Antiques

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 ...

This 15th-Century period or older gilt copper and silver alloy amulet with niello inlay is an elaborately engraved three-dimensional brooch and pendant, which demonstrates the epitome of miniature decorative nielli in the early Renaissance by European goldsmiths of small cruciform or quatrefoil objects with heraldry symbols. Beyond a dense array of engraved radiant-light, cloud and star motifs with punchwork, it features a 10mm fine black crested staff that is the Christian symbol for the Holy Trinity. This intricate engraving with niello has fleur-de-lys elements, like a French or Florentine coat-of-arms or monogram used to identify noble families or a significant person like a king. It tops a 5mm bar, which is bracketed by 10mm peaked bars that form a cross. When worn, it is positioned horizontally like an elongated barbed quatrefoil. The bars may be concealing a relic such as wood, while it is not clear how these pieces are attached to the front. As a symbol of French conversion to Christianity, the French King Louis in the 12th Century made a fleur-de-lys element of the Holy Trinity vector the official emblem of his royal authority on shields. Later, English kings adopted it when claiming the French throne. By the 14th Century, the fleur-de-lys was used in family insignia that was sewn onto a knight's coat-of-mail surcoat. This coat-of-arms insignia could identify them if found on a battlefield. The Met Cloisters museum collection includes a similarly sized mid-15th Century French gold brooch...

Russian (circa 1810) mahogany diminutive recamier with gilt swan carved sides and ball & claw feet front feet and upholstered in a cut green velvet

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 ...

An unusual Doulton Lambeth saucer shape stylized leaf design candlestick with brass fittings by Frank Butler and dating from around 1890. The candle stick...

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...

These charming dangling earrings are designed as upside down budding flowers on a stem with leaves. The flower petals and the leaves are covered with rose diamonds set in silver bac...

Button Back Wing Chair England circa 1860 Measures 34”w x 34”d x 38.5”h x 16”seat

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 Wellesly-Pole, eldest daughter of William, 4th Earl of Mornington and niece to the Duke of Wellington. This is one of Hoppner's best works. The sitt...

Circa 1840s, most likely French. This ornate 18K gold antique brooch is centered with a black onyx plaque depicting, a scene of a bird chasing a butterfly. The bird is superbly mode...

A Fine Mid-18th Century French Louis XV Period Oak Side or Occasional Table with Panelled and Moulded Detailing. This charming table dates to the middle of the 18th century and is of excellent colour. The three plank top features a simple edge moulding and the frieze of the piece also features a moulded edge of a much more complex pattern, combined with a shaped apron. The table has a single drawer at both ends with the original handles and stands on finely shaped cabriole legs with restrained hoof form feet. The combination of a relatively simple overall form and rococo detailing works very well indeed and the table is a charming and interesting piece of provincial French furniture...

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 ...

Marble top two drawer French Commode 19th Century in Kingwood and satinwood with inlaid panels of flowers in fruitwood. Two drawer, curved bombe front with four legs with gilt bronze...

Italian Bolognese Late 17th Century Red Chalk (Sanguine) Drawing of a Kneeling Young Man. Circa 1680 This Sanguine drawing is in good condition. Small dark brown spots are visible a...

A Rare Louis XV Style Giltwood Fauteuil By François Linke, Paris. The scroll and channelled frame beautifully carved with rocaille...

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 ...

A set of five Mason Ironstone chinoiserie plates, table and flower pot. From a very prestigious, Atlanta antique shop call Jane Marsden.

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...

Twisted Band Ring Silver England, 15th-16th century Weight 2.9 gr.; circumference 51.9 mm.; US size 6, UK size M The wide silver hoop is slightly rounded inside with an original solder point and twisted and beaded on the outer side. Between one of the grooves on the outer side are two out-of-place beads where a punch was apparently hammered in the wrong position. The ring is in good wearable condition. This beautiful, wearable ring consists of a spiral-grooved hoop. The twisting, fluted band is typical of medieval iconographic rings...

Victorian 19th century Festoon drop Necklace with Turquoises. A magnificent and exceptional piece of jewelry, most probably British created during the mid Victorian era (1840-1901),...

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...

Very fine early 18th Century English chinoiserie decorated mirror, having arched cushion molded frame decorated with figures and animals, surrounding original beveled mercury glass p...

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...

A lovely and unique Italian giltwood carved mirror made in the 19th Century. This silver gilded rectangular mirror is eye-catching with richly carved scrolls decorating the frame. The surround is beautifully colored by age, showing the remaining silver gilt over wood with the color of terra cotta bole and gesso coming through with spots of red ochre. The surface is attractively distressed but this mirror is structurally stable. The overall shape is rectangular and the old mirror plate is in great condition with just a bit of foxing that adds an alluring air of mystery. This exquisite hand-carved Italian antique...

The taste vor natural history and botany was very fashionable the Victorian epoque. Fossalized animals were collected and mounted in jewellery . This rose beetle was set in a delicat...

For the private saloon of the then famous soubrette Mimi Marlow, who was also performing in the legendary "Fledermaus Cabaret," which was designed by Josef Hoffmann and executed by t...

Tiffany Studios New York Table Lamp This Damascene shade has exceptional blue and green iridescence and is in pristine condition. ...

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...

Chinese pottery cocoon jar incised with bands design. The cocoon jar is sometimes called a "duck-egg jar", used as a wine vessel during Han Dynasty. Ag...

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...

Polychrome plaque with floral chinoiserie decor. Delft, 1740-1760 The lozenge-shaped plaque has a raised, accolade-shaped rim interrupted at the top by a large shell with suspension...

Loose Emerald Weight: 1.50 Carats Dimension: 8.6x7.1x5 Mm Origin: Swat Pakistan Mine Shape: Pear Treatment: Non Certificate: On Demand . Wearing an emera...

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 18th century Spanish baroque guard room /dining table in walnut with plank-top resting on carved H-form trestle legs and hand-forged iron stretchers forged in Toledo. Spa...

Inlaid tilt top circular pedestal table circa. 1780. With a variety of fruitwoods inlaid in a spiraling pattern to the top. An unusual design o...

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

An enchanting antique Victorian necklace adorned with ten mesmerising cabochon moonstones with a ghostly blue schiller. They range from 1 to 8ct and are bezel set along five graduating droppers at the bottom. The mystifying moonstone derives its name from the stone’s ethereal, luminescent light that was once believed to be moonlight in solid form. In Greek mythology they were associated with Selene, the feminine moon Goddess and said to be a path to love, wisdom and new beginnings. The piece is all 18ct gold and has been fitted with a fine gold chain and a new 9ct ring...

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 ...

19th C Parisian Impressionist painting dating 1880s in excellent condition measuring 40cm x 32cm

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...

A three-drawer baroque chest of drawers with a moving panel and a curved frame. The frame in light grey and creamy white is new and has been decoratively patinated.

Provenance: S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son: Mario Ancona, San Francisco; thence by descent to his children: Mario Ancona III and Victoria Ancona, San Francisco, until 1995; thence to: Phyllis Ancona Green, widow of Mario Ancona, Los Angeles (1995-2012) Literature: Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi) Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena. The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...

Early 20th Century American Hooked Rug ( 6'2" x 6'5" - 188 x 196 )

This superb large 19th century French Carrara marble mantel was reclaimed from a property in Baker Street, London UK. It is beautifully crafted in the Louis XV/XIV style and features...

Beautiful Antique Georgian 14K White Gold Silver Rose Cut Diamond Drop Dangling Earrings. This gorgeous pair of Georgian diamond earrings are crafted in silver and 14k white gold. Th...

This gorgeous Victorian pendant is handcrafted in 15 karat yellow gold with natural turquoise. The pendant hangs from a new 18 karat yellow chain. The necklace and pendant measure ...

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...

Wonderful image after Carracci Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.