brynhildur Gudmundsdottir & Hekla Gudmundsdottir, Bílar&list, Reykjavik, Iceland 1996 Masters of Fine Arts Graduate Exhibition, Belkin Gallery, Vancouver, Canada 1996 XQXQXQX, Skuggi Gallery, Rockford, Illinois, USA 1995 Invitational Drawing Exhibition, OR Gallery, Vancouver, Canada 1995 Annual Erotic Art Exhibition, New-Era Society, Victoria, Canada 1995 Opening Exhibition, Skuggi Gallery, Rockford, Illinois, USA 1995 Gullnáman, Laugarvatn, Iceland 1995 Heart Art, Rockford College Art Gallery, Illinois, USA 1994 TSYQEOPXHBE, BFA Exhibition, Rockford College Art Gallery, Illinois, USA 1994 Just Another One Night Stand, Rockford College Art Gallery, USA 1993 No Icelandic Conversation, Rockford College Student Art...