This type of object is characteristic of the production of eighteenth-century marchands merciers, such as Lazare Duvaux, Dominique Daguerre and the Juilliot family. Working with imported materials and composite elements, notably Japanese lacquer and Saxon porcelain, these merchants commissioned gilt-bronze mounts to adapt such objects to the tastes and fashions of their time.
The bouillon bowl consists of a pot, its lid and a saucer. Each piece features a painted decoration depicting gallant scenes. The lid and the two handles are embellished with flowers and scrolling foliage in applied relief decoration.
This piece illustrates the diversity of tableware in the 18th century, fostered by the development and refinement of gastronomy. Dishes became more varied and sophisticated, and their presentation and consumption became an occasion for elaborate staging, imbued with a certain sense of theatricality.
In the lower-left of the composition, a small spaniel with large, expressive eyes and a red-and-white coat enlivens the scene with a touch of familiar tenderness.
18th century
An elegant 19th-century secretary desk featuring a drop-front and three front drawers. The piece is adorned with sumptuous polychrome and gilt lacquer decoration in the style of the Far East, depicting lively landscapes with pagodas, bridges, foliage, and traditional figures set against a deep black background.
France, 19th century
Important openwork yellow gold pendant with a lace-like design, crafted using the granulation technique, which creates raised decoration through the application of minute gold granules. The cross is adorned with oval faceted amethysts and white gemstones mounted over foil, all set in closed, millegrain settings.
A refined white marble sculpture depicting the Infant Jesus asleep, delicately reclining on his side in a peaceful posture of slumber. His charming face, with its soft features, is framed by fine, gracefully falling curls; the nude body—modestly draped with a light cloth around the hips—demonstrates great anatomical finesse and a beautiful Neoclassical sensibility.
Italy, 19th century
The composition follows the classic arrangement in which the Archangel Gabriel—wings unfurled and wrapped in swirling drapery—bows to the left before the Virgin, offering her a lily (a symbol of purity), while the Virgin Mary, clad in a sky-blue mantle and a pink robe, pauses in her reading to receive the divine message.
Giltwood frame
Italy, 18th century
This bookcase is distinguished by its theatrical architecture. At the center, an imposing pediment features moldings and a carved *rocaille* shell framed by acanthus leaves. The upper section presents a striking interplay of glazed sections, a central arched open bay, and curved side shelves. The pilasters are elegantly topped with carved capitals featuring volutes.
Italy
18th century
This painting depicts a lady of rank, dressed in an elegant blue velvet gown adorned with gold passementerie and a pink satin drapery covering her right shoulder. She is portrayed three-quarter length and wears a hairstyle that may evoke that of her presumed model, Mlle de Fontanges.
Although the identity of this woman remains unknown, she undoubtedly belonged to the French nobility of the eighteenth century. The quality of the painting, particularly evident in the refined rendering of the fabrics and lace, suggests an attribution to the workshop of François de Troy, who excelled especially in the treatment of such details. Also noteworthy is the hazy brown background, which can be found in several works by this great portraitist.
This type of furniture belongs to what is known as “grotto” furniture. The symbolism and reinterpretation of the scallop shell are the result of several centuries of architectural evolution, reaching its fullest expression during the Rocaille period. Later, at the end of the 19th century, the so-called “grotto” furniture created by the renowned Italian firm Pauly & Cie experienced a revival. Other manufacturers subsequently produced similar pieces to meet the considerable enthusiasm of collectors for this type of furniture. Such pieces naturally integrated into the settings for which they were intended, referring to shell grottoes, which were particularly widespread in Italy, but also in England, as illustrated by a photograph of the grotto at Woburn Abbey.