Spain - Furniture

Alba is a versatile product that can be used as a wall shelf with hidden storage and as a bedside table with concealed storage. Alba means “sunrise” in Spanish, hence its name, since...

A versatile narrow bedside table with concealed storage. Alba means “sunrise” in Spanish, hence its name, since the two front pieces of the product simu...

Exceptional and rare set of 6 Bistro chairs by Jacob & Josef Kohn from the end of the 19th century. Bentwood chairs with seats and backs carved with be...

Chair designed by Joe Colombo in 1965. Designed by the forward-thinking Italian designer Joe Colombo, Chair 300 is a beautiful example of his functional design sensibility. Upholst...

Alba is a versatile product that can be used as a wall shelf with hidden storage and as a bedside table with concealed storage. Alba means “sunrise” in Spanish, hence its name, since...

A versatile piece of furniture that can be used as a wall shelf with hidden storage and as a bedside table with concealed storage. Alba means “sunrise” in Spanish, hence its name, si...

18th Century hand carved wooden fireplace mantel that will bring a cozy ambiance to your sitting room.  

Three Stools model "Ollo" Manufactured by Museo Alchimia Italy, 1988 Laminated wood Big height H74 x 22 x 22cm Medium height H64 x 22 x 22cm Small hei...

Spanish Butcher Block Side Table / Brutalist Wabi Sabi Rustic Tripod Side Table, 1930s- 1940s Originally used as butcher's table.To be used as side table or stand to display sculptures or decorative objects. The Murano glass squirrel...

Metal Coppered Flower Sculpture / Paperweight, Spain, 1960s Two Calla Lily flowers with leaves standing on a base. Metal coppered. Minor wear a...

A monumental 20th century Spanish trestle table, having a rectangular framed solid walnut inset board top, resting on hand carved, classical lyre legs joined by four beautifully iron...

DESCRIPTION: Gérard Guermonprez Sideboard "Monaco" for Magnani, circa 1950, France. Base in lacquered black metal, main part in veneering elm wood with four doors. CONDITION: Very g...

Outstanding Rolex made in yellow gold, 18 carats. All the characteristics are detailed below... if you want to know any other information, do not hesitate to contact us. Model OYSTER PERPETUAL DATEJUST 6917 - Movement: Automatic mechanical...

Designed by Tom Robertson for A.H McIntosh and Co., it was made in the 1960s in Scotland. This Mid-Century piece stands out for its balanced design, designed to create symmetry. Th...

Spanish Renaissance Curule walnut stool in green velvet upholstery, Spain, 1880s. Elegant Curule X-shape carved walnut footstool /ottoman with green velvet upholstered fringed seat...

Set of eight chairs model "Leggera 646" designed by Gio Ponti (1891-1979) and edited by Cassina. Made of solid ashwood structure with original upholstery. Italy, 1951. Due to the up...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Pair of half cylinder wall lights with wicker and rattan woven shades and bamboo accents, France, 1960s. These light fixtures are made with wicker basket weave panel on a rattan sem...

Extra large spider crab and lobster seafood plates wall decoration, Majolica, glazed ceramic. Portugal, 1950s A colorful pair of fine Majolica glazed ceramic plates with seafood tro...

Oversized hand-hammered copper cauldron with iron hook handles. Spain, early 20th century. This handcrafted copper cauldron has a terrific aged patina. It has an iron rim on the top ...

Door & drawer pull handle belt shape Artisanal architectural elements that privilege the sense of touch. Made bovine leather from European cattle and sub-products from food industry. Leather pieces vegetable tanned using quebracho and mimosa in a traditional Spanish tannery, chrome free tanning process. Our hides pass by a tumbled process that adds a natural grain to the leather and additional soft touch. All our leather parts are manufactured by handbags and leather goods artisans, so yo will finds that reminds to footwear or fashion rather than homewares. With more detailed eye on small subtleties, as the hand painted edges or hand machine stitched...

Fascinating creation of Tom Robertson, the Scottish firm A.H. McIntosh manufactured in the early ’70s under the name Eden. The structure is in high-quality laminated teak wood. The...

20th Century Art Nouveau style spiral staircase from Spain in good condition and easy to assemble. This stair belonged to an old Factory in Spain, that closed at the end of the 2...

Tom Robertson designed dunvegan sideboard in teak wood for A.H. McIntosh in Scotland in the 1970s. Tom Robertson updated this model in the early ’70s, belongs to its Dunvegan collec...

Gorgeous and very refined Art Deco French writing set made of hardwood, inlaid bone simil and glass. The complete set is preserved in perfect condition, consisting of the inkwell, th...

Átomo clocks, whose design reflects creativity with a great sense of refinement, dress the corners of tables and provide light and style. ø10cm clock with natural walnut wood body...

Beautiful and rare stone and ceramic wall sculpture manufactured in France in 1960s. Good vintage condition.  

Rug of the Caucasus region. It is worth mentioning its color and typical format of the rugs of the production of Shirvan. 19th Century Woolen Caucasus Shirvan Rug with Geometric Desi...

A cool handcrafted rattan large ceiling pendant hanging light with chinoiserie accents, Spain, 1960s. This large lantern has an eye-catching design featuring a semi-spherical rattan ...

FOC lamps are designed and manufactured by Mediterranean Objects in Barcelona, Spain. They consist of an outer shade of cherry-colored dyed bam...

Stool designed by Le Corbusier in 1952-59. Relaunched in 2010. Manufactured by Cassina in Italy. Designed in 1952 for the Cabanon, a hut built by Le Corbusier on the French Riviera,...

ARLES Wall lamp Arles , is a family of lights that tells a story, it is designed to create a cozy and mysterious atmosphere in interior rooms. The parallel and concentric wooden slats act as diffusers of light and play with different lengths to create curves of delicate organic lines. WALL LAMP: Measuring 35 cm high and 21 cm wide, it is ideal for dining rooms, living rooms, hallways, and bedrooms. Its screen with vertical lines is made of MDF wood , and has the possibility of including a second interior translucent screen...

Outstanding floor lamp with polished brass structure covered with stained and varnished mahogany pieces. The original lampshade has been reupholstered. It is adjustable. Design: Giu...

Early 20th Century Spanish shelve. Made by unknown manufacturer from France, circa 1930. In original condition, with minor wear consistent with age and use, preserving a beautiful ...

Ophidiaster ophidianus, measures: 495 × 418 × 140 mm, 576 g weight 2018, Océano Pacífico Red extra-size starfish! A fantastic specimen of Ophidiaster ophidianus caught in the Solo...

Sculpture made by French artist Christian Paix. Manufactured in Resin, circa 1990. Signed on the sculpture with the mold. In original condition with minor wear consistent of age...

Pepino bench by Owl Dimensions: L 140 x W 60 x H 46 cm Materials: Plywood base, upholstered La Pepino is a collection of only seating, which consists...

American Rustic Mission oak table lamp Classic Arts & Crafts oak table lamp. The lamp has a four sided shade with caramel slag glass insert an...

The Pirarucu fish leather cushion. Pirarucu fish comes from Brazilian food industry, it is the second largest river fish in the world after the beluga. V...

Set of six (6) rare all black Cesca chairs, icon of the Bauhaus and designed in 1928, by Marcel Breuer. Black beech wood, black lacquered tubular structure. In good vintage condition...

"Prefacto" side table by Pierre Guariche for Trefac Meurop Rare original condition. Table top in massive oak. Lacquered metal tube legs. circa 1950, France. Good vintage condition. P...

Six folding chairs of stained beech with canvas seat and backrest. Manufactured in Denmark by Sorø Møbelfabrik, model 330. Height when folded - 97 cm.

Wellbeing is an organism of comforting textile products that support the human experience. All the items focus on tactility, materiality, craft and quality. They add warmth, softness...

Exceptional table of French origin and Provencal style, made in the media of the previous century in wood. The table was raised on one of the slender legs, which aligned with the vis...

This lamp is one of a two-piece-set. The "mush" lamps are unique pieces made of organic resins and fibreglass shades that diffuse light and create intimate atmospheres. Every piece h...

Antique mid-19th century Spanish hand carved painted wooden sculpture of Virgin Mary of the Sacred Heart with glass eyes.

This is a fabulous set of Belgian Dining Chairs from the 18th C. The delicate green hand painted details on the frame stylize the shape whilst the...

Spanish 1960s Mid-Century Modern bamboo and wicker wire pendant lamp or lantern. This suspension lamp features a woven wicker drum shaped lampshade ...

Japanese dolls called Kokeshi of the early 20th century. Provenance from the northern Japan. Set of 3. Measures: 30 x 9 cm 30.5 x 8.5 cm 30 x 9 cm Handmade by Japanes...

A silk-screened mirror painting of Coca-Cola. With a retro advertising style from the 1920s. The advertising of the time said "The most refreshing drink in the world". Coca-Cola adve...

Vault keys such as these were used where the vault ribs came together, as a finishing touch. These particular ones depict the four Evangelists. The Angel for St Matthew, the Lion for...

The term Vieux Paris, or "Old Paris" porcelain does not refer to one particular maker, but is used to describe French porcelain pieces made by one of more than thirty manufacturers o...

Japanese dolls called Kokeshi of the early 20th century. Provenance from the northern Japan. Set of 2. Measures: 30 x 8.5 cm 27 x 7.5 cm Handmade by Japanese artisants...

Large Varnished wood executive desk, in the style of Florence Knoll.

Pair of bookcase cabinets. Made with walnut. Very decorative piece with elephants carved in the wood. Three shelves made with glass. Very...

ITEM: Mastoid bowl MATERIAL: Pottery CULTURE: Greek, Hellenistic Period PERIOD: 3rd – 1st Century B.C DIMENSIONS: 90 mm x 140 mm CONDITION: Good condition PROVENANCE: Ex German priva...

Sofa by unknown manufacturer in France, circa 1950, designed in the manner of Jean Prouve. Lacquered metal base and wood. The cushion are original. In good original condit...

ITEM: Figurine of a little Eros riding on a dolphin, holding a lyre with remains of polychromy MATERIAL: Pottery CULTURE: Greek PERIOD: 4th – 3rd Century B.C DIMENSIONS: 145 mm x 140...