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 ...

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.

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)

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...

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...

Red Coromandel Folding Screen with 6 Panels, ca. 1890

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

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...

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.

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

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...

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...

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...

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...

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...

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 ...

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...

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...

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...

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...

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 ...

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 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...

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

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...

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...

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...

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. ...