Madrid

This Art Deco ring from the 1930 era is crafted in 18K gold with platinum accents and features Diamonds. It has a weight of 1.58 grams and is sized 54/14. The Diamonds are a mix of...

Mimmo Rotella - VERA CRUZ Date of creation: circa 2005 Medium: Multiple decollage screen print on heavyweight paper Edition: 125 + L + P.A. Size: 100 x 70 cm Condition: In very good ...

Patinated bronze lamp base. Screen not included Lamp stand in the shape of a candlestick formed by a pedestal with a triangular base with legs and a grooved shaft, finished with leav...

The large seat/sculpture mod. Up7, designed by the renowned Italian architect and designer Gaetano Pesce in 1969, represents a milestone in contemporary furniture design. Produced by B&B Italia as part of the UP series...

JESUS CHRIST CRUCIFIED Indo-Portuguese sculpture from the 18th Century in ivor..... The figure is represented in agony, with cendal draped around the waist. Cross in rosewood wood ...

This large porcelain urn was produced by Bidasoa, one of Spain’s finest porcelain manufacturers, renowned for its high-quality mid-20th-century production. Inspired by classical Grec...

PABLO PICASSO (1881-1973) Visage (A.R. 288) stamped and marked 'Edition Picasso / Madoura Plein Feu / Edition Picasso / Madoura' (underneath) white earthenware ceramic pitcher with c...

Italian sideboard designed by L.A. Studio. Made of solid wood structure, covered in colored glass. Brass profiles and handles. Composed of six drawers. Made in Italy. This elegant I...

The "Bermuda" chairs were designed by Carlos Miret and edited by Amat in 1986 in Spain, This Memphis-style tripod chair is composed of a black lacquered m...

This magnificent garden sculpture, originating from France in the 19th century, stands as a testament to the craftsmanship and artistic fervor of the era. Crafted from cast iron with...

his sophisticated bronze bust depicts the ancient Greek poetess Sappho (620 B.C. - 550 B.C.), known for her lyrical poetry. Crafted in dark green patinated bronze with plaster eyes, ...

The name of the artist and the date, "Arno Breker 1974-75," are incised on Dali's neck, indicating the period during which Breker sculpted Dali from life. On the back of the neck, yo...

"La Gomi" is completely upholstered from toes to head. Soft and lightweight, it reminds of the chair you thought of when you were a kid. The chair is totally handmade and it's compos...

"Confidence". calamine. France, around 1900, following Grisard, Désiré (1872-¿). With manufacturing stamp, titled and engraved name. Calamine figure patinated in various shades t...

We present to you an imposing garden sculpture representing Nike, the Greek goddess of victory, better known as the Winged Victory of Samothrace. This magnificent replica is made of ...

Camaleonda modular sofa designed by Mario Bellini (1935) for C&B Italia in 1972. Composed of 4 large modular seats with backrest, 3 small modular seats with backrest, 1 small module without backrest and 1 shoe remover chair. White bouclé wool upholstery. Measurements of large seats (5): W 96 x D 96 x H 40/65 cm. Measures small seats...

Furietti Centaurs in Pair - Bronze Statues, reduction of the originals (known as the Older Centaur and the Younger Centaur, or the Older Centaur and the Younger Centaur when treated ...

Striking pair of large sculptural pedestals, hand-carved in Italian travertine marble, each representing a human figure supporting a platform or base. These expressive and bold carvi...

Exquisite Hand-Carved Oak Bar Cabinet with Glass Shelves Enhance your home with the sophisticated charm of this hand-carved oak bar cabinet. Designed with two hinged doors, this piec...

Impressive Spanish Silver Crown, hallmarked by Francisco Beltrán de la Cueva, Madrid, 1742 Important processional crown in Spanish silver, hallmarked by the silversmith Francisco Be...

19th Century toilet box. Magnificent Victorian period toilet box, made of Mahogany veneer. Rectangular in shape, this kit includes original Crystal contain...

Immaculate Conception in polychrome and gilded wood with Peruvian silver crown, Spanish school, 18th century A magnificent Baroque carving of the Immaculate Conception, crafted from carved, polychrome, and gilded wood, attributed to the 18th-century Spanish school. It depicts the Virgin in prayer on a cherub pedestal...

In this work, I wanted to capture the vibrant energy of the meeting between sky and earth, using acrylics to create textures and dynamic movement. The blues convey calm and depth, wh...

ANTHROPOMORPHIC SCULPTURE CARVED IN STONE OF THE RECUAY CULTURE PERU 400BC-400AC Recuay is an archaeological culture of Ancient Peru that developed in the Sierra of the current Peruvian department of Áncash between 200 AD. C. until 600 d. C. It corresponds to the stage called Regional Developments, it has also been called the Huaylas or Santa culture. Like the other Early Intermediate cultures, little is known about this culture. The most accepted position is that it was an extension of the Chavin culture, after the influence of the "White on Red" style in the region. Regarding the political aspect of the recuay, there is a hypothesis that questions their autonomy and maintains that Recuay would be part of one of the many political units that made up the Moche state. The recuay style, characterized by its ceramics and stone sculpture, was initially described by Eduard Seler in 1893, based on ceramic specimens brought to the Ethnographic Museum in Berlin by Mariano M. Macedo. Seler named this style of pottery Recuay, based on the report that these pieces had been found in the town of Recuay. Later studies showed that this characteristic pottery was not originally from Recuay but from Copa, near Carhuaz, for which reason the name change to that of this town was proposed. Eventually the name of Huaylas was used for this culture. In 1919 Julio C. Tello explored the area and recovered lithic sculptures and Recuay-type ceramics. In the 1960s Rafael Larco Hoyle proposed changing the names of Recuay and Copa to Santa, arguing that the Recuay style had originated in the coastal regions of the Santa Valley. However, the name Recuay has persisted. Its chronology is also highly debatable. The time of its origin between 0 and 200 AD is discussed. C. and its end or collapse is commonly set to 600 d. C. probably caused by the invasion of the Huari conquerors. It encompassed almost the entire Callejón de Huaylas, a narrow valley fed by the Santa River and enclosed between two mountain ranges, the Cordillera Blanca to the west and the Cordillera Negra to the east. Its influence extended to the east to the Marañón river basin and to the west to the upper parts of the Santa, Casma and Huarmey valleys. To the north it reached the town of Pashash, in the province of Pallasca. The Copa area, Marca district, Recuay province, Ancash department seems to have been the center or main nucleus of cohesion of this culture. The name of the culture would then be justified, derived from the province of the same name. Other important settlements were those of Huilcahuaín (near the current city of Ancash), Cátac, Araucay, Tambo, Jancu, Upayacu and Pashash (near the current city of Cabana). Its main form of expression of art was through stone work (carving and masonry), inherited from its predecessor, the Chavín culture. In addition, they made sculptures in lumps that represent warriors with shields or trophy heads, with which they decorated their complex architectural constructions. They also made white clay pottery...

A stunning Art Deco brooch from the 1930-1935 period, crafted in 18k gold and set with brilliant-cut diamonds and other high-quality gemstones. This vintage piece is a true represent...

DOB Me: On the Red Mound of the Dead Date of creation: 2013 Medium: Offset lithograph with silver on paper Edition: 300 Size: 50 x 50 cm Condition: In mint conditions and not f...

Mirror with a wooden structure featuring a brass profile and a front made of handcrafted Murano glass. Current production from Murano, Italy. This mirror is the perfect choice for ...

PAIR OF MONUMENTAL CARVED PANELS FROM THE 18TH CENTURY IMPORTANT SPANISH BAROQUE 18TH CENTURY WOODEN PANELS ATTRIBUTED TO: Luis Bonifás y...

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...

This Mid-Century Modern door handle, crafted from solid brass, exemplifies the design aesthetics of Italy in the 1940s. Its iconic style and durabl...

Ring Size: US 7.25 / EU 15 (Resizable at no additional cost) 1.85ct Colored Diamond Cocktail Ring in 14K Gold – One-of-a-Kind Contemporary Design This striking cocktail ring is ...

Decanter, Lalique Bottle in moulded and relief crystal, acid decorated, signed 'Lalique, France, numbered 136. With box. Size: (height) 27 cm. perfect condition.  

Pair of midcentury Italian wall lights designed and produced by Archimede Seguso in 1940. These midcentury wall lights stand out for their ribbed Murano glass construction on a metal structure. They are elegant and sophisticated pieces that add a touch of luxury to any space. Their unique design creates captivating interplays of shadows and reflections, while their soft and ambient lighting sets a charming atmosphere. These midcentury wall lights represent the history and tradition of Italian design, making them a treasure for midcentury enthusiasts, interior design lovers, and collectors alike. Every item LA Studio...

This Italian sideboard, designed by L.A. Studio, features a solid wood structure dating back to the 1950s, adorned with colored glass panels. It includes brass profiles and handles, ...

Painting: Acrylic and enamel on Canvas. Oversize XXL Abstract Painting. The large painting you are describing has a dark blue background that evokes the depth of the ocean at night....

Console table designed by Angelo Mangiarotti composed of tabletop resting on two conical marble legs,1970s. Iconic and original design in Arabescato marble. This piece is an exampl...

A matched pair of 19th century porcelain urns with lids, made by Samson Edmé et Cie porcelain, of Paris. Samson opened in 1845 and soon became well-known for making reproductions of ...

Discover a touch of elegance and history with our stunning Pair of Stone Vases on Pedestals from the 20th Century. These exquisite pieces are not only in excellent condition but also...

Les Arcs chairs were designed by Charlotte Perriand for the alpine resort of Les Arcs in the Tarentaise valley in the 1960s. Set of 4 chairs. Original saddle leather. Light patina on...

Immerse yourself in the timeless beauty of this sculpture of the Infant Jesus as Salvator Mundi, an exceptional piece originating from the renowned School of Mechelen of the 15th-16t...

RAMÓN CASAS Spanish, 1866 - 1932 CORRIDA signed "R. Casas" (lower left) oil on canvas 15 x 18-1/8 inches (38 x 46 cm.) framed: 23-1/4 x 26 inches (59 x 66 cm.) PROVENANCE The artist...

This Art Deco STYLE ring is crafted in 18K yellow gold and features diamonds and a sapphire. It weighs 5.02 grams and is sized ES 12.5 / EU 52.5 / US 6.75 / 16.75 mm. The ring incl...

This 19th century Spanish brazier, or "brasero," is made of brass and wood, and was used to heat areas of a home (or castle) by holding burning coals i...

Pair of candlestick in patinated bronze. The square-shaped base or washer provides stability to the barrel, which has been shaped into a column with a smooth shaft with a notable wi...

17th-century Mexican School - "Annunciation." Oil on canvas. 110 x 89 cm, framed 120 x 99 cm. Framed. This work comes from the city of Morelia, the monastery of the Capuchin Poor ...

Crucified Christ, Sorrowful Crucifix. Carved and polychrome wood. Possibly southern German school, 15th century. Polychrome and gilded wood carving showing Christ with the Crown of Thorns, on the Cross, already deceased (eyes closed), with the usual INRI phylactery on the upper crossbar of the Latin cross, three nails (note the crossed feet) and a short, golden and polychrome purity cloth or perizonium. It is known, in German, as “Gabelkreuz” or “Gabelkruzifix” (“Sorrowful Crucifix” in Spanish) to a type of Gothic Crucified Christ that is especially expressive (prioritizing external suffering over other aspects) and that, normally, presents the cross in a of Y or ypsilon (alluding to the Tree of Life), created, apparently, thanks to the influence of the mysticism of the late 13th and early 14th centuries (Saint Brigid...

7.82ct Ametrine Tourmaline Aquamarine Cocktail Ring in 14K Gold – Unique Handmade Design This one-of-a-kind women’s cocktail ring is a sculptural ...

PABLO PICASSO (1881-1973) Visage aux yeux rieurs (A.R. 608) stamped, marked and numbered 'Edition Picasso / Madoura Plein Feu / Edition Picasso ...

Pair of lamps, mod LT 226, designed by Carlo Nason for Mazzega, showcases an exemplary blend of artistry and functionality. Created in Italy in 1960, these lamps are crafted from vib...

Frame. Ebonized wood, metal. Dutch School, 17th century. It has faults. Slightly rectangular frame made of ebonized wood and decorated with a series of smooth moldings of varying w...

Dining table mod. Delfi designed by Carlo Scarpa and Marcel Breuer for Gavina. Composed of two sculptural bases and a rectangular top 4 cm thick. Made in Carrara marble. Italy 1968. ...

"Hares" Fireplace andirons in blued bronze and wrought iron - 20th century Dimensions: 52 x 18 x 52 cm

Important colonial-style cross made of 18 Karat yellow gold, handmade with a very fine gallery and details engraved with buril. With 11 Natural Emerald trilliant cut and emerald cu...

RARE CHINESE OPIUM BED 19th Century in lacquered, painted and gilded wood decorated with oriental landscapes and plant elements. With two drawers simulati...

IMPORTANT TRIPTIC FLORENTINE SCHOOL (Italy) 16th Century Oil on wood, representing the Eternal Father, Our Lady with Baby Jesus, Saint Bernadino of Siena, San León, Saint Stephen an...

Large Italian Marble Sculpture of a Roman Woman, Early 20th Century Description: Elegant marble sculpture of a classical Roman woman, c...

Monumental French Mirrors in Golden Wood - Historic Treasures of Elegance Step into the grandeur of the 19th century with our monumental Frenc...

A very unique and rare gramophone made by a Seville jewller for the Gramophone Exhibition in Seville in 1925 in wich was awarded with a silver medal.It was...

French bronze from the beginning of the years 1900. Beautiful French bronze from the beginning of 1900. In good condition and has a nice patina. Measures: 28x27x14 cm.

Largest collection of Portuguese tiles in the world 18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18...