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.
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 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.
A set of six wooden chairs entirely clad in repoussé silver leaf, featuring interlacing patterns, scrolling foliage, and floral motifs. The backrest is adorned at its ends with two rams’ heads in relief, lending the set a highly decorative character.
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 lover.
This cast iron garden bench reflects the Victorian taste of the second half of the19th century. Its structure features naturalistic decoration with scrolling foliage, vine leaves and other botanical motifs. The backrest and seat are entirely piercedwith an openwork design. The whole rests on two finely worked legs, connected by metal reinforcing elements.