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Pair of Art Nouveau life size carved wood figures of dancing women with original paint colors (signed G. VAN DER MERSCH on base)

Set of three French Moderne wrought iron nesting tables with gilt accents and original silvered mercury glass mirror tops.

This is whimsical and beautiful with a large conical pendant flaring out. One edison bulb to interior provides ample light. The serpent wrapped to exterior is also made of plaster an...

Born of the collaboration between a Parisian antiques dealer and a rural Vietnamese artists' community, these sculptural furniture pieces are made wi...

This magnificent pair of rare lounge chairs is unique on the market. They are shipped as professionally photographed and described in the listing narrative: Meticulously professional...

This whimsical screen depicting 4 life-size people in cubist style is framed by a dark wood and interior woven cane. This is not see through, finished on both sides (see detail images in this listing). This was used in a GUCCI retail...

A lovely brooch in gilt cast bronze made by French Parisian art jeweler Line Vautrin (1913-1997) circa 1940s. The brooch belongs to a collection called "The moon and the starts in th...

Very rare master cabinet designed by Carl Malmsten. Produced by Hjalmar Wikström Möbelsnickare in Sweden.

Lovely sewing kit made of hand painted rattan, the top is decorated artistically with floral raffia work. Inside include plastic try and nice upholstered storage compartment. Excep...

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

Open Edition Blind stamp on print margin. Signed by Estate, titled, dated and copyright date in pencil on artist stamp. Paper size: 20 x 16 in. Ruth Orkin (1921 - 1985) was an Ameri...

Unusual bottle or vase crafted in terra cotta with classic form and covered in ambitiously woven reed.

This lovely & dainty pendant features 26 tiny natural half-round river pearls set into a quintessentially Art Nouveau mounting of 14k yellow gold in a foliate motif, with three dangling tear-shaped pearls. In the center of this striking pendant is a vivid blue natural and unheated Yogo sapphire...

A tall and imposing Wilhelm II Vitrine for displaying books, China and/or collectibles in a warm amber-toned oak, with two glass-paneled doors and a carved ...

A museum quality, late-17th century, walnut, upholstered sleeping armchair • Exceptionally rare model; one of the first models of upholstered armchair with the addition of the wings intended to conceal draughts. • Transitional form : many of the carved features are characteristic of Baroque furniture dating from 1680 and the incorporation of upholstery is influenced by the desire for comfort post restoration of Charles II introducing French fashions to the English court. • Striking, statement piece. The cresting, “H” stretcher and scrollwork carving which features throughout the chair inject gravitas. • Practical size and ergonomic comfortable design, suitable for regular use. The original, carved, walnut cresting supported by a pair of dragons with scrollwork either side of a central stylised leaf spray. The shaped rectangular back with wings. The sweeping arms with carved scroll ends supported by tapering turned uprights emerging from blocks. The rectangular seat supported by double scroll carved and column turned legs joined by an ‘H’stretcher which mirrors the shape of the back in the centre with finial, column turned side and back stretcher and back legs. Exceptional original colour and patina. c.1690. CONDITION : re-upholstered in a recreation of 17th century, Italian, bargello embroidery which is characteristic of the period. Tiny marks, wear and losses as expected throughout the armchair. The finial is a C19 or early C20 replacement. The stretcher has suffered from worm damage and there are replaced sections at either end of 1” and 1½ “ respectively, and an area to the left of the finial has been filled. This work was not done by me and has some age to it and the finial was probably replaced at the same time. The armchair is sturdy and suitable for regular use. PROVENANCE: Private Collection, Cheyne Walk, London RELATED : Few sleeping chairs...

Wood and iron painting easel with a makers badge.

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),...

Established in London in 1962, David Morris – The London Jeweler is renowned for creating breath-taking pieces of flawless design, each individually cr...

An Asian -nspired mirror with unusual shape, framed by two carved wood dragons, seeming to entwine around the glass.

A vintage charm bracelet circa 1990s showcasing a triple row 14k yellow gold bracelet suspending 14 various charms. The bracelet measures 7 1/2" in length.

Wrought iron forged frame and pink quartz beads. Lantern in the style of Andres Dubrivel. Copper bottom cap and polished brass accents. Bronze finish...

Platinum Diamonds, Sapphire and Emerald Bow Brooch Pendent Gold Chain is not included

Very unique tall Japanese vase with abstract pattern in a variety of brown tones. The deepest brown glaze is raised, giving the vase a wonderful tac...

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

Jewel Of Ocean Estate Bangle Bracelet 18K Yellow Gold Weight (g): 61.4 Maker: Estate Signature: 18K Italy TI FFA NY Estimated Manufactures Retail Pr...

A wonderful 1960s Persian Qum rug with a whimsical pictorial pattern containing various deer and birds amidst a landscape of trees-of-life, woven in crimson, light and dark indigo, g...

This estate ring is crafted in solid 14K White Gold. The center natural Earth mined round Sapphire is 4mm (.34 carat). This is a very clean and transparent gem of great intensity and...

This incredible highly collectible circa 1900s piece is finely crafted in solid 14K White Gold (carefully tested and guaranteed). Four bigger Old mine cut diamonds total 1.27 carats ...

Scandinavian table made of original teak from the 1950s/60s. The shape is rectangular and is perfect for four people. Thanks to the 50cm long pull-out extension, the table can comfo...

Original state with a pleasant patine of age. Perfectly cleaned and re-polished with shelack finish.

Decorative mirror in a wrought-ion frame decorated with "repousse" dragons on either side, and lovely wrought-iron roses.

1850'S Green & Pink Organic Cotton Floral Ombre Printed Dress

From R&K Principal Josh Nazmiyal’s rare acquisitions, a distinguished 3x12 vintage runner originating from Turkey circa 1950-1960. On the Design: Geometric patterns and tribal med...

Formidable husband and wife team Tobia and Afra Bianchin Scarpa created inte­ri­ors and furni­ture that embraced the mate­ri­als of each design and the interplay of tech­nol­ogy and ...

Inspired by Brutalism, an aesthetic movement and architectural style known for its sculptural, angular forms, the Karo nightstand’s front panel consist...

Opaline glass pendant lamp by Rolf Krüger for Staff, 1970s, Germany There are atomic dots on the lampshade. Lampshade is in good condition and very c...

Two tier corner cabinet with great paint and cool inner shelves. Great hardware as well.

Meissen wine cooler and vase in hand-painted porcelain with flowers and gold edge. Handles modelled as branches. Early 20th century. Measures: Lar...

Small wood and leather vaulting horse with leather wrapped legs and iron feet.

Amazing midcentury French riviera nest-shaped bamboo and rattan magazine rack. This wonderful piece was probably designed by Bonacina in Italy during 1960s. This piece is fantastic as it is shaped like a nest with a bamboo handle on it with an amazing curved structure. An astonishing item that will smarten a mid-century living room and French riviera library. Italian company, Vittorio Bonacina was founded by Giovanni Bonacina near Milan in 1889. His idea was to combine exotic rattan imported from Southeast Asia, with two traditional crafts, common in Brianza, an area – basket weaving and furniture...

Tall sculptural Modernist mirror by artist Lorenzo Burchiellaro. Textured cast aluminum. Signed Burchiellaro.

A Gyo-Tako print of large octopus is seen here in Jeff Conroy's work entitled "Grapes of Wrath". To achieve this remarkable painting, the artist inks...

Artist: Jon Carsman, American (1944 - 1987) Title: Giverny Gardens Year: 1984 Medium: Acrylic on Canvas, signed verso Size: 72 in. x 96 in. (182.88 cm x 243.84 cm)

Elegant 20th century floral chandelier in silk-and-amber-colored Murano glass, with gold finishes, Italy. This refined chandelier, handcrafted in the Italian island of Murano, stand...

Rare Vintage Serapi rug Senneh Runner Tribal Geometric Pink 4'5" x 13'4" 135cm x 406cm "This is a rare vintage Geometric tribal runner with in...

An outstanding and most decorative true pair of Italian turn-of-the-century gilt metal, ormolu, glass, and crystal sconces. Each six arm sconce is centered by a lovely charming cryst...

A striking French 19th century Louis XVI st. giltwood mirror. The mirror retains its original mirror plate framed within a fine mottled beaded border. A beautiful Les Oves design ext...

A stunning and very high quality Italian turn of the century white Carrara marble statue signed Prof. R. Romanelli 1909. The statue is raised by a circular base with a fine ground like design where the beautiful maiden is kneeling. She is draped in a wonderfully executed flowing garment falling off her shoulders using one hand to cover herself while holding charming finely detailed flowers in the other. She is wearing a lovely necklace and has her hair tied in a richly sculpted head wrap with fine coin earrings and a coin headpiece. Wonderful attention to detail throughout. Raffaello Romanelli (1856 - 1928) Born in Florence, Italy. Romanelli was renowned for his monuments and portrait busts of noteworthy figures. He won numerous awards and had the honor to be commissioned by Pope Augustus III for two works at the façade of the Florence Cathedral.

- Iron base in good original condition with some signs of use. - Rattan in very good condition. - Made in Germany. - With sheepskin included. - Height of seat 39 cm.

Comprising a lounge chair, three-seater sofa, ottoman and floor lamp – all crafted from rattan – the Bohemian 72 Collection embodies Crespi’s ca...

The vintage dresser was designed and produced by fine Italian manufacturer in the 70s. The small dresser is made in rattan with a geometrical patte...

Stunning midcetury lucite and Vienna straw picture frame enriched with a silver frame. This astonishing item was made in Italy during the 1970s following the style of Christian Dior....

The 9602 floor lamp, also known as “Chinese Hat” was designed by Paavo Tynell in 1938 for the hotel Aulanko. Characterised by its elegant and airy lamp...

Bamboo and Rattan arched wall mirror. Made in Italy in the Italy 1970s.

The Benedict™ Three Light Lantern arranges three 6 inch Benedict™ light assemblies in a condensed bloom perfect for entry ways, stair wells, and other transitional spaces. Shown here in Trella's™ hand applied Antique Brass patina...

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...

The concrete coffee table top inlaid with hardstone and brass cog wheels and other elements. On L-shaped sheet metal supports.

This dark green (almost black) nephrite jade pendant is inscribed with a brief poem about spring. The text — 泛好 红时春 万辰 风 象翠沐 新绿 雨 — which would appear to be an ode to the cleansing, ...

This 14K yellow gold and jadeite jade brooch dates to around 1950 and features a 44.70 x 13.27 x 4.37 oval pierced jade carving in a floral motif. The col...

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...