Continental Europe

18th Century Baroque Chest of Drawers, Germany, 1750 Walnut This eighteenth-century piece of furniture from Germany, dated to around 1750, is an exceptional example of Baroque craft...

Beautiful antique Italian oil painting on canvas. Excellent pictorial quality great attention to detail. Italian school of the 18th century. Not signed. A beautiful religious painting Saint Francesco...

Kilim in Turkey, representing tribal style geometric shapes. High quality, beautiful graphics and remarkable finesse. Perfect state of preservation. Measures: 62.99 in. x 39.37 in....

Portrait of a high-ranking officer with arms crossed over his chest and three-quarter view in detailed military garb: fringed silk epaulets, gold buttons, red cuffs. The attention to...

These star earrings were made out of 15 karat gold around 1865. Each earring is decorated with the relief of a star with a natural pearl in the center. The two larger claw set pearls...

Beautiful set of 2 antique walnut bookcases. With adjustable shelves. Stylish cabinets with beautiful patina. Suitable for multiple purposes. Interior made blue/grey Origin: England ...

Center triclinium sofa, made of mahogany and upholstered in black horsehair fabric. The saber feet are carved in the form of a lion's paw swathed in acanthus leaves from which sprout...

Carl Frederik Aagaard, Sunset over Dyrehaven. Signed C.F. Aagaard. Oil on canvas laid on card box panel. 22×32 cm without frame. A tergo written:...

Stunning and elegant English 19th Century spider leg table with drop leaves. Striking English design from the 1860s. Solid walnut base with original solid walnut and inlay top. The w...

Pair of porcelain sugar bowls Meissen, circa 1748-1775 Marked with crossed swords and number “92” of the gilder They measure 5.11 in (13 cm) x 5.11 in ...

Italian Cross With Blessing Pot From The 19th Century Beautiful 19th century Italian cross with a carved glass blessing jar. The cross has a wooden str...

Bridge in Venice is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). As a bearded man wearing a fur-lin...

Antique Italian painting from the second half of the 18th century. Oil on canvas artwork depicting a religious subject, antique copy by Correggio (1489-1534), Mystical Marriage of Sa...

Pair of Swiss Alps Escabelle.

A fine Italian, 18th century parcel-gilt and turquoise painted caned canapé with a shaped back decorated with shell-carved crest, scrolling armrests on a serpentine seat on cabriole ...

The wonderful carved Essex Chrystal stickpin of a pug is mounted in gold. The reverse carved ad painted crystal has been executed in England in 1865 ca. The pug wears a collar with a...

Rare cigar humidor made in wood, with a front flap, discovering five sliding cane trays. Beautiful bronze and silver electroplated brass ornaments, such as the central niche decorated with a winged creature, surmounted on top of the cabinet with a feline. Resting on four tall legs joined by a stretcher decorated with a silvered pierced bronze incense burner. The central relief of that cellarette for cigars, with that fantasy creature, is directly inspired from the one designed by J. Brandely for the front door of the Merovingian Cabinet made by Diehl in 1867, and now preserved at the Metropolitan Museum of Art in New York (Inv. 1989.197). Arriving in Paris in about 1840 Charles-Guillaume Diehl (1811-1885) founded his cabinet making and decoration firm at 19 rue Michel-le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments (see « Les ébénistes du XIXème siècle »,D. Ledoux-Lebard, Ed. de l’amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown (see « l’Art en France sous le Second Empire », Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861. In collaboration with the designer Jean Brandely (active between 1867 and 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book « Les Merveilles de l’Exposition Universal de 1867 » (vol. II, pp. 133 & 149). He writes of a table of which « the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love » (p. 133) and a jewelry case where « The head in fine Grecian style makes up the essential part of the fine gilt bronze ornementation » (p. 149). For this Universal Exhibition of 1867, Diehl also formed a partnership with two famous sculptors : Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet...

This modernistic victorian demi parure consists out of a stunning nechlace and it's matching bracelet. The beautiful agates have been carefully chosen, each stone is one of nature's ...

Large courtly top furniture with swan neck pediment and a commode base with three drawers. The two-door tall top cabinet reveals a tabernacle compartment inside as well as two drawer...

Antique print titled 'Nouveau Mexico'. Copper engraving with a panoramic view of Mexico city. This print originates from 'Histoire générale des voyages, ou nouvelle collection de...

Antique print, titled: 'Diss ist die herrlichkeit ermudete Soldaten Im marquetensters Zelt Taback, Bier und ein braten' Mezzotint of soldiers taking a rest near the sutler's tent...

Marc BRUYAS Lyon, 1821 - 1896 Oil on canvas 32 x 23 cm (42 x 33 cm with frame) Signed and dated lower left “Bruyas / December 1863” Beautiful carved and gilded wooden frame from the...

Le Diable à Paris is an original modern rare book written by Various Authors and illustrated by Paul Gavarni (1804 – 1866) and by Jean Ignace Isidore Gérard (Nancy, 1803 – Vances, 1847) in 1869. Original First Edition. Published by Hetzel & Cie, Paris. Format: 4°. The book includes 816 pages in 4 volumes. Hundreds of lithographs (several are full page Lithographs). Very good conditions. Paul Gavarni (1804 – 1866) and by Jean Ignace Isidore Gérard (Nancy, 1803 – Vances, 1847). Paul Gavarni was the nom de plume of Sulpice Guillaume Chevalier (1804 – 1866), a French illustrator, born in Paris. Among his illustrated works were Les Lorettes, Les Actrices, Les Coulisses, Les Fasizionables, Les Gentilshommes bourgeois, Les Artistes, Les Débardeurs, Clichy, Les Étudiants de Paris, Les Baliverneries parisiennes, Les Plaisirs champêtres, Les Bals masqués, Le Carnaval, Les Souvenirs du carnaval, Les Souvenirs du bal Chicard, La Vie des jeunes hommes, and Les Patois de Paris. He had now ceased to be director of Les Gens du monde; but he was engaged as ordinary caricaturist of Le Charivari, and, while making the fortune of the paper, he made his own. His name was exceedingly popular, and his illustrations for books were eagerly sought for by publishers. Le Juif errant, by Eugene Sue (1843, 4 vols. 8vo), the French translation of Hoffman's tales (1843, 8 vo), the first collective edition of Balzac's works (Paris, Houssiaux, 1850, 20 vols. 8 vo), Le Diable à Paris (1844–1846, 2 vols. 4 vo), Les Français peints par eux-mêmes (1840–1843, 9 vols. 8vo), the collection of Physiologies published by Aubert in 38 vols. 18mo (1840–1842), all owed a great part of their success at the time, and are still sought for, on account of the clever and telling sketches contributed by Gavarni. Jean Ignace Isidore Gérard (Nancy, 1803 – Vanves, 1847), generally known by the pseudonym of Jean-Jacques, J. J. Grandville or most commonly simply Grandville, was a French caricaturist. Grandville's ability for political provocation made his work much in demand. He worked in a wide variety of formats, from his first job illustrating the parlor game Old Maid, to illustrated newspaper strips of which he was a master. His illustrations for Le Diable à Paris ("The Devil In Paris"; 1844–46) were used by Walter Benjamin for his study of that city as an urban organism. One of Grandville's supreme achievements, at a time when French printing technology was ascendant, was Les Fleurs Animées, a series of images that are both poetic and satirical. But perhaps his most original contribution to the illustrated book form was Un Autre Monde, which approaches the status of pure...

Designed for the wife of August III, Maria Josepha of Austria (1699 Vienna - 1757 Dresden), Electress of Saxony and Queen of Poland since 1733, with the ‘Elector of Saxony coat of ar...

Two Nude Men is an etching realized by Nicholas Cochin in 1755. Signed on the plate. Good conditions with central folding. The artwork is depicted through confident strokes.

Magnificent Venetian wardrobe from the mid-18th century in walnut, front veneered in burr walnut with simple inlays in lighter wood thread. Frontal ...

Didactic flower, German manufacture of 1860 circa, depicting Marchantia Polymorpha L., made of painted plaster on a wooden base; the seed is removab...

Venetian school of the mid-18th century. Oil on canvas painting depicting an invented landscape composition of remarkable pictorial quality. On the right is a ruined building, probab...

A piece furniture in the neo-Rococo style. This exquisite table was made in cherry and mahogany wood. The tabletop is profiled, with a molding shaped the same under it, and supporte...

Victoriana Large and amazingly hand crafted Amethyst pendant dating 1860/70 ca The heavy made mount its a beauty its own, weighs 21.8 grams , solid 18 Kt gold with thin silver line h...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; L. 73 cm Signed on the helmet:...

An important carved and gilded wood mirror, with a very fine decoration made of flower garlands wrapped around the moulded frame, sculpted with acanthus leaves. A large foliate shell...

Beautiful antique sculpture by the French artist Jean Valette. The statue depicts a young girl, with a beautiful modest look and a Christian cross on a chain around her neck. The sta...

A wide, 18-carat yellow gold bracelet with three large, oval medaillons; the middle one is somewhat larger and features a muse in colourful champlevé and painted enamel, flanked by t...

Round hand-carved Italian gray marble pesto mortar from the 19th century

A pair of antique fancy carved hollow dangles in solid 18K Yellow Gold with freely suspended tassel-shaped dangles. Swedish hallmarks on both marked 18K Gold. Maker's hallmarks ar...

Henri Harpignies (1819-1916) A Barrier on the hedge, study Signed lower left, annotation "branches séchées sur la barrière" (dried branches on the fence) on the upper right Charcoal...

Amazing Baroque style auxiliary table or buffet from the 19th century Italy with a top in refined floral inlay in mother-of-pearl and bone on precious wood. Beautiful floral scenery...

Very pretty tapestry of 18th century royal manufacture of Aubusson. Thanks to our Restoration-Conservation workshop and also our know-how, we are pl...

Biedermeier chest of drawers from around 1860. Very good condition, after professional renovation. Wood: mahogany Dimensions: height: 89 cm width: 71 cm depth: 44 cm

This centerpiece signed Christofle is silver-plated bronze with a very nice patina, the artistic part is a work of achievement, the base is pierced composed of branches with leaves a...

Antique Italian painting from the second half of the 18th century. Oil on canvas artwork depicting a landscape, Figures at sunset, of excellent pictorial quality. Painting that devel...

Marble fireplace mantel to place in front of the chimney, from the 19th Century.

Hello! These are two beer mugs made of cut or etched glass, with a metal lid, pewter . Here are some interesting facts about them: 1. Style and period: These mugs resemble traditiona...

French watch Napoléon III Original label on the back 1867 Important French watch III with original label of the retailer beautiful back of the watch. The ...

In the yard. 1869, watercolor on paper, 30, 5 x 47, 5 cm C. J. W. Huns was born in the family of Estonian teacher, organ player and sacristan Karl Fridrich Huhn. He studied in Rig...

This Locket pendant was carved out of bog oak in 1860 ca. It has a good size, the naturalistic carving is very fine and in high relief. Bog oak is fossilised wood...

Conditions: Good Materials: Wood, Mirror Epoque: 1960

Uses and Customs - Royal Palace of Caserta is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History...

Very decorative, large (almost 80 cm high) pair of France candelabra from in the 19th century. Made of patinated bronze and standing on a marble base. Very detailed figures. Some c...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

Danish silversmith. Antique silver 830 tea strainer. Dated 1864. Length: 19 cm. In excellent condition. Stamped. Large private collection of European silver tea strainers.

Uses and Customs - Greek Man is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the govern...

Depicting the Temple of Vespasian and Titus, within black marble and malachite banded border. overall diameter 8in (20cm)

This extraordinary Luigi XV chest of drawers, dating back to the mid-18th century, is crafted from solid walnut and stands out for its impressive shape and size. Adorned with intrica...

Fountain center (base) in cut Nevers limestone, decorated with three children holding drapery and forming a circle around a column topped with a capital, France second half of the 18...

Biedermeier sofa, Northern Europe, circa 1860. AFTER RENOVATION Very good condition, after professional renovation and replacement of upholstery. Wood: mahogany dimensions: height...

Bistro dining table in bentwood and cane designed by Michael Thonet. Originally designed in the 1860s and produced by Thonet in the 20th century by multiple factories. Size: chairs: 57x49x96.5 seat height 46 Arm height 67 centimeter table: ø85.5 height 75 centimeter Condition: used. The lacquer has worn out on some places. The stained beech wood has discoloration. Cane in the table top is good. The cane in two seats is damaged. The cane in one back is damaged. One arm has a crack in a curve. Some small wood details are missing. The cane can be repaired or replaced professionally on request. Michael Thonet The development of bentwood for use in furniture is one of history’s most significant innovations in design. A range of renowned mid-century modern designers such as Alvar Aalto, Arne Jacobsen, and Charles and Ray Eames drew heavily on this technological advancement, and the success of their enduring works owes to the efforts of pioneering German-Austrian industrialist and designer Michael Thonet — founder of Thonet and widely considered the father of bentwood furniture. Bentwood furniture dates as far back as the Middle Ages, but it is the 19th-century cabinetmaker and master of parquetry Michael Thonet who is most often associated with this now-classic technique. Thonet in 1856 patented a method for bending solid wood through the use of steam, and from there, the bentwood look skyrocketed to furniture fame. He experimented with bending birch rods into rounded shapes — forming delicately seductive, curving Art Nouveau creations that were a daring departure from the heavy, hand-carved designs attributed to his contemporaries. The Boppard-born Thonet honed his carpentry skills in his father’s workshop, where he carried out experiments with plywood and modified the Biedermeier chairs that populated the studio. He received an invitation from Austrian Chancellor Prince Metternich to contribute Neo-Rococo interiors to the Liechtenstein City Palace in Vienna. From there, the cabinetmaker gained international recognition, including at London’s Great Exhibition of 1851, which featured works created by members of the Arts and Crafts movement as well as industrial products. Thonet showed a range of furniture at the fair and won the bronze medal for his bentwood chairs. He ​​incorporated his family’s company, the Thonet Brothers — or Gebrüder Thonet — with his sons in 1853. Considered the world’s oldest mass-produced chair, Michael Thonet’s ubiquitous Chair No. 14 demonstrated that his patented bentwood technology made it possible to efficiently produce furniture on an industrial scale. Often called the Coffee House chair — the company’s first substantial order was for a Viennese coffeehouse — the No. 14 remains an icon. Thonet originally designed the chair in 1859, and it is considered the starting point for modern furniture. Composed of just six parts, the chair, with its simple, lightweight design, belies its durability. The No. 14 was followed by the No. 18, or the Bistro chair, in 1867, and the 209, or the Architect’s chair, of which Le Corbusier was a fan. (The influential Swiss-French architect and designer used Thonet furniture in his Pavillon de l’Esprit Nouveau at the 1925 International Exposition of Decorative Arts in Paris.) The business began mass-producing furniture. By the end of the 1850s, there were additional Thonet workshops in Eastern Europe and hundreds of employees. Michael Thonet’s reputation attracted the attention of notable architects including Otto Wagner, Marcel Breuer and Ludwig Mies van der Rohe. Thonet’s patented bentwood technology also yielded an improvement to rocking chairs for his company — in the middle of the 19th century, Michael produced a series of rockers in which the different curved parts were integrated into fluid, sinuous wholes. Thanks to Thonet, the humble rocker acquired something unexpected: style. And bentwood furniture was embraced by a series of design greats — the innovation can be found in the seating that Josef Hoffman designed for Thonet, in the elegant Superleggera chair created by Gio Ponti and Alvar Aalto’s expressive Paimio armchair...

18th Century Louis XV Italian (Tuscany) walnut side table with drawings. It was a work table to contain embroidery accessories, a very charming piece. It shows a beautiful proportio...