Eros

Material: bronze. Measures: 43, 7 cm high. 35, 5 cm wide and 25, 1 cm deep. Weight: 8.35 kgs. Fire gilded with 24 krt. gold. Dharmachakra mudra. Originating from Nepal. Early...

A circa 1920-30 fine quality English brass dragon letter opener or paper knife. It depicts the dragon from the legend of 'St. George and the Drago...

Ivory pile field with diamond lattice rendered in gray wool. Double edge lines frame the field. An elegant and unique vintage rug from the Beni Oura...

Ivory field with diamond lattice motif rendered in speckled taupe wool. Large scale central design covering the majority of the rug is flanked by smaller repeat motifs-- traditional symbolic elements. A unique vintage rug...

This antique, circa 1920, Tabriz rug has a light blue field with an overall design of light grey and ivory angular floral and leafy vine and brick-red and shaded chocolate-brown part...

This antique, circa 1920, Mahal rug has a light blue field with an overall brick-red and buff-brown herati-pattern, in a brick-red border of light blue angular meandering palmette an...

An incredibly Refinished 1930s Dropleaf Pembroke Table with a very skillfully gorgeius hand painting work. Will sparkle any room. Measures 26" W with leaves up (14"W with leaves dow...

Scarce Goldsmiths & Silversmiths Co. sterling silver spirits warmer in excellent original condition. Consisting of a substantial solid silver circular stand on three tapering reeded ...

A French bistro cafe table from the early 1900s with a lovely, period style, cast iron base. The piece has naturally aged to reveal an old metal patina beneath the original paintwork...

Hand-knotted cotton pile on a cotton foundation. Circa 1920 Dimensions: 5'11" x 11'1" Origin: India Condition: Excellent for its age Field...

Hand-knotted cotton pile on a cotton foundation. Circa 1900 Dimensions: 9'11" x 10'9" Origin: India Condition: Excellent for its age Field Color: Dusty-Rose, Gold Border Co...

Clear Fresnel glass lens, removable red lens. Fitted to a mahogany base. Brasses include badges, handles, hasp, hinges, bars, etc. Weight: 16 lbs. Overall Di...

Early Danish Pottery vase with subtle Art Nouveau/Jugend styling and shape. Unusual plum and bone-toned glazes fading from the top down its sides....

Antique French carved oak stool with red velvet seat and grommet detailing, circa 1900. There are 2 of these available.

A gorgeous Art Deco period gilt bronze desk letter rack featuring a Greek key design By Tiffany Studios New York, USA, Early 20th Century Measures: 12.25"W x 3.75"D x 8.38"H...

Art Nouveau freestanding desk with 5 drawers. Very good condition according to age. Only minimal scratches, surface gently restored.

Polished brass boat lantern with three bulls eye lenses, red, green and clear. Highly polished. Fitted with a fresh socket for home use. Hinged door to rear. Weight: 7 lbs Overal...

Superb Louis XV commode in the style of Charles Cressent, in floral marquetry in rosewood frames; exceptional ornamentation of very finely chiseled gilt bronze; beautiful veined whit...

Beautiful Art Nouveau bronzed colored plaster bust. Bust with lots of patina, damages, as found condition, this adds lots of character to the item. A nice addition in every living ro...

1940s Spanish "Perula" Green Glazed Terracotta vase from Jaen.

Fine massive pair of Scottish port and starboard ship’s lanterns of solid copper with brass trim. The glass Fresnel lenses have some chips and flakes from years of use. Brass badges ...

1940s Spanish "Perula" Green Glazed Terracotta vase from Jaen.

Beautiful brass inkwell, which shows a antique shoe. France, around 1910.

- Carefully refurbished and finished in shellac.

Silver bell Inkstand, dated 1913, A & J Zimmermann, Birmingham Large bell shaped inkstand with clear glass liner. This particular inkpot is 6 inches high with a diameter at the bas...

I’m delighted to offer you this sterling silver coffee/tea pot by Richard Dimes Silver of Boston, Massachusetts. Designed in the federalist style it is aus...

Late 19th Century Chinese Ningxia Carpet ( 8' x 9'6" - 245 x 290 )

Antique veneered wooden wall hanging shelf with three tiers and pierced, scalloped sides. Measure: 22".

Exceptional specimen, Italian bunch of grapes in alabaster. Large item with exceptional patina. Color shades in sand tones. Unique piece. We ship worldwide with insurance.

Hand-knotted cotton pile on a cotton foundation. Circa 1920 Dimensions: 5'1" x 7'9" Origin: India Condition: Excellent for its age Field color: Light-Blue Border...

The Bacchantes vase was made in 1927 by R.Lalique in white glass. The opalescent version is probably one of R.Lalique's most famous and published vases . This example is in perfect...

Early 20th French Empire period carved gilt wood rectangular mirror with crest An exceptional matched pair of hand carved and gilded Italian mirrors. Highly carved with flowers , or...

Elegant French Art Deco barware serving set for hors d'oeuvres, cocktail snacks or appetizers. Two serving dishes, in molded-glass with an etched design. Perfect piece for entertain...

Hand-knotted cotton pile on a cotton foundation. Circa 1900 Dimensions: 4'6" x 16'7" Origin: India Condition: Excellent for its age Field Color: Ivory Border Color: Charcoal...

Edwardian antique satinwood card table. The table top swivels and opens to reveal a green baize and stands on an elegant base with turned tapered legs.

French Louis XIV Style bronze and brass faceted desktop mirror from the 1920s Adorned with typical Louis XIV-style symbols, allegorical figures, floral...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 6'6" x 11'6" Origin: India Condition: Excellent Field color: Khaki Border color: Ivory ...

Hand-knotted cotton pile on a cotton foundation. Circa 1920 Dimensions: 5'10" x 12'1" Origin: India Condition: Excellent Field Color: Ivory Border Color: Ivory ...

An attractive wrought iron blacksmith made floor lamp with nice patina throughout. 180cm highest 57cm base 116cm lowest.

A pair of obelisks made from Siena marble with black marble ball detail. In the style of those collected on The Grand Tour. Made in Italy in the first part of the 20th Century. A c...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 10'1" x 14'8" Origin: India Condition: excellent, with flat pile Fie...

Original 1921 U.S. scene card for the film The Sheik directed by George Melford with Rudolph Valentino / Agnes Ayres / Ruth Miller / George Waggner. Very Goo...

Sculptural walnut and olive wood chair with curved armrest. Hand-crafted work made with the remains of old farm implements in Germany in the 1920s. It ...

I can confidently say this is the only Epstein Fluted cocktail cabinet on the market today, they are almost extinct. Please look around and you will not find another one like this of...

The Sultan Boxe was created by R.lalique in 1928. This example is in white and brown patinated glass / The signature is wheel carved in block lettres . The condition is perfect. ...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 10'1" x 14'9" Origin: India Condition: excellent with flat pile Field color: burgundy Bord...

A fine pair of art deco crystal whiskey decanters with gilded fleur de lis motifs produced in France C1930s

Hand-knotted wool pile on a cotton foundation. Circa 1920 Dimensions: 11'10" x 13'4" Origin: India Condition: Excellent for its age Field Color: Light-Brown Bor...

Hand-knotted cotton pile on a cotton foundation. Circa 1920 Dimensions: 5'10" x 17'4" Origin: India Condition: Excellent for its age Field color: Ivory Border co...

This thick-bellied terracotta vase from Italy is a beautiful model after the example of Mediterranean vases from the 17th C. This item comes from th...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

A superb pair of antique English silverplated toast racks, dated 1923. Maker's mark and hallmarks on reverse. These fine quality silver toast ra...

Original R1920's U.S. scene card for the film Sunnyside directed by Charles Chaplin with Charles Chaplin / Edna Purviance. Very Good-Fine condition. Please ...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Original R1920's U.S. scene card for the film Sunnyside directed by Charles Chaplin with Charles Chaplin / Edna Purviance. Very Good-Fine condition. Please ...

Crestmount is the Mediterranean Revival Style mansion built by architect Robert D. Farquhar in 1923 for Antonio Morino "The It Man" and Daisy Can...

Antique estate made wrought iron table lamp from the beginning of the 1900s Of a large size. Beautiful metal work. Still with the 3 original brass and ceramic lamp holders and with on/off switches. Rewired with a black twisted cloth flex and grounded New inline on/off switch installed to save wear and tear on the original antique switches...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 5' x 7'9'' Origin: India Condition: Excellent for its age Field Color: Terracotta Border Co...