Past Perfect

Secessionist Porcelain Lidded Box by KARL KLAUS (1889-1925) for SERAPIS WAHLISS, Vienna, c. 1911, hand-painted in gold and black enamels in a stylized geometric diamond and holly mot...

Edwardian Bronze Silk Mesh Over Pale Pink Satin Gown With Long Sleeve

Pair of Art Nouveau life size carved wood figures of dancing women with original paint colors (signed G. VAN DER MERSCH on base)

A Victorian gold and turquoise serpent necklace, the flexible tapering yellow gold body formed of three rows of scale-like collets each set with a ro...

Exceptional and rare minaudiére from 1890 make with black satin and silver opening set with semi precious stones, the inside has been change.

French Cut Steel Shoe Buckles from the late 19th Century. Elegant Art Nouveau lobed fan motif curved and set with hundreds of hand set cut steel "stones". Each 3" x 1.5". France 1880's.

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely antique circa 1880 hand carved Georgian Irish style Gainsborough armchair with heavily carved fr...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

18th - 19th century French neoclassical period fireback. The fireback is made of cast iron and has a black / pewter patina. The condition is good, no cracks.

Fine pair of European armchairs, richly carved with beautiful back and original leather seats, 19th Century.

A lovely chiaroscuro woodcut by Antonio Maria Zanetti the elder after a work by Parmigianino (Girolamo Francesco Maria Mazzola). Printed on cream laid paper, laid down to a cream lai...

- Once courtship is complete, male and female swans bond for life and this delightful pair of Japaneer cloisonné swans symbolize love and const...

Dating from the late 19th century, this bloomed gold lorgnette necklace is set with demantoid garnet highlights. Enclosing folding spring loaded len...

Antique 18k gold lorgnette, adorned with approx. 3.50ctw in H/VS-Si diamonds. The piece can be worn as a pendant. Measures 4.5" x 1 3/8" when closed , a...

Swedish Folk Art Chair dated 1821 This exceptional folk art chair, crafted from pine wood in 1821, is 202 years old. The beautiful patina and various repairs over the years have ma...

This stately George IV bergère armchair with caning details exudes elegance and sophistication. The armchair is crafted from walnut and features carved details and decorative element...

A museum-grade mid-17th century Dutch silver marriage casket or knottekistje, circa 1660. Raised on solid silver bun feet the miniature casket is profusely engraved to all faces depicting a courting couple and architecture entwined in scrolling foliage. The reverse of the casket depicts the last supper, however, if you look closely, you can see a boy stealing food or wine from underneath! Possibly, this is the courting gentleman showing that he had a sense of humour. The scratch lined moulded top is surmounted with an intricate handle (once gilt) and floral patera to the centre. There are two inscriptions each within a cartouche 'In Lÿfde Beltact het al' and 'Getrouw tot in den doot' which loosely translates to 'faithful until the death' and 'love is everything'. Wedding caskets...

An Italian upholstered and carved-wood settee, turn of the 18th and 19th century. This sweet antique love seat from Italy features a low-profile arched back with squared shoulders, from which the nicely carved-wood arms emerge and slope down into scrolled knuckles and leaf-carved arm posts. The chair-rail skirting is carved in a succession of swags, with rinceau carved accents atop the front knees. The sofa is presented upon six elegant and shapely legs. The current fabric is in good/usable condition, but new upholstering could make this piece your own. This late 18th to early 19th century Italian...

18th century Italian gold leaf angel wing mounted on tourmaline in crystal quartz. The large, gold leaf and painted angel wing originally came from a church in Tuscany. It was onc...

Mahogany Sewing Table with Brass Details from the Late 19th Century We present you a neat sewing table. This piece of furniture is placed on bent cabriole legs with brass appliqués....

Letter T is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

The rectangular black marble and pietra dura top is set above a walnut base naturalistically carved with C-scrolls, lilies and foliage on a central lily support with outswept dolphin feet. At the back are two cabriole legs headed by shells and equally ornate carving. The inlaid decoration comprises a central sunburst within a patchwork border of specimen marbles and fossils including: Madrepore, Petworth, Portoro, Brocatelle, Sicilian Jasper and ‘Duke’s Red’. The top of the base is stamped ‘Artist R. Tudsbury Edwinstow. nOTsh.’ circa 1840. Measures: Height 33in, 84cm Width 60in; 152.5 cm Depth 361/2in, 92.5 cm Provenance: Oberton Hall: “The Grecian-black marble top, with its ribbon-banded tablet and polychromed pietre dure compartment is a masterpiece of the Derbyshire Black Marble Works at Ashford and Old Royal Museum, Matlock. It was probably designed by William Adam (d.1873) who succeeded to the Works in 1831. A trade sheet illustration of the Museum featured a related table, where the Museum was noted as being ‘under the Especial Patronage of his Grace [Charles Cavendish, 6th] Duke of Devonshire/Minerals and Shells/Inlaid Tables/Mawe’s Original Royal Museum, Matlock-Bath. The finest Spar, and elegantly engraved Black Marble Ornaments, Chimneypieces etc, London Jewellery’.” Please see page 60 for further information on Ashford Marble...

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

Of rectangular form with an overall ebonized finish and layers of giltwood moldings, with unique eight point stars centered on each side, the corners with fleur de lis decoration, th...

A small scale and charming Italian 18th century Baroque st. double frame patinated wood and gilt mirror. The rectangular mirror with its original patinated off white frame has eight ...

An unique Victorian example, 1870 ca Very beautiful, fashioned upon three rare Natural not Nucleated Salt Sea Pearls, the trio inspired the whole unique design 1.0 Full carat of old ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning fully restored original pair of Victorian Walnut framed Howard & Son’s Bridgewater model, Bern...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

The sitter is Mary Charlotte Anne Wellesley-Pole, eldest daughter of William, 4th Earl of Mornington, and niece to the Duke of Wellington and two-time Prime Minister of England. This...

A stunning vintage Boho breakfront. Done in the Biedermeier style with Greek Key molding and leaded mullion glass doors. Incredible rolling clouds interior wall paper. Monumental in ...

Italian Bolognese School, Late 17th Century Study of a Kneeling Young Man Red chalk (sanguine) on paper, circa 1680 This expressive sanguine drawing depicts a kneeling young man, r...

An exquisitely carved Italian antique alabaster centrepiece vase or urn circa 1860. The detail of this beautiful urn offers a glimpse into the styles of 19th century Italy, the body finely carved with masks and foliage to either side between entwined handles reminiscent of the famous Warwick Vase. It stands on an equally as decorative socle base carved with leaves and an egg and dart trim. With its smooth and somewhat translucent appearance, this antique alabaster vase...

---Stone(s):--- (1) Natural Genuine Diamond - Old European Cut - Prong Set - J Color - VS1 Clarity - 0.84ct (exact - certified) ** See Certification Details Below For More Info ** (8...

Original Georgian Repousse Garnet and Beryl brooch with removable bottom dangle. A beautiful example of 1830's craftsmanship. 1 oval center pinkish garnet accented by 8 oval pinkish ...

Solid carved wood antique baroque mirror. Could be French. Gold gilding. Statement piece. Lights up a room. I'm not certain of the actual age. I...

Circa 1910s This one of a kind floral motif late Art Nouveau / early Art Deco era brooch is superbly modeled and finely crafted in 18K yellow gold. The brooch is set with twenty sev...

18th Century French Louis XV Giltwood Mirror with Floral Basket Crest

A pair of hand crafted wood and gilt gesso overlay baroque display stands (ideal for clocks or small statues and busts), each with applied harleq...

An impressive Italian mid 19th century Baroque st. triple framed giltwood mirror. The large scale mirror is raised by pierced S scrolled supports flanking the pierced central foliate...

Monumental Georgian Statement Outstanding and utterly beautiful this rare example from the Georgian period, 1790/1800 ca Comes to us in fine original, wearable, condition Flat wide c...

Moses Striking Water from the Rock; Circle of Pietro Dandini, Italian 1646-1712 Italian School, late 17th century oil on canvas, framed framed: 3...

This aged Victorian era antique arched oak exterior door is reminiscent of the entrance to an ancient English castle or old church. Thick and sturdy, i...

Rare Find This authentic Victorian period pendant is 1880 ca. Very pretty and distinctive from the period designed with a gorgeous bow topping the oval shape main pendant of fine gem...

A fine antique 18th century Dutch Delft pottery tile. Depicting a mermaid in the ocean wringing a snake with her hands. Simply a wonderful Dutch Delft tile! Date: 18th Cent...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Early 19th century Regency tripod wine table. The rectangular satinwood and mahogany crossbanded top sits above a turned stem that splays out into three downswept tapering legs, term...

Period Early 18th Century Italian Baroque Mirror. Florentine. Original Gilding. Carved and Gilded Hardwood in Sunflower and Foliate Motif Provenance: Private Beacon Hill Collection

A beautiful antique arched leaded glass window panel dating from the Victorian era circa 1880. This colourful stained glass window features an und...

An elegant Italian 18th century Neo-Classical st. patinated off white, Mecca and Iron chandelier. The two tiered sixteen arm chandelier has a montgolfière shape. The lower patinated ...

A little antique bronze wall mirror, with a beveled mirror glass. The bronze frame has a cold-gilt patina. Made ink France, circa 1890-1900 ...

Art Nouveau German Sterling Fantasy Fish Motif Oil Lamp/Cigar Lighter German, Late 19th Century, Unmarked, .800 Silver Immerse yourself in the enchanting world of Art Nouveau with this captivating German sterling fantasy fish motif oil lamp/cigar lighter. Dating back to the late 19th century, this piece is a true testament to the creativity and artistry of the era. Crafted with meticulous attention to detail, the lamp is a fantastical, caricature-like fish cast and engraved realistically. The fish rests on its back, supported by its fins and dorsal fin, with wide-opened eyes and an open mouth revealing the oil lamp's wick. The turned-up tail serves as the handle for this ingeniously designed oil lamp and cigar lighter. Made of unmarked .800 silver, this piece embodies the quality and craftsmanship of German silversmithing. With dimensions of 4 inches in height, 3.5 inches in width, and 2 inches in depth, this lamp is a statement piece that will captivate any observer. Weighing 3.5 ounces, it exudes a substantial and luxurious feel. Step into the enchanting world of Art Nouveau with this captivating German oil lamp...

An extremely fine 19th Century Ball and Claw Down Feather Sofa after the Ramsden ball and claw model by Howard and Sons English circa 1880-1900 Wonderf...

Contrasts of smooth and frilly engraving make an unusual shield design on this Victorian Silver Locket c. 1860-1880. The shield shape at top is covered with abstract vines atop a lar...

Letter L is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

One of a kind rare collectors piece! The original dress worn on screen by actress Gugu Mbatha-Raw as "Rachel" in the movie "Free State Of Jones", also starring Matthew McConaughey...

Hassle-free US shipping: We provide all necessary 100+ year-old certifications to ensure a flat 15% customs rate for our US clients. This chest of drawers (commode) is a superb repr...

The Actor Nakamura Shikan II is an original modern artwork realized by Utagawa Hirosada (Japanese, active 1825–75) in 1850. Original woodcut print chuban format, 1850. Signed Hirosada. Publisher: Kagawa. From the series "Kokon yujin ki" (Transcription on past and present heroes). The actor Nakamura Shikan II as Danshichi Kurobei in the play Natsumatsuri Naniwa kagami. Excellent impression, fresh in colour, with blindstamping (floral design), visible wood grain (grey kimono...

Heart shaped rattan and bamboo tray. Meiji period (1868-1912) woven tray in a highly unusual shape for a tray. Beautiful patina.

Console, Cherry wood, 1820 Vienna Standing on four ebonized spherical legs rare Biedermeier console with cherry wood veneered. The bottom plate decorated with half circle shape mar...

A French neoclassic carved and painted wood trumeau mirror from the 18th century. This antique mirror from France has the tall rectangular-shape, typical of trumeau design, with wood...