Sexy Gifts

A Queen Anne period walnut double-dome bookcase cabinet. This early-18th century walnut bookcase is veneered throughout in figured walnut, and is feathe...

Antique print titled 'The East Prospect to the Gardens of Beddington Place in Surrey (..)'. Elevation of Beddington Place (also known as Boddington or Carew Manor), England. This pri...

A stunning pair of antique Italian Neo-classical faux marble wooden urns. Born in Italy around the 18th/early 19th century, sculptural lidded urn architectural element form, hand ca...

Antique print titled 'The Elevation of Roger Hudson Esqr. his house at Sunbury (..)'. Old engraving of the house of Roger Hudson in Sunbury. This print originates from 'Vitruvius Bri...

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

Antique print, untitled. This original antique print shows Rama and Hanuman fighting Ravana. Rama and Lakshmana shooting arrows at Ravana, while Hanuman jumps him from the air. D...

Condition : Partly dating from the Renaissance. The backs and the drawer’s insides have been re-done. Historical background The 16th century is a prosperous period for Lyon...

An 18th-century mahogany bureau cabinet of impressive architectural form and lovely rich color. George II period, circa 1740. The top surmounted by a bold architectural pediment and centered by a brass finial. The two arched panel doors reveal three adjustable shelves which have candle slides below them. Furthermore, the bureau section is fitted with a stepped interior. This has two secret compartments, drawers and pigeon holes, and the fall is conventionally supported on two lopers. Lined in the best quality English oak. The blind doors of this Georgian cabinet have well-figured mahogany panels of very good rich color which reflect beautifully in the candle light. The chamfered and arched doors display a further level of sophistication and quality. The beautifully-drawn arched pediment is in perfect proportion with the rest of the cabinet / bookcase. In excellent condition overall. Architectural furniture designs on the continent commenced with the arrival of the Renaissance, and they have their origins in Roman and Greek architecture. Nb. Bureau bookcases display books, china or silver behind glazed doors, but are described more accurately as bureau cabinets when they are fitted with blind doors. We often refer to antique bookcases / cabinets as ''secretary desks'' in the US. Information on pediments: 'Illustrated Dictionary...

Excellent state of condition This table has a movable top and supports as did the models from the Middle Ages, and yet presents a decorative dimension characteristic of the Renaissance furniture, which the riche and most inventive type was the “fan-shaped” table, probably coming from Italy. The central pilaster represents a term enriched by a foliage motif, including a laurel-crowned femal face on the first support and a male face on the second one. The high quality of this embossed work adds a touch of sophistication. Noteworthy, we can see on the backside of the fan-shaped supports, the same patterns as a lower relief, an extremely rare occurrence. This Ceremonial Table can be moved, and can be used following the occasions , like a small dinner or a grand reception for exemple. We can admit that this table with a movable top and fan shaped movables supports is the single model known today. Furthermore the richness of ornamentation, the carefulness and high quality of the sculpture denote that this table has its origin in Hugues Sambin...

Cartel from the Louis XV period in brown tortoiseshell and inlaid with brass signed in enamel Jean Louis Delisle in Paris and on the movement, strikes the hours and half-hours revise...

Roman Trumeau Splendid trumeau veneered in purple ebony and bois de rose with interior in walnut and briar of walnut with finishes in bois de rose. In the upper body, two mirrored do...

Head in marble, represents a personage with a beard, 18th century. Dimensions: 45 x 35 x 19cm. Measure including the base. Good condition.     

18th century, Italian baroque carved and giltwood mirror This refined mirror was made in Venice, Italy, in the eighteenth century and has the characteristic decoration of the Ven...

Lot of seven late 18th to early 19th century Chinese Export (Qianlong Period, circa 1780) porcelain pieces in an American federal style with blue and gold motifs and armorial crest c...

Dating to circa 1770, this beautiful gilt wood mirror is presented with its original mirror plate, which has foxed in the most wonderful manner, the carved wood and gilt gesso decora...

An exceptional and remarkable late 18th century satinwood and mahogany cylinder bureau bookcase of outstanding quality and attributable to Thomas Shearer. This magnificent bookcase ...

Beautiful antique capital carved in a 12th century limestone. It is decorated with acanthus leaves, as required by the Corinthian architectural traditi...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

18th century french limestone fireplace Mantel. It features a rectangular shelf above and frieze with decorative flower on both side...

In the beginning the table was a movable furniture with removable feet, easy to build and disassemble. Most of the 15th and 16th century tables are built following the Roman cartibula principles that is a plate standing on two large stands secured by a crossbar. The lengthy and elegant plate of this Italian Renaissance palace table...

Georgian mahogany bracket clock Finely figured flame mahogany break arch case inset at the front and sides with fishscale silk lined sound frets standing on a raised plinth and resting on brass bracket feet. The arch with brass bound single pad above an opening full door. Brass bezel supporting a painted dial with Roman numerals, ‘blued’ steel hands and signed Robert Wood, London. Fine quality substantial double fusee eight day movement striking the hours and repeating at will on a large bell. The backplate with beautiful border engraving and signed within a cartouche ‘Robert Wood, London’. Regulating pendulum and pendulum holdfast. C.1790 ‘Watchmakers and clockmakers of the world’ by Brian Loomes lists Robert Wood as working in London from 10, Horseshow Alley, Moorfields. He was a maker of repute making several fine musical and automation clocks...

Antique map titled 'Ooster-Goe'. Original antique map of the region of Oostergo, Friesland, the Netherlands. Includes the cities of Leeuwarden, Dokkum and others. This map originates...

This chandelier is an original variation of the chain models that could be found in the 18th century, such as the Louis XVI period torchiere chandelier in the Château de Versailles. On a central openwork bowl surmounted by a metal dagger, twelve arms of light are spread out. Each of these supports a cup in the centre of which a flower bud wick is in full bloom. Four arms extending from the central dagger connect the central cup to a small tray decorated with rosettes and pendants. These same pendants are repeated under the bowl and on the light arms. This composition creates two superimposed parts, the first in bronze, very light because of the spacing of the arms, and the second in rock crystal, more dense, like a forest. We have this one in stock however we can reproduce it in an other finish or in an other size. We manufacture most of our orders bespoke : from models of our collection that we can adapt to required dimensions, from antiques models which will allow often to get a set or more of identical models, or we can create from scratch the model of our clients. We work from pictures, drawings, designer’s sketches...

An exceptionally, rare, minature, late-18th century, Italian, gilded, neo-classical mirror - Charming piece of exquisite proportions, displaying a variety of fine and characterist...

Rare Tai Yai Burmese wooden seated crowned Buddha, or sometimes known as 'King Buddha', wearing a diadem-crown and ornaments of a king instead of ordinary monk...

A very charming and rustic 18th Century water fountain Basin sink Of Hand Carved Stone . It could be installed with a simple bronze spout or a carved stone fountain head , we have ma...

"Saul with the Pythoness Evoking the Shadow of Samuel". Beautiful oil on Canva, work of the English school of the entourage of Benjamin West. This oil on canvas represents a bibl...

Rare Provencal cabinet from the Louis XV period, richly carved with foliage and plant motifs: bouquets, bunches of grapes, ears of wheat... The legs are curved and finished with a sc...

Antique print titled 'The South Elevation of Longleate in Wiltshire (..)'. Longleat is an English stately home and the seat of the Marquesses of Bath. A leading and early example...

We call him “Dr. House”, because he feels so calm, experienced and confident. This beautifully painted oil portrait dates from about 1780 and the antique frame fits this stately appe...

Antique print originating from 'Le Antichita di Ercolano Esposte'. A vast survey of the bronzes, statues, wall-paintings, and monuments of Herculaneum. This monumental work was the f...

Antique coin cabinet in ebonized wood with rare semi-precious stones and gilded bronzes, 18th century. Dimensions: 71x122x36cm Good condition - used with ...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle c...

The cabinet’s upper body, slightly recessed is topped by an overlapping entablature and cornice supported both in the front and the rear by four fluted columns. The lower body stands on four squared feet and a moulded base. Each door-leaf’s panel is centred by a low-relief carving presenting one of the four evangelists...

Plate: 'Mogols Geboortevyering.' (Mogul's birthday celebration.) The court of the Great Mogul / Mughal at Agra, India, during the Mogul rule from 1524 to 1752.) Agra / Akbarabad is a city on the banks of the river Yamuna in the northern state of Uttar Pradesh, India. On the left view the splendour of the court with ceremonies, audiences, palaces, etc. Includes: 1. A foreign VOC visitor Thomas Roe...

A small mid-18th century mahogany bureau bookcase or cabinet. George II period, circa 1740. This diminutive Georgian bureau bookcase (also s...

Elegant writing desk with two drawers in mahogany and lemon tree inlays -English -Georgian period Superb desk decorated with wooden marquetry as well as lemon tree inlays Straight ...

This interesting oak cabinet of germanic workmanship is a wedding furniture. The cabinet rests on a molded base, opens with two doors located on e...

This cabinet is composed of two bodies, the upper one being recessed. The extraordinary proportions are enriched by a mythological and floral carved decor. The Lower body stands o...

Beautiful buffet "four shutters" from the beginning of the 18th century. The cornice is supported by brackets carved with acanthus leaves, the doors are diamond-pointed and the uprig...

A rarely found red Italian walnut gilded double bed, the piece was made by the highest quality cabinet maker of the time, hence it survives so well today, the beautifully drawn Itali...

Antique print titled 'Plan et Elevation de l'ordonnance Composite (..)'. Old print showing the design of a Composite portico. This print originates from 'Recueil Élémentaire d?Archit...

18th century water fountain Lavoir basin Tub of hand carved stone. This trough could be installed with a simple bronze spout or a carved stone fountain head, we have many options of ...

As soon as 1540 France's second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541). Those two publications would have a revolutionary impact on arts. Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l'Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius. Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces. In Lyon, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist's work. Thus the first publication of Vitruvius' De Architectura in France would be printed in Lyon in 1532. Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early. They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany. True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops' taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel. This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid. The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell. The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer. A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops. The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon. A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice. The cabinet's sides have also been carefully considered. The lower body's panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body's panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road. Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed « Dure uiator abis nihil haec spectacula curas / Pendenti cum sis unica cura Deo. / Tota suo moriente dolet natura Magistro. / Nil qui solus eras caussa dolenda doles. ». The signature [Christoff Swartz Monachiensis pinx[it] / Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Renée of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich's Alte Pinakothek. On the left door appears Saint Francis receiving the stigmata. The inscription says : « Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae ». This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules...

Drawer is an original design furniture item realized by Italian Manufacturer in 18th century. French chest of drawers in wood e...

A fine Chippendale-period satinwood and marquetry desk. English, George III period, circa 1770. The considerable use of the best quality mahogany in the carcass is typical of the very fine work of Thomas Chippendale. It is rare today to find an 18th-century satinwood and marquetry-inlaid desk of this quality. (Most offered on the market are 19th/ 20th century). Major, period satinwood pieces have become almost unobtainable. The superbly-controlled and delicate marquetry inlays are reminiscent of the fine decoration on the famous Diana and Minerva Commode by Chippendale at Harewood House...

17th century wall fountain of French limestone! A very unique and special one. This fountain is original, but with some small restorations.

An early Italian 18th century polychromed and part gilt mirror frame. Carved with Cherubs and florals, and set with a rectangular mirror. Beautiful weathering in the mirror glass. ...

A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals. Upper Body Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals. Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs. The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body. Lower Body Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers. The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order. This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves. During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti...

George III bracket clock by Christopher Bullock, London Finely figured mahogany bell top case with four ‘pineapple’ finials surmounted by a h...

An exceptional late 18th century mahogany cased stick barometer by Dolland of London, The mahogany case of a very solid construction and with a superbly made turned mahogany cistern ...

An exceptional and rare 15th Century English wrought iron banneret weathervane with lightning rod. Features an ornate arrow and pierced coat of arms or crest with lion. Marked “4 lb” on base. The Rampant Lion with the crown above its head stood for royalty. The Trefoils (2 on there sides and one at the point of the “spear”) stood for longevity and can also represent the Holy Trinity. The 3 Lilies are the precursors to the Fleur-de-lis, and were commonly used to signify purity, loyalty, piety, faith, and can also stand for the Virgin Mary. Purchased from one of the Great Houses of England, where it was on display in their collection. Surely belonging to a royal families home or castle. The “4 lb. base” is something that was added much later, when it was taken off the building it had been on. The base allows it to display nicely. Weathervanes have been around for over 2,000 years, invented by the Greek astronomer Andronicus in 48 B.C. to determine the direction of the wind. The first weathervane – also called a “wind vane...

A fine English George III period carved and gilt gesso mirror, ca 1765. This exceptional Georgian giltwood mirror is surmounted by a displayi...

A Louis XVI console table with mirror carved lacquer and giltwood with Verde Antico marble top Italian, c. 1780 Measures: H 36 in.; W 53 in.; D 26.5 in. Mirror: H 82 in.; W 48.5 ...

Very beautiful and rare antique embroidery probably french, from the 17th century, with floral design and nice natural colors, embroidered with wool, Sizes including the frame : 45...

Antique 18th century Turkish kilim wool carpet rug.

Good 18th C bleached and carved oak buffet de corps. Lovely bold panels. 1780. Dimensions 52 inches (132 cms) wide 22.5 inches (57 cms) deep 89.5 inches...

Rare, mid-17th century, Tortoishell, small, cushion framed, mirror with the original plate & back, length 14 ½” height 16”, depth 2½” The tortoishell is striking and was highly prize...