The presence of a dog in the foreground may symbolize absolute fidelity and vigilance towards the divine, and on the other hand, it reinforces the intimate and domestic character of this Holy Family, anchoring the scene in a reality close to the faithful.
Italy
17th century
Victor Joseph Chavet was a renowned French painter, a student of Pierre-Roch Vigneron and Tony Johannot. A recognized specialist in genre scenes and portraiture, he distinguished himself by his ability to paint with meticulous detail, often on small canvases, leading to comparisons with the Flemish masters for the precision of his brushwork.
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.
A rare and elegant living room set comprising a sofa and two armchairs, attributed to the renowned Swedish designer Carl Malmsten (1888-1972), a major figure in 20th-century Nordic design.
Pair of blue and white porcelain bird candelabra by Wong Lee. The candelabra depict birds and flowers perched on gilt bronze branches, forming three arms of light. Each rests on a rectangular porcelain and gilt bronze base.
Her hair is styled in a natural, loose, untidy manner typical of late 18th-century fashion. She wears a simple, pure white muslin dress, reflecting the changing customs and tastes of the post-revolutionary era.
France
1794
Souvenirs of travel to Italy. The Neoclassical style of ornamentation, very fashionable under Louis XVI, the Directory, and the Empire, fostered the creation and dissemination of works of art influenced by Greco-Roman art. During their travels to Italy, passionate collectors and artists brought back boxes of molded miniatures as typical souvenirs or as subjects for study, drawing inspiration from classical themes. These boxes reflect the taste for Antiquity and the spread of classical models in 19th-century Europe.
This delicate watercolor depicts two elegantly dressed young girls.
This image conveys the refinement and gentleness of early 20th-century bourgeois childhood.
This portrait depicts an elderly, bearded man in ceremonial oriental attire, a subject particularly popular in the 19th century during the rediscovery of the Dutch Golden Age. The figure is shown half-length, facing the viewer, wearing an imposing turban adorned with a cabochon and a rich red cape trimmed with fur.
France
19th century
The decoration of this turban stand is characteristic of the Rococo style introduced to the Ottoman Empire during the Tulip Period, a time of openness to Western artistic influences in the 18th century. The decorative technique employed, known as Edirnekâri, refers to a tradition of sculpture and polychromy developed by artisans in the city of Edirne, in western Turkey.
Ottoman Empire, Turkey
Late 18th century