France

Vase in Faience, in a Green red and yellow color. With a beautiful Glaze. It has been made in France in 1757 in Lille. It is signed Lille 1757. The decor is painted in the style of T...

Beautiful carved giltwood Baroque mirror, with its original foxed mirror glass. Italy, circa 1750. Weathered and minor losses.

Jean-Baptiste II Tuart is the son of Jean-Bapstiste I Tuart, one of the cabinetmakers supplying the Court under Louis XV. Trained by his father with whom he worked for a time, he the...

1106 - a very beautiful 18th century Aubusson tapestry with very pretty color.

A large and very handsome glazed terracotta walnut oil jug, dating from the 18th century and originating from the south of France. Featuring two side handles and a single pouring spo...

Aubusson Tapestry Bakery Scene - 18th Century Thanks to our Restoration-Conservation workshop and also Our know-how, we are pleased to present to you works of art in fabric such as ...

This exquisite 18th-century Italian buffet is a remarkable example of the art of faux marble painting, a technique in which Italian artisans excelled. With meticulous craftsmanship, ...

Flat trapezoidal shaped tablet case in enamelled gold. The upper part is hinged and opens with a push-button. The case is composed of four translucent blue...

specialized in the Purchase, Sale, Traditional Cleaning, Restoration - Conservation, Expertise - Estimation of Old and also Contemporary Tapestries, Carpets, Kilims and Textiles. We ...

Unique and large pair of neoclassical altar candleholders with traces of their original silver and gold, Italy, circa 1760-1780. Weathered, small l...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

Beautiful and large handcarved giltwood baroque ornament that once adorned a chapel or a church. Italy, circa 1750. Weathered/ small losses. Measurement includes the wooden base. H:6...

Circa 1790 France Adorned ( homme paré) man's silk frockcoat dating from the French Revolution period. Yellow-green silk taffeta with pink shading (green warp and pink weft). Frac a...

Letter S is an Etching realized by Luigi Vanvitelli. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercolano Esposte”)...

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...

Nice collection of four extremely weathered vellum books, Spain/ Italy 18th / 19th century. Weathered and small losses Measures: H:15-24cm W:1,5-5,5cm D:10,5-17cm Measurements her...

This striking pair of Swedish baroque chairs, circa 1800, embodies the elegance and grandeur of 18th-century design. With their bold lion’s paw feet and finely sculpted baluster back...

Charming mirror from the end of the 18th century, France. Hand-carved wood, original mercury glass, recognizable thanks to its "sparkly" effect, particularly remarkable on the edges ...

An impressive, large Italian Baroque tabernacle hand carved frame from the late 18th century, which reflects the Renaissance influence of Classical Greek and Italian temples with its columns on both sides and the embellishment of the piece through the carved putti on the top, a typical element of the Baroque style. The religious plaster relief has been added at a later moment. Tabernacle frames...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

Rare Provencal cabinet from the Louis XV period, richly carved with foliage and plant motifs: bouquets, bunches of grapes, ears of wheat... The legs are curved and finished with a sc...

A tall and shapely antique walnut oil jug, originating from the Dordogne region of France, fully glazed in a rich and glossy golden brown, and further embellished with multiple appli...

Le Lapin Sauvage is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboar...

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 statues. In this specific ...

Night Thoughts is an original Modern Rare book written by Edward Young (1683 – 1765) and engraved by Sir William Blake (London, 1757 - London, 1827) in 1797. It includes a suite of ...

Suite of Four Jacob Frères Chairs, circa 1796. In the neoclassical style.

This pair of stone sculptures made in the mid-18th century represents a woven basket filled with flowers, fruits and plants. Among the element...

French table made in the 18th century French Provincial This type of table had a triple function: - it could be used to store flour and knead bread (which is why the top can be rem...

Direct from a chateau in the south of France, a magnificent privately commissioned, 18th century 7pc table set of gorgeous original Louis XVI salt cellars (2 double and 4 single) and...

Beautiful handcarved giltwood acanthus leaf ornament that once adorned a chapel . Original period piece that due its high age has a beautiful weathered look. Italy circa 1780/1850 , ...

Elegant 18th-century armoire Bordelaise in solid mahogany. Opening two large doors, decorated with fluting, "gendarme hat" cornice molded with boudins and ogee. Cremone bolt and t...

Very beautiful 18th century French Aubusson tapestry with beautiful design and beautiful with red, blue and green, entirely handwoven at Aubusson manufacturing with wool and silk wov...

Beautiful hand carved marble head of a Madonna. Unique period piece with a beautiful weathered patina. France, circa 1750. Weathered Measurements include the wooden base.

We would like to thank Madame Beck-Saiello for confirming the autograph nature of this drawing after an in-person examination. It was probably during an excursion in the countryside near Avignon that Claude-Joseph Vernet executed this drawing, enhanced with pen and brown ink, depicting a mansion on a hilltop overlooking a small village with geometric shapes. 1. Joseph Vernet, a painter influenced by Italy Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron. As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard...

Beautiful Italian console in cream and gold lacquer, carved wood. 18th century painted slate top Louis XV

Brooch in 18 karat rose gold and silver. A lovely antique brooch representing a blooming flower with a large pear-shaped rose-cut diamond at its heart, and rose-cut diamonds at the p...

Small hand carved mirror with grapes. Unique period piece. France, circa 1780-1850 Weathered, small , small losses. Measurements include the wooden base. H:38cm W:26,5cm D:9cm

Superb Rouen wyvern platter ("à la Guivre"), 18th century France. Exquisite and rare museum quality piece. Decorations of a parrot carrying a branch, butterflies, an aquatic landscape and an Asian wyvern dragon. These dragons are different from those found in European fairy tales and films. In China, they're in the arts, zodiac signs and festivals ("Dragon Dance" at Chinese New Year). They embody power, perseverance... Linked to the sky and water, they have meteorological powers, such as making it rain. So they often live in tumultuous rivers, at the bottom of oceans... hence the lake over which this dragon "flies". What's more, this earthenware dragon...

Bergère en bois de noyer époque Louis XV, structure ondulée sculptée, dossier, pieds et accoudoirs à double courbure, assise et dos rembourrés. Origine Italie - Gênes XVIIIe siècle

Skeleton after Titian is an etching realized by Jean Francois Poletnich in 1755. Signed in the plate. Good conditions with foxing. The artwork is depicted through confident stroke...

Amazing 17th/ 18th century hand carved silverleaf mirror. On the sides of the mirror you can see two angel heads on baroque curls and claw feet. Italy, circa 1650-1750, weathered, s...

An absolutely fantastic set of four original Louis XVI French armchairs made by Jean Baptiste Lelarge. All four chairs have Lelarge stamp on them . He was one of the most famous furn...

Veduta della Basilica di San Giovanni in Laterano, is an original etching realized by Giovanni Battista Piranesi in 1749. S. Giovanni in Laterano with palace and Scala Santa on t...

Magnificent pair of Louis XV armchairs in carved beech, queen-style backrests, whip armrests consoles, very elegantly scalloped belts carved...

A fine hand coloured 18th Century engraving after the original by Piranesi (Rome 1743), published by Danisy, Paris. Presented in period gold leaf frame, under glass. Piranesi was born in Venice, in the parish of S. Moisè where he was baptised. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, Matteo Lucchesi, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced him to the art of etching and engraving of the city and its monuments. Giuseppe Vasi found Piranesi's talent was much greater than that of a mere engraver. According to Legrand, Vasi told Piranesi that "you are too much of a painter, my friend, to be an engraver." After his studies with Vasi, he collaborated with pupils of the French Academy in Rome to produce a series of vedute (views) of the city; his first work was Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna. From 1743 to 1747, he was mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice. It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and antiquarian engravings. He then returned to Rome, where he opened a workshop in Via del Corso. In 1748–1774, he created an important series of vedute of the city which established his fame. In the meantime Piranesi devoted himself to the measurement of many of the ancient buildings: this led to the publication of Le Antichità Romane de' tempo della prima Repubblica e dei primi imperatori ("Roman Antiquities of the Time of the First Republic...

Beautiful handcarved and natural weathered oak baroque ornament . Was once part of a larger piece. France, circa 1650-1750. Wonderful weathered condition. Measurement includes the wo...

Low sideboard in walnut fruit wood opening with two leaves and two drawers on the front, nicely molded and resting on a arched base joined by a scalloped crosspiece. The top of the s...

This exceptionnal baroque fireplace is from Italy, dated as the end of the 18th century. It is an outstanding marble piece, and gathers two types of beautiful and distinct marbles; white statuary Carrara marble and Brocatelle marble, characterized by the rich and foliage patterns all over its swirling veining surface. The Carrara marble quarries found near the Mediterranean sea between Pisa and Parma, have been famous since roman times and add a distinct shine and refinement to objects carved out from this marble. A delicate marble bust is standing in the center of the fireplace and is balancing the richly detailed white and yellow decor...

18th century French School François de Troy (1645 – 1730), Paris, circa 1725 Portrait of a Woman as the Goddess Ceres Oil on canvas: h. 39 in, w. 31.3 in Regen...

This beautiful cast iron fireback made around 1700 is adorned with a rare and rich decoration. Its shape is characteristic of the 18th century beginning, the top in an arc of a circl...

Le Chat d'Angora is an etching realized in 1771 by ` (1723-1807). It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Arti...

This stunning Baroque study depicts a regatta boat, a type of vessel developed in eighteenth-century Venice for the regattas organized by the Serenissima during visits by royalty and princes. We propose to link this drawing to the work of Alessandro Mauro, an artist who specialized in this type of composition, as illustrated by a drawing from him at the Metropolitan Museum. 1. Description of the boat The greatest decorative fantasy reigns in this preparatory study, which blends mythological and exotic elements with references to ancient Egypt. Our drawing is probably an initial thought, destined to be refined and clarified later in pen and ink (as evidenced by the ink stain in the lower right). A quadriga of seahorses guided by Neptune stands at the stern of the boat, shown well above the waterline (perhaps to outline its empty volume). One of the seahorses is ridden by a newt, while Amphitrite lies at the feet of the sea god. The center of the boat is occupied by a vast baldachin resting on four atlantes and surmounted by a figure riding an animal (a dragon?). Three figures sit beneath the canopy, one of them on a griffin-shaped seat. This allusion to Egyptian antiquity echoes the winged sun (sometimes a symbol of the god Horus, as in the temple of Edfu in Egypt) that adorns the sides of the promontory on which this baldachin rests. Another flag-bearer figure crouches at the stern of the boat on a raised seat, on the reverse of which is a crowned mermaid whose arm, extended backwards, rests on a mascaron decorated with a radiant face (Helios?) and whose torso surmounts an elephant's head. The heads of the rowers and their oars are sketched all along the boat, whose sides are embellished with elongated naiads. 2. The Venetian regatta boats An exhibition held in 2013 at the Ca' Rezzonico (the Venetian eighteenth-century museum) paid tribute to these regatta boats through studies and prints depicting them. The regattas organized by the Serenissima in honor of visiting princes and sovereigns were among the most spectacular ceremonies in Venice. Some important artists of the 18th century contributed to the creation of these extravagant boats which were given exotic names such as bissona, malgarota or peota. The specialists in this field were Andrea Urbani and the brothers Alessandro and Romualdo Mauro. They were born into a family of theater decorators in Piedmont, but little is known about their detailed biography. Alessandro was the architect of the Dresden opera house and of the St. Samuel Theater in Venice (in collaboration with his brother Romualdo), but also worked as stagehand and set designer in Vienna, Rome and Turin. A drawing produced around 1737 from the Metropolitan Museum (7th photo in the gallery) bears witness to his activity as a regatta boat designer. This drawing is a much more elaborate version than the one presented here, having been entirely reworked in brown ink. However, a figure at the bow of the boat, executed solely in black chalk, still bears witness to a technique similar to that of our drawing. It is difficult to know whether the boat depicted in our drawing was a project for an actual boat or whether it remained in the planning stage, but the front of our boat (Neptune and the quadriga of seahorses ridden by a newt) bears several similarities to that of a parade boat depicted in the print published by Michele Marieschi entitled Regatta on the Grand Canal, between the Foscari and Balbi Palaces (last photo in the gallery). This print is dated 1741, which could confirm that our work dates from around 1740. The area between Neptune and the quadriga that precedes him on this strange paddle-boat appears to be partially submerged, confirming that the waterline of our boat was probably intended to be much lower than the one shown in our drawing. The Correr Museum’s collection holds one of the most important collection of engravings and drawings devoted to these specifically Venetian Baroque productions. These boats were intended to last the duration of a festival. Today, they are only documented by preparatory drawings or prints that testify to the sumptuousness of their decoration. This taste for regatta boats lasted throughout the Venetian eighteenth century, and the conception of regatta boats also attracted great masters such as Giambattista Tiepolo, Francesco Guardi or Giambattista Piranesi...

Beautiful and large handcarved giltwood baroque ornament that once adorned a chapel or a church. Italy, circa 1750. Weathered/ small losses and old repairs. Measurement includes the ...

Provenance : Arnold S. Kirkeby (1901-1962) Donated by Arnold S. Kirkeby to the Los Angeles County Museum of Art in 1955, where it remained until its sale at Sotheby's, New York on Ja...

An 18th century Meissen porcelain box, Louis XV period. An 18th century Meissen porcelain box, Louis XV period, gilt brass mounting. H: 14cm, W: 9cm, D: 9cm

A French Louis XV period carved wood console table with marble top from the 18th century. This French console table features a shaped veined marble top sitting over a very fine and r...

Nice plate of the Compagnie des Indes dating from the Qianlong period, XVIIIth century. Blue and white porcelain soup plate. On this plate are drawn in blue ink a set of plants or we...

Beautiful handcarved giltwood floral ornament that once adorned a chapel .Original period piece that due it’s high age has a wonderful weather...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Cette pelle à tarte, provenant de la manufacture du Lys Royal, est une reproduction du célèbre décor "Kakiemon" qui orne les pièces du Château de Chantilly, daté du XVIIIe siècle en ...