France

This Roman Gladiator short sword is an absolutely outstanding and unique example of an ancient Roman Pompeian Gladius Sword from 1. AD. There were three ty...

This double-page etching with contemporary coloring, entitled Novissima et Accuratissima totius Italiae, Corsicae et Sardiniae, was realized by the cartographer Frederick de Wit for ...

French school of the 18th century After Charles de LA FOSSE (1636 - 1716) The Virgin of the Annunciation Oil on canvas 46 x 37.5 cm (59 x 51 cm with the frame) Beautiful oval frame i...

A handsome 18th century French Provincial buffet, or sideboard, in mellow and beautifully aged walnut. Opening with a central frieze drawer and two large, lockable cupboard...

Renaissance cabinet from Burgundy Or Lyon Region Origin : Burgundy Or Lyon, France Period : Second Half 16th Century, C. 1580 Height : 209cm Length : 184cm Depth : 71cm Good condition Walnut wood, original keys and keyholes Around the middle of the 16th century the conception and ornamentation of French furniture evolves. The start of major building projects, such as the castle of Fontainebleau, gives artists a new impulse. Inventive and rich formulas are developed there, before spreading to all of Europe thanks to engravings and printed leaflets. Furthermore, Italian artists working on such construction sites bring French artists and patrons a renewed taste for the Antique. Regarding the art of furnitures, the most complex scenes and figures are drawn from illustrated books, ornament and emblem compendiums and engraving compilations. Rather than copying those images the artisans feed their inspiration and decline the motifs in numerous variations. The ornamental grammar marks a return to the Antique : palm leaf, acanthus, egg-and-dart, greek, scroll, fluted pilaster… It is in Primaticcio’s and Il Rosso’s stuccos made around 1540-1550 that we have to look for the origin of leather cut-outs, masks, chimaeras, harpies, sheathed figures, fruit and flower garlands that soon enrich every pieces of French furniture. The structure of the pieces of furniture also evolve thanks to the re discovery of Antique architectures, rigorously used as a model. This cabinet presents an imposing structure and a rich and original decor exemplifying the production of the late 16th century, infused with Italian, Antique and Fontainebleau influences. It stands on a moulded base ornate with palm leaves. It opens with four door-leaves and two drawers in the belt. Six whimsical terms divide the facade. The lower body is horizontally divided by three sheathed female terms. The two standing on the lateral posts are topped with fruits while the body is covered by acanthus leaves carved with precision, belted at the waist. The term standing on the central door-jamb is crowned with laurel leaves and is draped in the Antique fashion. A wincing mask hides the key hole. The two door-leaves are centred by a beautiful mask carved in a strong relief. They wear stylised feathered headdress and are set on draperies. Straps, leather scrolls, acanthus leaves and a shell are spread around the masks. The recessed panels are secured in frames ornate with acanthus leaves. The belt is flanked by two large mouldings enriched with variations of acanthus leaves. The drawers are carved with choux bourguignons and palm leaf motifs minutely executed. The consoles between each drawer bear tormented wincing masks, showing horns as if they were fauns or imps. The upper body is framed by two male terms characterised by a strong and nervous musculature, their manhood hidden by drapes secured thanks to a winged lion head. The term on the left appears to be younger and is wincing while the one on the right has a beard. The central female term brings contrast with her youth and sensuality. As it is the case on the lower body, the key hole is hidden behind the mouth of a faun’s mask placed on the drapes barely covering the intimacy of the caryatid. The panels of the upper body present an idealised architecture comprising pilasters and sinuous broken pediments. The pilasters are flanked by two satyrs with goat legs. In the centre appears an important lion mask. The terms of the upper body support the cornice. The entablature carries palm leaves and roses alternating as well as an egg-and-dart frieze. The cornice is adorned with acanthus motifs. On the sides, the carving is executed flat. A central rose is surrounded by scrolls, flowers and choux bourguignons. We can admire the variety of the elements employed. The artist vary with great genius many different ornamental motifs : palm leaf, egg-and-dart, laurel leaf, roses, scrolls … But the artist went even further as each profile and each face is individualised and presents different features. You can take a look at the faces of the satyrs flanking the upper body’s panels. The talent of the artist is undeniable. It makes no doubt the patron who commissioned this cabinet was an aesthete looking for the greatest quality. The artist who authored this cabinet had a great mastery of composition both in the general design and in the individual panels. They probably drew inspiration from engravings and drawings made especially for the making of this piece of furniture or not. They seem to be familiar with the style of Jacques Androuet du Cerceau. Indeed, we can find in Du Cerceau’s engravings the same juxtapositions of leather cut-outs, masks and fruits. The terms and caryatids used on the facade could very well be inspired by his work as well. The cabinet-maker was also undoubtedly observant of Hugues Sambin, the most famous cabinet-maker and sculptor in the Burgundy of the time. Like Du Cerceau, Sambin left an important ensemble of models particularly useful for the design of cabinets. His publication De l’Oeuvre de la diversité des termes dont on use en architecture (1572) was an essential book for every artisan. All the motifs testify of the artisan’s high knowledge of forms as well as the precision of their tools : super imposition of ornamental elements, foliages, architectural cut-outs, flat and high reliefs alternating, palm leaves inscribed in circular spaces, wincing faces. It is also a testimony of the artisan’s familiarity with Italian and Fontainebleau productions. Because of the proficiency of the cabinet-maker in so many different models, this cabinet truly is a master-piece authored by the hand of an authentic master. The generous carvings executed with great rigour and virtuosity evoke an origin close to Burgundy and Lyon workshops. This cabinet was made by a master of the region during the Second French Renaissance. Literature BOCCADOR Jacqueline, Le mobilier français du Moyen-Âge à la Renaissance, Édition d’art Morelle Mayot, 1996 BOS Agnès (dir.), Mobilier du Moyen âge et de la Renaissance, La collection du musée du Louvre, Louvre éditions...

This is an absolutely exquisite rare Cooper-gilt ,silver-gold and three Sterling Silver angels Chalice originated from Augsburg (Germany ) in th...

A magnificent 18th century French Louis XV Epoque serpentine fruitwood commode chest of four drawers, standing on elegantly carved feet. Distributed over three rows, each moulded dra...

Beautiful marble-top Louis XVI console table. Wonderful carvings and great patina. Original marble top. France, circa 1770-1889. Weathered and small losses. More photo's are availab...

Le Chat Sauvage is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditions.

Very rare small Judaic cup from medieval period used for the Kiddush ceremony and also probably for circumcision. This chiseled bronze cup is decorated on its belt, with Hebrew characters. The back of the cup is decorated with the Star of David. The whole has a beautiful old patina. This object with certain oriental influences, probably comes from medieval Spain...

Set of four Italian walnut Savonarola armchairs ORIGIN : FLORENCE, ITALY PERIOD : LATE 15TH CENTURY - EARLY 16TH CENTURY Measures: height : 102 cm 40.15 inches, height : 93 cm 36.61 inches length : 68 cm 26.77 inches, length : 68 cm 26.77 inches depth : 55 cm 21.65 inches, depth : 50 cm 19.68 inches Walnut Very good condition This movable Italian seat from the late 15th century descents from the roman curule seat. It took the name of sedia Savonarola...

Beautiful carved giltwood baroque mirror, Italy, circa 1750. Weathered, small losses and old repairs.

Baldaquin -large four-poster bed in patinated steel, topped with a large canopy. The sides are equipped with a system of "rods" for draperies. Signed with initials W.C.H Wear a...

Wonderful hand carved standing Baroque angel figure. Unique period piece with its original paint . Spain, circa 1650-1750 Weathered. . Measurement here below includes the wooden ba...

An 18th century mortar made from hand-carved beautifully veined Carrara marble. Fashioned in the traditional style, with four shaped corners and a deep bowl, this would once have bee...

Rare pair of Louis XVI period armchairs in gilded wood with original double cane armrests. The fluted turned wood legs and hand-carved details are the result of remarkable craftsman...

Antonio de Leyva, Duke of Terranova, Prince of Ascoli (1480–1536) was a Spanish general during the Italian Wars. During the Italian War of 1521, he commanded Pavia during the siege o...

Crafted in France at the end of the 18th century, this exquisite « bureau à gradin » embodies the elegance and refinement of the Louis XV style. Its beautifully sculpted walnut showc...

Attributed to Charles-Nicolas Cochin the Younger (Paris, 1715 – 1790) Dancing Couple Circa 1765–1770 Red chalk on cream paper; verso in black and red chalk 34 × 21 cm Provenance: ...

Beautiful small handcarved wooden Baroque mirror, with its original weathered silver/gilding. Italy, circa 1750. Weathered H:26,5cm W:23cm D:3cm

This pierced brass decorative element from France was originally the cover of a bassinoire from the 1600s. A bassinoire is a device where hot coals are inserted into a vented recept...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

Amazing gilded paper mache dove/ Holy spirit. Beautiful detailed. The Dove is a symbol for the Holy Spirit inspired by Jesus’s baptism. The dove has been used among many Christian de...

Magnificent 18th century French hand carved and gold gilded frame. An incredible detailed work. The frame looks Royal and luxurious. Dimensions of the interior painting size to fit a...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

This is a fabulous example of a large 18th century French walnut oil jar, with three decorative handles and short pouring spout. Retaining its original dusky-green glaze, the jar is ...

Spectacular and very decorative piece. Large hand carved wooden reliquary bust of a saint. Beautiful weathered color and gilding. Small losses/Old repairs and without the relics. Ita...

16th century Chinese Ming Dynasty set of three hand painted plates on stands. Plate sizes. 7 x. 14.5 7. x. 14. 7. x. 13.5 Stands measure. 5. x. 3. and. 4. x. 3

Antique reliquary locket pendant 18th century in 18 karat rose gold. On one side, the pendant is decorated with a miniature on vellum depicting Saint ...

Antique statue life sized Roman Greek natural stone old sculpture. The antique statue displayed in this Ad is one of 12 reclaimed life sized limestone s...

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

Extremely old box that is covered with leather and metal decorations. Rare find. France, circa 1600-1700 Weathered and some losses.

Crafted in the 17th century, this Spanish console table showcases the timeless elegance of waxed walnut. The rich, warm tones of the wood highlight its fine grain, giving the piece d...

18th century oak sideboard opening with two doors with panels in the lower part with wooden buttons and three belt drawers with brass catches. The upper part of the cupboard, set back slightly, has three molded doors and a projecting cornice surmounted by a frieze in genoese and finished at the corners by two small balls...

Oratoire D.João V / D.José sur pied Bois sculpté, polychrome, marbré et doré Portes intérieures à panneaux peints représentant deux anges avec les instruments de la Passion du Chris...

As soon as 1540 France's second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541). Those two publications would have a revolutionary impact on arts. Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l'Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius. Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces. In Lyon, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist's work. Thus the first publication of Vitruvius' De Architectura in France would be printed in Lyon in 1532. Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early. They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany. True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops' taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel. This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid. The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell. The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer. A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops. The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon. A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice. The cabinet's sides have also been carefully considered. The lower body's panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body's panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road. Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed « Dure uiator abis nihil haec spectacula curas / Pendenti cum sis unica cura Deo. / Tota suo moriente dolet natura Magistro. / Nil qui solus eras caussa dolenda doles. ». The signature [Christoff Swartz Monachiensis pinx[it] / Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Renée of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich's Alte Pinakothek. On the left door appears Saint Francis receiving the stigmata. The inscription says : « Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae ». This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules...

Nude female figure is a print realized by Scottish artist Allan Ramsay (1713-1784) after Salvator Rosa, in the late 18th century. Etching on paper. Good conditions, with foxing on ...

Lovely pair of pewter candle holders with a beautiful patine. France circa 1780. Weathered condition with minor losses.

Beautiful primitive medieval stone panel, depicting a Madonna with child France before 1600 Weathered and small losses

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Beautiful Baroque marble holy water font or stoup, Unique and original period piece. Italy, circa 1750 H:12cm W:24,5cm D:18-33cm

Bracelet 15.5cm Boitier carré 2cm Poids : 14g Fond Inox

It’s an incredibly unusual , rare and historical antique 18th century tiled stove or fireplace glazed ceramic corner with Star of David in the midd...

Ludovico Trevisan (November 1401 Venice, Italy - 22nd of March 1465) was an Italian Catholic prelate, who was the Camerlengo of the Holy Roman Church, Patriarch of Aquileia and Capta...

They may be damaged and battered, but real historic objects will always give you a sense of awe. Can you sense it, looking at this ancient carved granite which depicts, as it is call...

Late 18th century or early 19th century French school, antique painting featuring the Virgin Mary holding Jesus Child, Saint John the Baptist around. Our work has been painted using ...

Beautiful weathered Neoclassical pedestal with its original silver-leaf gilding. Great to use as a display for a small collection or just with some candles. Italy, circa 1780. Weathe...

This double-page etching with contemporary coloring, entitled Accurata totius Archipelagi et Graeciae Universae Tabula, was realized by the cartographer Frederick de Wit for the famo...

This is a unique and monumental Dutch Baroque cupboard called “Kussenkast" from the late 17th century, probably circa 1670-1680. Made of rosewoo...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement ...

A remarkable Louis XVI 18th-century French antique screen with an illustrious provenance, presumed to have belonged to the Duke of Uzès. This exquisite five-panel folding screen show...

A glazed terracotta jar from South of France. 17th or 18h Century. Extraordinary original outside patina. Report of condition : two small hole and one hole on the base to permit w...

A late 18th or early 19th century watercolour view of a group of figures in a village square. Though not apparently signed the work is very competent and of high quality. It is frame...

French antique oak and wrought iron sideboard buffet. Two doors and two drawers. One shelf in the cabinet. The interior of the buffet was entirely covered in Provencal-style fabric w...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

This is an antique Limestone Luxury tile that could be used for both flooring and wall cladding. Our exclusive Pietra Pistoia reclaimed tile is a 17th century natural stone flooring like no other. This rare "masterpiece" represents one of the most refined grades of ancient, salvaged, reclaimed or antique sets of tiles that exist in the market today. This epitome of elegance is the dream item for any luxury home designer or custom-homeowner. The exquisite texture, look and luxury feel of the old Italian Natural Limestone are unmatched by any modern tile. The distressed pattern of this antique Limestone flooring took centuries in the making, literally. Looking at the engraved ridges and markings vividly expressed on each and every piece of tile one can witness ancient history in real-time. Quite visible through the floor's natural texture is the wrinkled and furrowed surface of this rustic beauty which has endured endless amount of stepping and battering along the years. Those ancient tiles have lasted for centuries and will surely outlive future generations. Given its sheer beauty, this gem of an exquisite Tuscan/Mediterranean/rustic tile is a true attention grabber that will elegantly fit in any luxury milieu. The flooring set was meticulously salvaged piece by piece. Every single tile within this flooring has its own unique & rich character. Wherever installed, those antique pavers...

Huile sur toile XVIIe siècle Dim sans cadre 52/42 cm Dim avec cadre  60/50 cm Ecole Hollandaise Entourage de Jan Asselyn Scène de la vie courante comme aimait à les représenter  les ...

Beautiful Baroque angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base. H:27,5cm W:23cm D:5,5cm

IMPORTANT CABINET WITH TWO BODY IN BLACKENED WOOD CARVED AND ENGRAVED ORIGIN: FRANCE PERIOD: 17TH CENTURY Height: 188 cm Width: 135 cm Depth: 53.5 cm Blackened wood and veneer: rosewood, ebony, pear, mahogany Framed in oak wood A real ceremonial piece of furniture, this two-part cabinet opens with two historiated panels and two drawers in the upper part and two leaves and two belt drawers in the lower part. Richly worked, it offers both inside and outside a floral decoration, finely engraved which contrasts with the importance given to geometric lines. This duality, typical of this type of cabinet, confirms its dating and its origin. In addition, the gilded metal locks and fittings enhance the sumptuous trait of this piece of furniture and also contribute to its ornamentation. Furniture of predilection for “enclosing the most precious things” (Furetière, Dictionnaire, 1690) the appearance of cabinets in the 16th century accompanied the development of wunderkammern, these cabinets of curiosities enriched both by the vogue for the antique and by distant expeditions which bring back with them natural wonders and rare testimonies of distant civilisations. The curious, combining fortune and culture, brings together antique medals, rare plants, fossils, or oriental ornaments. This meeting of pieces which embodies much more than their material reality, a subjective evocation of all the riches of the earth and all the knowledge of men, acts in the eyes of its owner like a microcosm of which he is the master and which he enjoys according to his will. This is how the first cabinets were designed to be transportable, often wooden structures calling for riches only those they housed for a collector who refused to part with them, even temporarily. In the 17th century, the cabinet gained in technical complexity and luxurious materials until it could no longer be moved itself and became a prized and expensive collector’s item...

Attributed to Charles-Joseph NATOIRE (Nîmes 1700 – 1777 Gandolfo) Academy Study of a Seated Male Figure Seen from the Back (Youthful study executed around the 1720s–1730s, likely du...