France

Spectacular hand-carved white marble capital with angel head. Beautiful weathered white marble . France circa 1750 Weathered Measurements include the wooden pedestal

Uses and Customs - Villa Carlotta, già Clerici e Sommariva on Lake Como is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peopl...

Map of Lucca is an etching realized by Pierre Mortier in the early 18th Century Good condition.

Antoine VESTIER, attributed to (Avallon, 1740 - Paris, 1824) Portrait of a man under the Revolution Oil on canvas H. 46 cm; L. 37 cm Circa 1793-95 This beautiful unsigned portrait i...

Nadie se conoce is an original artwork realized by the Spanish artist Francisco Goya and published for the first time in 1799. Original etching on paper. The plate is part of the T...

Ring in 18 karat yellow gold, own hallmark. Beautiful and rare antique ring, it is decorated with an opal cabochon in the center of a chased decorati...

"Discover the timeless elegance of this exquisite antique French tapestry featuring a young woman in a medallion. Floral decoration around and a curtain in the shape of a valance abo...

The Witch of Endor conjures up the specter of Samuel in front of King Saul is an old master artwork realized by a follower of Georg Andreas Wolfgang I between 18th and 19th century. Mixed colored oil painting on canvas. On the back probable signature of the author traced by brush "P. So [mita] rt [...] Fac. ". The subject of this painting, the witch of Endor, a necromancer mentioned in the Bible whose power was to evoke the spirit of the dead, is a very rare theme in painting and there are few artists who represented it. In Italy it was especially Salvator Rosa (1615-1673) who had a deep interest in necromantic subjects and, in particular, he produced many paintings of this kind when he stayed in Florence in the 1840s. Rosa's inventions were exported throughout Europe and, in particular, in the German cities of Stuttgart, Nuremberg and Augusta through the works of Johann Heinnrich Schonfeld (Stuttgart, 1627 - Habsburg, 1684), an artist who worked in Naples and who remained sensitive to figure of Salvator Rosa. In this context, in addition to Schonfeld, the Swiss Joseph Werner II (Berne, 1637-1710) was also responsible for the diffusion of this pictorial genre, introducing Rosa's works on witchcraft among his knowledge of Augsburg. He was also the inventor of the scene represented here from whose drawing (Bern, Kunstmuseum, inv. A1196), executed in 1677, the engraving made immediately after by Georg Andreas Wolfgang the Elder (1631–1716) and by which derives precisely the work examined here. The engraving, which was part of a series of biblical images, was dedicated by Wolfgang to Leonhard Weiss, probably a municipal employee of Augsburg or tis mayor. Reference bibliography: - Susan Broomhall, Gender and emotions in medieval and early modern Europe...

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...

Wildlife is an etching realized by Jean Le Pautre in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.

Amazing collection of three pewter candlesticks. They are all different and unique. France, circa 1750-1850. Weathered, dented and small losses but these imperfections help authentic...

Provenance: Dukes of Marlborough Collection, Blenheim Palace until its sale at Christie's London on 26 July 1886 (lot 172) English private collection until its sale at Christie's London on 11 December 1992 (lot 363) Erna Weidinger Collection (1923 - 2021) - Austria Literature : Georg Scharf - A list of the pictures in Blenheim Palace - Catalogue raisonné Part 2 - London 1862 (page 166 - number 199 "after Palma Giovane") Charles Davies...

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 ...

Large Louis XV-style 19th-century flat desk in solid beech veneer with inlay, opening with three drawers including a central drawer in the waistband with floral bronze fittings and r...

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...

Gynoecium 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 laws, ...

Chest of drawers Murano glass set of 2, with all structure in solid palisander wood with veneered finishes, all the chest is covereed with white Mur...

A magnificent example of 18th-century Italian Baroque craftsmanship, this grand polychrome and gilded wooden niche embodies the opulence and theatricality of the period. At its cente...

Pair of framed neoclassical engravings, after works painted by Jean Jacques François Le Barbier (1738 - 1826) and engraved by Jean-Jacques Avril (1744-1831), dated 1789 for the paint...

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...

Museum quality pair of late 18th century Louis XVI neoclassical Canapes retaining their original 18th century petit point needlework upholstery. The frames with neoclassical carved d...

This is a very rare and extremely unusual figurative solid bronze handcrafted sculpture. The figure is most likely Inca-Mayan and worshiping Inti, also called Apu-punchau,-in Inca religion the sun of God. The work is incredibly detailed, starting with the man’s feet...

Large gilded wood mirror carved with floral decorations, very beautiful gilding, glittering mercury glass, wooden parquet. Louis Philippe period - France XIXth century. Height : 167...

Michel-François Roht - Cabinetmaker received Master on August 18, 1773 Imposing Louis XVI chest of drawers in rosewood marquetry in mahogany and amaranth frames delimited by Greek f...

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...

Antique French Louis XVI period mirror, circa 1780. Antique carved giltwood (gildind to the leaf) frame orned with stylised pearls, mounted on an aged patina grey painted woodwork. A...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

Letter C 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”)...

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...

Letter B 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”)...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

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 ...

Writing table or desk made of poplar in the french 18th century, Louis XV period. Height between the roof and the belt 20.87 in. (53 cm). Totally authentic, this piece of furniture w...

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...

Letter C 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”)...

Ruins of an Ancient Tomb is an original etching realized by the italian artist Giovanni Battista Piranesi in 1762. Image dimensions: 41.5x56 cm Very precoius and rare lifetime spec...

Column small petrified wood A in solid petrified wood from Indonesia. Petrified wood has turned into stone. Trees have been buried for many years under sediment they transitioned int...

Roman Temple and Tower from "Antiquities of Herculaneum" is an etching on paper realized by Giuseppe Aloja in the 18th Century. Signed on the plate. Good conditions. The etching b...

This portrait depicts us the trusted confidant of the Conflans d'Armentières family. More precisely, Julien Prieur was the fiscal procurator of the Marquisate of Armentières, playing...

Georgian diamond portrait ring in 18k rose gold and silver. Antique ring composed of a hexagonal bezel enclosing a lady's portrait. The miniature portrait is highlighted by a surroun...

Cupid In Three Frames from "Antiquities of Herculaneum" is an etching on paper realized by Various Authors in the 18th Century. Monogrammed on the plate. Good conditions. The etch...

Louis-Camille d'Olivier, A painter of history and portraits, he returned to the Ecole des Beaux-Arts in 1850 and appeared at the Salon de Paris between ...

Chauve- souris 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 partic...

View of the Capitoline Hill is an original etching realized by the italian artist Giovanni Battista Piranesi in 1775. Very precious and rare lifetime impression. Roman edition. II ...

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...

This model is the daring marriage of a light arm with floral inspiration, typical of the first XVIIIth century and the Louis XV style and a dragon of Asian inspiration. It is compos...

Persian Musical Instruments in China is a lithograph on paper realized in 1862. Titled on the lower. The artwork belongs to the Suite Uses and customs of all the peoples of the uni...

A large, beautifully patinated hand hammered late 18th century French copper watering can with exaggerated loop handle. This charming 18th-century French watering can features a lar...

A pair of small, violin-shaped Rococo carved giltwood table mirrors, adorned with scrolled foliage. Each rests on a rectangular base carved with palmettes ending in two square feet. ...

Oil on canvas attributed Rousseau-Decelle, French painter of the XIXth century. Student of Bouguereau and Ferrier In 1903, the artist whose studio is located at 235 rue du Faubourg ...

This crater-shaped vase made out of coated crystal is a work from the Baccarat glasshouse, between 1862 and 1867, when similar models were displayed at the Parisian World’s Fair, whe...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

Original 18th century etching realized by Giovan Battista Piranesi. Representation of the vase in the centre, description below "Ancient marble vase...

Circa 1760 France Beautiful gentleman's vest in gold lamé fluted silk called French faille in goose poop color and dating from the Louis XV period. Small waist fitted with long basq...

Deer horns is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. ...

Cernophores dancer with Basket, Plate, Crown from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen after Camillus Paderni in the 18th Century. Signed ...

Elegant Cabinet Napoleon III, One Door In Brass Boulle Marquetry Style, in a dark wood veneer background, with motifs of scrolls, interlacing, volutes, flowers and bouquets. Beautif...

Oval box or snuffbox in gold of several tones. The snuffbox is adorned with a guilloche pattern with parallel stripes and dots on the lid, side and ground. The border is decorated with a stylized laurel wreath frieze on amati background. The box has an alternation of guilloche panels and leafy and stylized patterns. Weight: 2.96oz (84g) L: 2.55in. (6.5) / W: 1.81in. (4.6 cm) / H: 0.78in. (2 cm). Gold marks Jurande mark: Henri Clavel (1781-1783) Charging hallmark: P crowned. 1784-1788 Goldsmith Joseph-André Bologniel-Presidant, received in 1778. (1778-1793) Discharge mark: 1783-1789 vanneau head. Eagle head 18K...

An interesting silver wine funnel, or strainer, made in Georgian England in the late 18th century and bearing the hallmark 'EF', thought to be Edward Farrell, a master silversmith wo...

A Louis XVI Style Ormolu-Mounted White Marble Clock In the form of a fluted column, the circular enamel dial with Arabic chapters and pierced lyre and fleur-de-lys shaped giltmetal ...