Wool And Silk Tapestry, Young Woman Under A Canopy, 18th Centuryflag

Important Liégeois Chandelier In Blown And Cut Glass, 18th Century Three levels of pendants and 16 sconces on two levels

Pair of Louis XV armchairs, 18th century “oak” carved wood, pretty velvet in good condition

Louis XV Commode In Veneer And Gilded Bronzes, Rance Marble, 18th Century

Trumeau in gilded and painted wood topped with an oil on canvas in grisaille

Fountain basin and its base in gray marble from the Ardennes. The two elements had to be integrated into the masonry of a facade and surmounted by a niche. gadrooned basin and base c...

Pair Of Louis XV Armchairs In Carved And “chené” Wood, 18th Century

Rare 18th century wool and silk tapestry by Leyniers Belgian, 18th Century Length 247cm, width 283cm Beautifully executed and vibrantly coloured, this large tapestry was made in 18th century Brussels by Urbanus (1674-1747) and Daniel III Leyniers (1705-1770). The tapestry depicts ‘Eumenes’ wrestling match’ or ‘Eumene’s Struggle’ (‘La Lutte d'Eumenes') inspired by the Greek philosopher and historian, Plutarch’s ‘Parallel Lives’ written around second century A.D. King Phillip...

18th century Tapestry Handwoven Wool & Silk Tapestry Palm Tree 8x12 226cm x 359cm 7'5" x 11'9" circa 1880 "This is very fine antique Flemish tapest...

This is a silk and wool seat cover fragment from antique 18th Century French Aubusson chair. Seat cover woven in wools and silks, each with flor...

This is a silk and wool chair back cover fragment from antique 18th Century French Aubusson chair. Chair back woven in wools and silks, each wit...

Late 18th century Aubusson tapestry panel made in France. Measures: Height 8'6'', width 10'6'' Animals in a central oval cameo amongst garlands, birds, scrolling acanthus leaves a...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...