Pair of colonial armchairs with offset armrests

This model of living room armchair with concave backrest has a wide band with an openwork decoration with crosses patterns centred on a floweret and frogs inscribed in a square. Its particularity lies in its offset armrests whose upper ends seem to join the ends of the headband without touching it. The arms are not placed in alignment with the backrest but tangent to it and pegged to the upright at the meeting point. This particularly fragile – and elegant – assembly explains why few models have remained in such good condition.

Ebony Cabinet

This formal cabinet is made of two independent yet complementary parts: a box that fits into a cabinet holder with feet.
The cabinet holder consists of a crotch-frame, support-height table with two drawers with enclosure. The latter is embellished with a large frieze carved with arabesque motifs. This type of carved and pierced ornamentation is also common – if not characteristic – of furniture crafted on the Coromandel coast. Golden brass rosettes mark the centre of these windings.
The drawers with drop handles in chiselled and gilded brass can be locked. They feature motifs of Hindu mythological figures, half bird (Hamsa) half lion (Yali), inspired by the fantastic bestiary of South India which gained interest again under the Nayak dynasties in Tamil Nadu in the 17th century.

Portrait of Antonio Canova

The sculptor is shown standing, perhaps in his study, head turned three-quarters to the left. He is dressed in a fashionable black jacket that reveals a white shirt with a gathered frill and a casually unbuttoned waistcoat. He’s also wearing an orange Garat-style tie – vaporous, loose ends with bronze green and white stripes.

Supposed Seneca bust

This bronze bust resting on a yellow marble pedestal represents the supposed portrait of philosopher Seneca: an elderly man with a bushy beard and moustache, wrinkles on his forehead, crow’s feet at the corners of the eyes, protruding cheekbones and emaciated cheeks, parted mouth, marked corners of the lips, messy hair with long shaggy locks. The head slightly turned to the right emphasizes the vitality of the gaze that intensely stares at the viewer. The folds of the neck and the hollow of the collarbones reinforce the realistic rendering of this portrait of a suffering man.