The young girl poses with solemn grace in a twilight landscape, dressed in rich, draped fabrics in shades of umber and golden silk. She delicately holds small flowers in her right hand, while a bouquet of flowers is gathered from the folds of her dress. A charming detail is her antique sandals tied around her bare feet, reinforcing the allegorical character. This representation is firmly rooted in the rich tradition of allegorical portraiture, where the deity embodies the renewal, beauty, and vitality of youth. The young girl is thus a personification of this springtime of life, making her a living symbol of innocence and the promise of the future.
England
Gerard Lanscroon
Dated 1687
Completely restored according to traditional methods, this chaise longue has been reupholstered in a fabric designed by Tatiana de Nicolay for the Tevenon company, adding a touch of timeless elegance to the piece.
France, 19th Century
The princess is shown in a silk dressing gown, an informal yet exquisitely refined indoor outfit that perfectly exemplifies the elegance of 18th-century French fashion.
Far from being careless, this sartorial choice underscores the sitter’s high rank through its studied simplicity. Her bodice is delicately adorned with a diamond brooch, while a pink veil rests upon powdered hair, in accordance with the aristocratic beauty standards of the time.
A true masterpiece of 18th-century Venetian art, this bench embodies all the theatricality and refinement of the palaces of the Serenissima. Its carved and gilded wooden frame, with its sinuous curves, reflects elegance in an exotic style typical of the Rococo taste.
Eight-light church chandelier, central shaft in carved and gilded wood, cut glass beads.
Rewired to current standards.
18th century
Genoa, Italy
His body is portrayed in an expressive, almost dancing pose, with his right arm raised and his left arm extended, creating a dynamic and light silhouette. Far from the typical depiction of agony, his youthful face remains gentle and serene, without any trace of suffering.
Italy XVII century
This piece illustrates the virtuosity of the masters of the Genoese school of the Seicento (17th century) through a representation of the Pietà of rare dramatic intensity.
Genoese School, 17th Century
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.