Gold cross pendant set with seven rose-cut diamonds, including one on the suspension loop.
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.
This mirror, made of carved and lacquered wood, features a chinoiserie decoration, or chinoiseria, composed of scrolling foliage and figures enhanced with gilding. The fascination with this Oriental-inspired imagery emerged as early as the 17th century and spread throughout Western Europe during the 18th century. Italy was no exception to this trend, and Venice in particular became known for producing a wide variety of lacquered furniture decorated with chinoiserie motifs.
This glass bottle contains a composition made primarily from various materials, including wax and cut paper. This type of object is known as a “Passion bottle” because it contains the Instruments of the Passion of Christ, also known as the Arma Christi. Among them are the cross, the nails, the rooster, the ladder, the column of the Flagellation, and others.
This work belongs to a tradition of folk art in which boatmen and bargemen carefully crafted these votive objects (ex-votos) as a gesture of thanksgiving for a fulfilled vow, often related to the hazards and uncertainties of navigation. These objects were frequently placed in small shrines located in chapels, homes, or even in the cabins of boatmen.
Portrait of a woman from the 18th century wearing a “déshabillé,” a term referring to a softer and lighter garment, often adorned with lace. She wears a lace choker, a type of jewellery that has existed throughout history but experienced a notable revival in popularity during this century. Her powdered hair is adorned with small flowers, while a pretty blue bow decorates her sleeve.
Charming openwork cross, crafted in gold and outlined around its perimeter with a fine black enamel border. It is set with eight rose-cut diamonds, including one on the bail, designed in the form of a bow. This detail of the bail is particularly reminiscent of the so-called “Louis XVI” cross. Each arm terminates in a fleuronné motif.
Highly sought after by enthusiasts of antiques and charming décor, this style of lighting fits perfectly into Hollywood Regency, country house, or classic bohemian interiors.
Italy, late 19th century.
This type of porcelain work, known as pastillage, was highly appreciated in the 18th century. Initially mastered by the German Meissen manufactory, it was subsequently challenged in France by the Vincennes manufactory. The latter obtained a monopoly on the production of porcelain flowers during the reign of Louis XV, much to the delight of Madame de Pompadour. Gradually, and particularly under Louis XVI, this fashion declined. It was not until the Second Empire that these everlasting bouquets once again came to be appreciated and admired.
Pair of lamps depicting two porcelain birds, each distinguished by its own plumage: one yellow, the other white and brown. Each bird is perched on a tree branch and surrounded by delicate porcelain flowers. The lamps are mounted on gilt and patinated brass bases in the Louis XV style, lending the pair an elegant decorative character.