Antiques

Charles III Armchair England 18th Century Armchair in worn pink velvet upholstery on ebonised frame. Measures 26”w x 25”d x 44.5”h x 15”seat

Sterling silver plated copper Sheffield decanter coaster. The coaster is stamped with a Neoclassic anthemion decoration on the pierced gallery below a gadroon molding. A turned wood ...

A pair of Georgian large paste drop earrings, each earring with a large cushion-cut colourless faceted paste suspended by a smaller one, all set in silver cut-down collets with yellow gold back and gold wire fittings, circa 1820, measuring approximately 1.8 x 1cm, gross weight 4.9 grams. This antique pair of earrings is in very good condition for its age. Unmarked, tested as silver and 15ct gold. A classic pair of Georgian paste drop earrings. These earrings offer a wonderful glimpse into Georgian history...

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...

Small Swiss alp trunk.

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

17th - 18th century French Louis XIV fireback with fleurs-de-lys (French Lillies) and a cupid. The fleur-de-lys is a symbol for purity and appeared on many coats of arms and flags throughout Europe. It is especially used by the house of Bourbon which provided kings for France and for Spain. The fireback is made of cast iron and has a brown patina. Upon request it can be made black /pewter at no extra cost. The fireback has a small crack but is fit to be used in an open fireplace...

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...

This 18th-century panel, crafted from nine earthenware tiles, showcases an intriguing depiction of a bird in a cage. The delicate white tiles contrast beautifully against the white b...

Set of Three Meiji Period Blue & White Imari Fish Form Brush Washers Japan, circa 1890s Embrace the elegance of Japanese artistry with this captivating set of three Meiji period blu...

Circa 1820/1850 Russia (?) or Europe Rare long paisley shawl in silk woven on Jacquard looms of an extreme fineness of weaving . Large central reserve added on original in cream sil...

Beautiful, very rare original bench no. 5 by the Thonet brothers (Gebrüder Thonet) Vienna from 1859. Vienna Secession. Art Nouveau With original branded logo and one original paper l...

Austria art deco enamelled box designed by Leonhard Anzenhofer. A very beautiful snuff-pills box, created in Vienna Austria at the silversmith ate...

This Georgian period ring is an impressive and distinctive example of that time period, magnificent workmanship of that time with a large flat head of intricate design framing the ma...

Red Coromandel Folding Screen with 6 Panels, ca. 1890

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

A mid-19th century gold and enamel snake necklace, formed of an articulated body with a head set with blue enamel, pearls and rubies.

Coffee table with wooden bases and glass top Product details Dimensions: 120L x 50H x 70D cm

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...

Early 20th Century Scenic American Hooked Rug ( 1'6'' x 2'9'' - 46 x 84 )

Antique mahogany sofa from Northern Europe, around 1880. Very good condition, after professional renovation in our workshop. The sofa was upholst...

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...

A very fine and detailed large micro beaded bag, with exquisite detail and nuanced colouring, still fresh and intact. Gently gleaming with a sumptuous...

Very fine Louis XV Style guéridon in green-stained wood marquetry , with fine ornamentation in chiseled and gilded bronze, opening with a drawer on the belt. The tray top and the un...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Antique Khotan rug, 5'11 x 11'5. The wonderful blues compliment the yellows so well and this style of rug suits traditional but also works exceptionally well in modern room setting. The condition of the rug is very good and it has been expertly restored in areas. Samarkand, now in Uzbekistan, was a gathering point for rugs woven in western China...

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.

In this painting, Gabriel de Saint-Aubin, the great chronicler of the reign of Louis XV, takes us to the annual parade of the Swiss Guards at the Plaine de...

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...

An Early 19th Century French White Painted and Gilt Guéridon, with Fine and Original Marble Top. The fine marble top supported on a white painted frieze with parcel gilt decorative ...

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

A breathtaking combination of two of the world’s finest diamonds and beautiful Belle Époque artistry, this ring displays both a stunning vivid yellow diamond and an extraordinary Gol...

Antique Bow Brooch Diamond. Centered by a round colored diamond (not tested) approx. 1.20 carat. Circa 1910. Dimensions: Length: 7.50 centimeters. Heigh...

Early 19th Century Swedish Biedermeier hardwood chair. This skillfully executed chair has all the right curves, edge scalloping, polished veneers, ebonized accents and a handsome new...

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

We are delighted to offer this splendid 14ct gold horseshoe seed pearl brooch made in the Victorian era c.1860. Featuring a wonderful solid gold and antique design, the mount is sh...

18th century Large chest of three drawers from late Baroque period in richly carved curvaceous serpentine drawer fronts, shaped top and on bun feet in super later patinated paint. La...

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 , and 3.75" width of the open gla...

Artist: (Follower of) Nicholaes Berchem (The Elder) (Dutch, 1620-1683) Title: "Herdsmen Resting" *No signature found Circa: 1790 Medium: Original Ink Drawing on wove paper Framing: Not framed, but matted with white rag matting from Holland and gold filet Matted size: 15.25" x 17.75" Sheet size: 7.25" x 10" Condition: Light toning to sheet. A few foxmarks and a small area of discoloration upper left. In otherwise very good condition Biography: Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn...

Exquisite and radiant, this 1800s Belle Epoque antique diamond necklace features an elegant lavalier design with an undeniable sense of grace. Crafted in the highest order, it featur...

A statement piece that will make an impact in most settings. The antique cabinet itself is 36 cm high. It is mounted on a modern hand-forged frame. Which shows a perfect symbiosis of antique and...

202 years old Folk Art Chair, made of Pine tree in 1821. The patina and repairs over the years makes it really smooth and tactile. Maker marks and date on the back. Height: 75 cm ...

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...

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...

A 19th century Stuart Tartanware tea caddy. A single compartment caddy, marked Stuart to lid; 4 1/4 inches (11 cm) Tall by 4 1/4 inches (11 cm) Wide by 4 inches (10.2 cm) Deep. This ...

An 18k white gold emerald and diamond bow brooch. Pavé set with diamonds and a rim of calibre-cut emeralds.

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....

Two antique Royal Copenhagen Blue Fluted Plain serving dishes. Early 19th century. Measures: 37 x 29 x 4.8 cm. In good condition. Both dishes with small chips. 1st factory quality...

Two-piece baroque secretary with mirrored doors, exceptional original silvered fittings with numerous princely crowns, walnut saw veneer on softwood, Thuringia circa 1730/35. This secretary comes from princely property, was made in very high craftsmanship and is in an impeccably restored condition. In addition to the mirrored glass, the elaborate front of the top is adorned with three pilasters, the shaft of which is framed by double fillet bands and features a walnut field in the center. The profiled bases are cast in silver-plated brass. The three capitals are elaborate silvered castings with leaves and volutes. Under the doors, two delicate shelves with walnut fronts can be pulled out on fine silver-plated knobs. The knobs are the same model as the small drawers in the single-door. Pulling out the shelves reveals a framed area of oak. The framing is multi-profiled, very finely worked and mitered. The trays were probably intended for candlesticks. The light from the candles is clearly enhanced by the mirrors. At that time, this effect was also used for wall blinds. The carcass sides of the entire piece of furniture are identical in design. The base shows mirrored fields with a cross-veneered framing. In the case of the top, the field is mirrored four times in the form of a cross joint and is also bordered by a cross-veneered framing. On both sides of the base and the top are strong, silver-plated handles, with a splendidly designed base plate of chased, silver-plated brass sheet. Here again we encounter the princely crown. On the original back panel is a handwritten note in chalk: "Salon der Durchl. Fürstin von der Lippe...

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...

A Swedish Neoclassic style gilt-wood and upholstered sofa bench from the 19th century. This antique sofa from Sweden, approximately 5.75 feet in...

"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 ...

We are delighted to offer for sale this stunning Postbox red leather Georgian Porters wingback armchair, circa 1780. A very good looking and highly decorative piece. This is an or...

1960s Christian Dior Dramatic Snow White Coiled Tulle Turban: Stiffened bubble shape in sinuous coiled design to be worn at crown with center peak. Comes with original box. Hat is in...

This small, elegant Napoleon III copper mirror was crafted in France, circa 1860. The antique wall hanging repousse piece features an ornate, heavily embellished pediment with a large carved shell and other decorative motifs. The central rectangular mirror is flanked by four small mirrors and then an outer frame. The overlay mirror...