Louis XIII Wall Decorations

"Les misères et les malheurs de la guerre" (“The misfortunes of war”) more commonly called “the great miseries of war” (“The great miseries of war”) is a major work by the 17th cent...

Brussels tapestry, battle scene, second half of the 16th century

This engraving is part of a series of 12 plates called "La Noblesse" ("Nobility"). Numbered 5, it was published with the 11 others between 1620 and 1623. It depicts a lady wearing a ...

Each ebony tondo carved with Roman military scenes in low relief, set in gilt Florentine style frames. Formerly part of the front doors of a cabinet. With an old label at the back of the frame, Ernest Samson, Paris. 13 1/4in. diameter sight (the dimensions otherwise indicated include the frame). These beautifully carved panels would have been part of the doors of a cabinet made to impress in a grand room in an aristocratic or royal setting. They reflect the changing taste in the first half of the 17th century for large sumptuous pieces for grand galleries and grand state apartments in royal and courtly interiors. It was not until the 17th century that France began to import exotic timbers from the Far East and South America and ebony was one of the first of these woods to be employed in cabinet-making. However, due to its rarity and cost it was almost exclusively used for veneering. French cabinetmakers who worked with ebony became known as menuisiers en ébène and later ébénistes. The carved and engraved ornament and ripple mouldings reflect the light on the glossy ebony surface. The subject-matter of these bas-relief carvings was inspired by prints with religious, mythological or literary subjects and naturalistic engraved motifs. According to Alcouffe 'These cabinets represent the synthesis of foreign (especially German) influences and traditions expressed in French Renaissance furniture...

Originally comprising twenty-five plates, *The Beggars* series depicts various types of beggars and common people, inspired by the figures Callot observed during his time in Italy. C...

These engravings are part of a series of 25 prints called "les gueux" or "les mendiants", "les barons", "les barons". Numbered 12 and 16, they were published with the 23 others betwe...

17th century engraving by Jacques Callot, from the series La Grande Passion. The engraving represents Le Crucifiement or La Crucifixion. This is the seventh number of a series of 7 p...

We present you this extremely antique grey pastel artwork that captures a tranquil pastoral scene depicting two shepherds guiding their livestock beneath the grand arch of an imposin...

Framed oil on canvas depicting an interior scene where a young man is reading. In this rich interior, the two figures in silk clothes appear in the foreground: a young woman sitti...

Pair of paintings, lively family scenes, oil on canvas, early 19th century

Louis Joseph Toussaint Rossignon (1780-1871) . Oil on canvas depicting a historical scene in the history of France, the day of the dupes, where King Louis XIII, against all odds, renews his confidence in Cardinal Richelieu, to the dismay of the mother of the king, Marie de Medici. Signed lower right Rossignon and dated 1847. Handwritten inscription on the back on the frame: Richelieu - Versailles - jour des dupes by Rossignon 1847. The painter Louis Joseph Toussaint Rossignon, specialist in historical scenes, was much appreciated by King Philippe...

Framed engraving depicting an animated interior scene of several characters around a table. It bears the following description: "Il fumoso a smaltir cibo indigesto - non v'e piu ...

Pair of 19th century bronzed electrotype plaques French, late 19th century Frames: Height 61cm, width 71.5cm, depth 12cm Panels: Height 42cm, width 52cm, depth 6cm Hailing from the late 19th century, this remarkable duo of bronzed electrotype figural plaques stands as a testament to the creative prowess of the French sculptor Étienne Alexandre Stella...

“The Harvest” oil on cardboard, signed Hans Enzinger (1889–1972) Austria

Large oil on canvas, "Jesus presents his wounds to Saint Thomas" or "the disbelief of Saint Thomas" after the triptych of Rockos by Rubens, Copy circa 1800 Modern frame