Eros

Antique Persian Bijar rug, size: 8'0" x 14'0".

Marked underneath with the Meissen crossed swords.

Hallmarked in London in 1906 by Joseph Braham, this novelty, Edwardian, Antique sterling silver pair of pepper pots, are modelled as hunting horns. Each pepper pot measures 5.5"(14 c...

Early 20th Century American Hooked Rug ( 2' x 3'4'' - 61 x 101 )

This antique Persian Ziegler Sultanabad rug is skillfully sourced by N A S I R I through extensive travel, passion, and research. Ziegler Sultanabad rugs are named after a major rug ...

Hallmarked in Sheffield in 1904 by Roberts & Belk, this handsome, Edwardian set of Antique Sterling Silver Place Card Holders...

Hallmarked in London in 1905 by Hawksworth Eyres & Co, this heavy, Edwardian, antique Sterling Silver Tray, features flat chased floral and scroll decoration to the body with a shape...

Francois Linke, Louis XIV style giltwood torchère, 1907. Index number 1546 Paris, 1907. Carved giltwood. Measures: height 5 ft. 3 1/2 in.; diame...

Oil painting on canvas, Landscape, mountain lake, made and signed by Adolf Kaufmann, 19th century Bright painting made with skill, signed by Adolf Kaufmann (Austria 1848 - 1916), depicts a lake landscape surrounded by mountains. Adolf Kaufmann (15 May 1848, in Troppau – 25 November 1916, in Vienna) was an Austrian landscape and marine artist. He was initially self-taught, but completed his studies with the animal painter, Émile van Marcke...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 9'6" x 13'6" Origin: India Condition: excellent, with low pile Field color: green Border c...

Hand-knotted, abrash wool pile on a cotton foundation. Circa 1900 Dimensions: 9'7" x 13'7" Origin: India Condition: Excellent with low pile Field color: Rust Bor...

Hand-knotted wool pile on a cotton foundation. Circa 1900 Dimensions: 15'1" x 16'11" Origin: England Condition: Excellent Field color: Cherry-Red Border color: G...

Antique and very rare Japanese painting made in the early 1900s by a fine Japanese manufacturer. The painting has a rectangular brass frame with rounded corners. Internally we see an...

Antique and very rare Japanese painting made in the early 1900s by a fine Japanese manufacturer. The painting has a rectangular brass frame with rounded corners. Internally we see a...

Conch shell glass vase handmade by Johann Loetz Witwe Austria/Bohemia Jugendstil circa 1902 "Candia Papillon" Decoration. The extravagant Candia Papillon decor lends a special brilliance to the shell shape of this collectible. The iridescent quality of this decoration not only encompasses the outside of the intricately applied silver crumbled dots, but extends into the interior of the glass shell. A characteristic of this scroll vase...

Rug Number 31210 Size 10' 3" X 17' 2" Design Mahal Collection Antique/Vintage Material Wool Texture Pile Weave Origin Iran Age Antique/Vintage

Rug Number 31211 Size 9' 8" X 16' 0" Design Kerman Collection Antique/Vintage Material Wool Texture Pile Weave Origin Iran Age Antique/Vintage

Rug Number 30879 Size 9' 11" X 13' 10" Design Mashad Collection Antique/Vintage Material Wool Texture Pile Weave Origin Iran Age Antique/Vintage

This glorious Malayer runner comes from a handmade finest wool that features earth-toned intricate blushing motifs and medallions. A sophisticated masterpiece surrounded by symmetric...

Behold and grab a glance at the charm of the Malayer runner from our sought-after antique collection. Tones of teal on its core and gold borders have featured the outline details of ...

A lovely set of 8 French dining chairs, having original off white finish and original leather upholstery which is in very good condition, of cou...

We are thrilled to offer you this pair of sterling silver wine coasters by Black Starr & Frost. They have a 2.5” sterling silver rim that ...

A quirky and whimsical early 20th century American Adirondack bent-willow side table with a playful log cabin box with removable roof living amidst a field of painted flowers. Your f...

raffigurazione napoletana di pescatori olio su tela inizio ventesimo secolo ottime condizioni generali dimensioni altezza 88 cm larghezza 127 cm.

English orientalist school; late 19th - early 20th century. "Slave market". Oil on canvas. Presents stamps on the back. Measurements: 26,5 x 36 cm; 27 x 37 cm (frame). The orien...

For customers that require professional insured delivery we are proud to have teamed up with a nationwide professional delivery company that will assist with coordinating your delivery needs! They offer a reasonable flat-rate fee for delivery and set up to the ground floor of your home. They deliver to the vast majority of the lower 48 states. They offer a flat rate for most of our items with exclusions for the largest or most complex items such as breakfronts or crystal chandeliers or other items of greater complexity. For those items please ask for a shipping quote prior to purchase as these rates are different from our stated pricing. For those items please ask for a shipping quote prior to purchase. Most deliveries to the East Coast will be 295.00, to the mid-west and Southern mid-west 395.00. To the areas west of Kansas 495.00 and the farthest points to the West coast will be 595.00. Again, some areas we can't cover, however we can deliver to most of the lower 48 states so please inquire to be sure! Delivery times range from as fast as 1-4 weeks for the east coast to 5-9 weeks to the farthest areas of the west coast, sometimes longer and sometimes even shorter. If it is a time sensitive purchase, we may be able to accommodate you for a higher price. It is our goal to please each and every one of our customers with the highest standard of service possible. You must realize and accept that we are shipping antique, vintage and quality used furnishings to your home. We cannot control traffic, weather, and acts of God. There will be times when additional patience will be necessary. This antique carved throne chair...

A handpicked Collection of late 19th century Papier Mache Kashmiri objects We share what we love, and we love this handpicked collection of late 19th to early 20th century papier Mache Kashmiri assorted decorative objects. These items are hand painted and similar in design. A collection amassed over time that would make a great table of dresser display with a real interior designer look. Size of inches: H 6” x W 8” x D 8” Large Circle Box...

This is a fantastic and unbelievably exuberantly carved solid oak secretary desk with frolicking cherubs and incredible carving for an oak desk. Usually this kind of crisp carving is...

Being offered is a spectacular sterling silver antique chalice made in Austria. It has hand-wrought and hammered.

A lovely French Pedestal, highly decorative and having a lovely original patina with minor losses and chips etc. Strong and sturdy and waiting for a nice marble or bronze to sit atop...

Bakhtiari rugs are among the most durable and have a vast array of designs among Persian tribal rugs. Bakhtiar region has numerous tribes with each tribe having its own technique of ...

Hallmarked in London in 1903 by Joseph Heming, this incredible, Edwardian, Antique Britannia Standard Silver Bowl, is wonderfully chased with acanthus and floral detailing, and strik...

Early 20thC Brass Standard Oil Lamp of typical form with ornate pierced tripod base with depictions of Pan - converted to electric- 22" diam x 70"h - The ...

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...

- Carefully refurbished and finished in shellac.

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

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.

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 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...

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...

An antique French silverplated dresser tabletop vanity easel back mirror with a lovely Art Nouveau floral design, circa 1900. It would be beautiful displa...

The navy field of this all wool construction, leathery handle, east Caucasian long rug (kellegi) hosts four squarish cartouches in red, ivory, dark ...

Antique Chinese Peking rug, size: 4'0" x 18'4".

Ancient and very rare Japanese painting made in the early 1900s, fine Japanese manufacture. The painting has a rectangular brass frame, with rounded corners. Internally we see a further frame in yuta, classic sand colour, very nice. Yet another very small brass frame that frames the picture. The painting is a print painted on black cardboard, with whimsical and strong colors, typical of Japanese art. This represents a scene with a man and a woman, intent on dancing, arm in arm and spinning in a typical traditional Japanese dance...

Ancient and very rare Japanese painting made in the early 1900s of fine Japanese manufacture. The painting has a rectangular brass frame, with rounded corners. Internally we see an a...

Ancient and very rare Japanese painting made in the early 1900s of fine Japanese manufacture. The painting has a rectangular brass frame, with rounded corners. Internally we see an a...

A Very Fine French 19th century Louis XVI Style Ormolu-Mounted Kingwood and Bois Citronnier Marquetry center table or writing table, attributed to François Linke (1855-1946), after t...

Antique Kazak rug measures: 4'1'' x 6'2''.

Antique Heriz Rug Measures : 2'6'' x 4'1''. The palette of larger Herizes is retained, but the pattern of this NW Persian village ruglet is switched...

Quite a rare set of collected Edwardian cut glass egg cups with silver rims and a set of decorative spoons. The glass egg cups are cut with panels and fe...

Hungarian ceramic "Eosin-Glazed" centerpiece, Zsolnay, circa 1906.

Edwardian satinwood bedside cabinet, with rear upstand, drawer and cupboard and raised on tapered legs of square section - Maple & Co London. Measures: 17"W X 15"D X 36"H

Descrizione : Scultura in legno di noce firmata sotto basamento artista ignoto. Origini : Italia Periodo di produzione : XX secolo Artista : Ignoto Condiz...

Dimensions Height: 7.25 inches Width: 5.25 inches Depth: 4.5 inches. Markings Fully marked on the bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), and “GESHUTZED” (German: “PROTECTED). ABOUT What distinguishes this unique bud vase from others is a perfect synthesis of a utilitarian object and a Fine sculpture. It is not only the amazing subtlety and taste of the author’s artist skills, but an extraordinary design and an absolutely outstanding original plot. Designed for a single flower only, it is nonetheless a very complex and multifaceted composition filled with warm humor and fantasy. Sitting on a vessel shaped as a gourd, clasping its goat legs with hooves and holding on to the neck with one hand in order not to fall of it; a playful and mischievous faun holds by the tail a fleeing lizard with the other hand. FRANZ XAVIER BERGMANN (Austrian, 1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working...

A large, impressive and fine quality silver wine cooler made at the turn of the 20th century by Mackay & Chisholm at 59 Princes Street, Edinburgh. The lower half of the body of this ...

Early 20th Century Chinese Carpet ( 10'4"x 19'3" - 315 x 587 )

Antique Chinese beech hardwood single drawer carved coffer table Here we are offering an antique Chinese beech hardwood single drawer carved coffer table. It's from late 19th to e...