This type of regional jewel is known as the “Heart of Mary” (Vlaamse Hart), which translates as “Flemish Heart.” Originating in Antwerp, its production began in the late eighteenth century. There are two variations of this jewel: one surmounted by a crown of flowers, and the other adorned with a quiver of arrows and a flaming torch. Our pendant belongs to the latter category and was traditionally given as a token of love. Its silver interlaced decoration is set with small rose-cut diamonds, as well as a larger diamond at the center of the pendant.
These meticulous compositions—characteristic of the paper-cut art and relief pictures of the Louis XVI era—feature figures dressed in real fabrics (silk, muslin, ribbons) finely fashioned in three dimensions. They are set against a landscape background painted in gouache and enhanced with naturalistic relief elements such as moss, small twigs, and dried flowers.
France, 18th century
The pair depicts green parrots perched on gilt-bronze branches, each holding a foliate spray in its beak. The wall lights are fitted with new green-lined silk shades, finished with Declercq passementerie.
A set marked “Creil et Montereau,” known as the ‘Japan’ model, also referred to as the “Monet” set because this design was found in Claude Monet’s home in Giverny. His love for Japan was even reflected in his dinnerware.
This design was created in 1876 and produced until approximately 1929. The blue-and-white decoration features alternating floral medallions along the rim of the plates. The center is adorned with branches of flowering plum trees, chrysanthemums, and cherry blossoms.
Pair of articulated brass wall lights, topped with delicate pink silk-lined shades adorned with elegant Houlès passementerie. Fully adjustable, they can be positioned in both height and width, allowing them to adapt harmoniously to a variety of spaces. Their soft, diffused light is ideal for creating a warm and refined atmosphere. Rewired to current electrical standards.
This type of regional jewel is known as the “Heart of Mary” (Vlaamse Hart), which translates as “Flemish Heart.” Originating in Antwerp, its production began in the late 18th century. Our example is decorated with silver interlacing set with small rose-cut diamonds, together with a larger diamond at the center of the pendant. The whole is surmounted by a crown of flowers.
This late-19th-century painting on wood depicts an intimate scene, capturing the kiss exchanged between two young children shown in bust-length portrait. On the left, a little girl, seen from the front and dressed in a white shirt or nightgown with puffed sleeves, smiles. On the right, a second child, probably her brother, dressed in a garment with a ruffled collar, leans over to kiss his sister on the cheek.
Pendant in the shape of a cross, situated at the meeting point between two models. Indeed, its shape clearly refers to the “Marie-Antoinette” cross, which was nonetheless surmounted and supported on the chain by a bow, an element absent on our cross. These crosses are characterised at their centre by a rounded form, created by the arrangement of the stones in relation to one another.