Pair of paintings depicting a partially nude woman at two different moments in her life. In the first canvas, which can presumably be considered the earlier of the two, a woman is shown in profile, her breast exposed, contemplating the miniature portrait of a man that she holds in her left hand. At this stage, the narrative appears to be rather happy. The second painting, however, depicts the same woman in a very different emotional state. The faint smile has now given way to tears, while her clenched fist encloses what we may assume to be the memory of her husband.
An elegant and intimate composition depicting a molded white marble mantelpiece. At the center stands a terracotta sculpture of a young woman in profile, her silhouette reflected in the large mirror in the background. Arranged around the bust are a bronze candlestick adorned with crystal pendants and fitted with pleated pink silk lampshades, an antique leather-bound book, two framed miniatures, and a porcelain snuffbox.
This delicate Baroque cabinet painting stands firmly within the tradition of the 17th-century Bolognese School, reflecting the immense influence of its leading figure, Guido Reni. The work embodies the master’s aesthetic ideals: the Virgin’s face with its perfect oval shape and alabaster complexion, her gently lowered eyelids conveying a sense of melancholy, and her hair swept up and held simply by a diaphanous veil.
The inscription appears to read “À Monsieur / Marquet…” (“To Monsieur Marquet…”), a traditional pictorial detail serving to identify the patron or the intended recipient of the role symbolized by the young man.
This touching group portrait from the Restoration period depicts three young boys from a prominent bourgeois or aristocratic family, identified by an old label on the back as the children of the Prévôt Renaud de Saint-Lézin family. The composition is skillfully arranged within a restrained interior featuring a parquetry floor, set before a large frosted-glass door.
It is fascinating to note that the first historical owner of the original painting was none other than Lucien Bonaparte, the Emperor’s brother and a great patron of the arts, which testifies to the immense prestige of this work from its creation.
The lady is dressed in a gown known as a “déshabillé,” a refined garment emblematic of French fashion in the 1670s. Her bodice is adorned with black stones—diamonds. At that time, diamonds did not yet reflect light effectively. To accentuate their brilliance, cutters applied soot behind the stones, creating a contrast that gave the illusion of sparkle. This is why, in early Renaissance and 17th-century paintings, diamonds are often depicted in black.
Rare Pair of Miniature Devotional Paintings on Vellum, 18th Century
This delicate pair of 18th-century miniature paintings beautifully illustrates the spirit and fervor of private devotion under the Ancien Régime. Presented in their original, richly carved wooden frames.
This magnificent three-quarter portrait captures the ideal of the “gentleman” and the nobility of the sword at the end of Louis XIV’s reign. The young aristocrat displays the ceremonial codes of the Court: powdered complexion, cheeks enhanced with rouge, and an imposing “in-folio” wig.