France

HERMÈS - (Made in France) Red exotic lizard leather bracelet with a golden finish. Additional information: Condition: Very good condition Dimensions: Circumference: 12.5 cm - Openin...

Beautiful weathered oak Renaissance ornaments that most likely once adorned a half timbered house in Normandy. France, 17th century. Weathered, small losses Measurement here below a...

"Exquisite fragment of a border of a French Aubusson tapestry from the middle of the 17th century, featuring a beautiful design of flowers and nice natural colours, entirely hand wov...

A narrow and elegant 18th century lady's desk, or writing table, in natural wood with embossed leather top, and a single frieze drawer. Raised on four slender cabriole legs, this pet...

Appearance is a black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754) in 1750s. Good condition.

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

Very attractive painting of Maria with the baby Jesus. Painted on metal. France circa 1800-1850 Weathered and small losses.

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

Large solid oak chest from the 16th century Gothic period Very pretty French, Norman work. Decorated with Gothic motifs on 5 panels on the facade. Note reassembly in the 18th and 19...

Great pair of carved wooden candleholders with their beautiful silver leaf gilding. Italy, circa 1750-1800. Weathered and small losses and old repairs. More photo's available on requ...

Beautiful gilded ornament. Well detailed with baroque fruit. Spain circa 1650-1750 Weathered, small losses Measurement here below of the largest piece and includes the wooden pedes...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

We present you this wonderful late 17th-century circular portrait in the regency style of Louis XIV, rendered in oil on canvas. It represents a Fren...

Extremely rare carved giltwood wall sconce candleholder in the form of an arm holding a candleholder. France circa 1650-1700. Weathered, small losses and old repairs. More photo's av...

Beautiful Baroque marble holy water font or stoup, Unique and original period piece. Italy, circa 1650-1750. Weathered condition with some minor cracks that have no influence on the ...

Amazing neoclassical hand painted panel in fresco style. Italy circa 1780 Weathered, small losses. Measurements include the wooden base. H:52,5cm W:39,5cm D:7cm

Unique panel depicting a saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

Beautiful Swedish bentwood box that once was used for storage. Real rare piece Sweden, circa 1750. Weathered and small losses.

This extraordinary 18th-century forged steel compass is a striking piece of historical craftsmanship. Once used by master builders to create the architectural wonders of the Gothic e...

Ancient Roman Frescoes from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy in the 18th Century. Signed on the plate. Good conditi...

Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century. Signed on the plate. Good conditions with some folding and foxi...

Magnificent fossil, ammonite, France, Prehistoric, approximately 335 million years of existence. Height 55 cm, width 58 cm.

These reclaimed antique terracotta tiles, primarily from the17th-18th and 19th centuries, have been carefully salvaged from historic French hom...

EXCEPTIONAL CABINET KNOWN AS THE SUMÈNE CABINET   ORIGIN : FRANCE, NÎMES PERIOD : 16th CENTURY   Height: 199 cm Width: 180.5 cm Depth: 69 cm   Walnut wood Good state of preservation ...

This 18th century Louis XVI baguette frame giltwood mirror is full of vintage character, and features a slim but beautifully carved frame embellished with bands of carved decoration ...

Rare carved Renaissance cabinet Period : 2nd half 16th century, ca. 1570 Origin : France, Burgundy or Languedoc This cabinet embody the produ...

Large wedding chest in tinted and gilded walnut, the lid animated with a frieze of pearls, the sides with compartments, the belt decorated with gadroons. It rests on four claw feets.

Wonderful neoclassical carved wooden altar with beautiful gilded angels. Italy, circa 1760-1780. Weathered, small losses and old repairs.

Circa 1750 England or Europe Sleeveless bodice and long pleated basques in silver cloth, lampas in silver thread. Rich polychrome silk brocade with wood berry design and undulating ...

These reclaimed antique terracotta hexagonal, primarily from the17th-18th and 19th centuries, have been carefully salvaged from historic French home...

A fine, large 18th century veduta capriccio scene with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The painting is presented in a more modern carved gilt woo...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

18th Century Flanders Tapestry - The Swiss Guard, Pastoral Passage of the Pope - No. 1483 Period: 18th century Condition: Perfect condition Material: Wool & silk Width: 275 cm Height...

This is an Pair of oil Paintings in the Style of François Boucher. This is a charming 18th century Pair of oil on canvas painting depicting cherubs . The cherubs are draped. This...

Unique panel depicting a Saint figure and Angels. Wonderful layers of its original color, France, circa 1650-1750 . Weathered, small losses. Treated against woodworm. Measurements in...

18th century painting Cavalry Oil on wood panel 16 x 21.5 cm

A charming little sterling silver-lidded porcelain box, possibly used for snoring snuff, or for general trinkets. The silver top is decorated in Louis XVI style, and bears the Minerv...

Late 18th Century pastel portrait on paper of a bearded gentleman. Presented under glass in a fine period gilded carved wood frame. A cha...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Le Chat d'Espagne is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabine...

Two soldiers is an etching realized by Giambattista Tiepolo in 1785.  Sheet 23 x 30 cm. Good impressions on paper, with wide margins. Reference: D...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 8...

Exceptional Italian Renaissance « Cassone » Origine : Italy, Florence or Siena Period : Late 15th Century Measures: Height: 63 cm Length: 1...

Surgical Instruments is part of the suite realized by Lorenz Heister in the series of Institutiones Chirurgicae, Amsterdam, Janssonius-Waesberg, 1750. Etching on paper. The work be...

Le Margay is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulièr...

Magnificent Louis XV period wedding cabinet in molded and carved walnut, opening two beautiful triple-paneled doors in scalloped burl walnut, a large drawer with lock in the lower pa...

Death holds an audience  is an etching realized by Giambattista Tiepolo in 1785.  Death, an old nun with a veiled head leafs through a large book and holds an audience. In front of ...

This exceptionally majestic and unique reliquary bust carved in gilded wood represents a bishop adorned in golden robes. The torso is draped in a toga revealing a round cavity that o...

French 17th century bronze cauldron or cooking pot. It weighs about 2,5 kg. A hole has been made in the bottom, probably to use it as a planter. It is a beautiful decorative object.

Beautiful handcarved angel in baroque style. Unique period piece made out of wood . Hand-carved Italy, circa 1780-1850 Weathered. Small losses. Measurement here below includes the ...

VERY IMPORTANT DRAWING BY JACQUES DUMONT called « LE ROMAIN" (Paris 1701-1781) Preparations for the fireworks display held in Piazza Navona in Rome on November 30, 1729, for the bi...

Virgin and child in majesty Origine: castille Epoque: early 14th century Measures: Height: 72cm Length: 30cm Depth: 25cm Polychrome and gi...

Rare Rouen plate with beautiful blue decoration. France, circa 1750 Good condition.

French desk or side table, made circa 1660 Massive walnut and iron handles. Nice antique patina. The turned legs and bars are typical of the Louis XIII style. Legroom height and dept...

This rare French bergère dates from the late 18th century, during the elegant transitional period between the Louis XVI and Directoire styles. Crafted from solid beechwood, the frame...

French or Italian school of the 18th century Animated landscape with a ruin Oil on canvas 27 x 33 cm (34 x 40 cm with the frame) Signed and dated lower right "1772 / Contencin? / fec...

Le Serval is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Coffer or chest French 18th century carved oak French Provincial country house Very decorative and full of character Decorated with geometrical and vegetal motifs This chest has the ...

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...