Neoclassical Period Collection

French, circa 1820. Porcelain, painted and gilded, with applied bisquit flowers 8 13/16 in. high. Inscribed (with incised mark, under the base of each): 3.   

French porcelain vase, Locre, circa 1815.

Pair of Wedgwood figural candlesticks of Pomona and Ceres, 19th century.

New York, circa 1815-1820. Wood, gessoed and gilded, with mirror plate. 75 1/2 in. high, 44 1/8 in. wide (at the cornice), 8 1/2 in. deep (at the cornice). Condition: Some restorati...

Italian porcelain vase, Doccia, circa 1810.

English porcelain vase, Chamberlain Worcester, circa 1820.

A wedgwood black and gilt basalt covered Potpourri vase, circa 1870.

London, 1869, Maker: S Smith.

Wedgwood Rosso-Antico Vase, Circa 1790

18th century Breccia marble column pedestal. With a white marble capital above an entastic column, resting on a square pedestal with a cavetto e...

Darte Frères, Paris, made, circa 1820. Porcelain, partially painted and gilded. Measures: 14 1/4 in. high, 10 3/8 in. wide (through the handles), 7 3/4 in. deep. Signed (with stencil, in black, on the bottom of each): Darte. f. Recorded: cf. Régine de Plinval de Guillebon, Porcelain of Paris, 1770–1850 (New York: Walker and Company, 1972), p. 333 no. 79 illustrates the mark on these coolers. Some of the most beautiful porcelain produced in Paris during the Empire/Restauration periods was made or sold by the firm of Darte Frères. Although the Darte family, which came from Namur, then in The Netherlands, had set themselves up in the business of the manufacture of porcelain as early as 1794–95, by 1803 the three Darte brothers had decided, as Régine de Plinval de Guillebon notes (ibid., p. 231), that “each should have his own establishment,” and, indeed, by 1804 their prior business partnership had been “annulled,” and from that point forward there were two businesses using the name Darte. The Darte brothers, Louis Joseph and Jean François, began independent operation in 1804 at the Hôtel Montalembert, at 90, rue de la Roquette. Their business arrangements were only formalized in 1808, at which time they began to use the name “Darte Frères.” They remained in the business until 1825, when their partnership was dissolved. Darte Frères produced a large variety of porcelain, including vast dinner and...

English Regency lantern, circa 1800. Glass, blown, with gilt-brass fittings 27 in. high, 13 1/4 in. greatest diameter. In a market that is overwhelmed with reproduction lanterns of ...

This English Sheffield plate wire-work epergne is distinguished by gracefully scrolled supports, which branch from a round footed base and suspend six baskets, with a large central basket at the top. Each of the baskets is shaped to hold a boat-shaped blue Bristol glass...

Boston, Massachusetts, circa 1820. Mahogany (secondary woods: Birch and maple; slip seats: Birch and pine) Measures: 33 1/4 in. high, 18 5/8 in. wide, 19 ¼ in. deep (overall). Ex Coll: Private collection, until 2004; to [Hirschl & Adler Galleries, 2004]; to private collection, 2004 until the present. Exhibited: Hirschl & Adler Galleries, New York, 1999–2000, Boston in the Age of Neoclassicism, 1810–1840, p. 57 no. 21D illus. in color // Hirschl & Adler Galleries, New York, 2001–2002, of the Newest Fashion: Masterpieces of American neoclassical Decorative Arts, pp. 93 cat. 26, 95 illus. in color two chairs from the set / Hirschl & Adler Galleries, New York, 2014-2015, very rich and handsome, p. 30 no. 5 illus. in color two chairs from the set. One of the signature forms of furniture of the neoclassical period in the United States is the klismos chair as interpreted by a group of Boston cabinetmakers in the period circa 1820 (see Page Talbott, “Seating Furniture in Boston, 1810–1835,” The Magazine Antiques CXXXIX [May 1991], pp. 966ff.). These chairs are usually characterized by sabre legs at the front and the back and curved crest rails typically enriched with flaming mahogany veneers, their ends often punctuated by stylized leaves, anthemia, or scrolls, and center splats decorated with leaves, drapery, lyres, etc. Just as it is easy to identify a New York or Philadelphia side, or dining, chair of the period, so Boston chairs have a certain “look” that sets them apart from chairs from all other American cabinetmaking centers in this period. The sumptuous nature of the lotus bud and tulip-carved swags which form the back splats of these chairs is offset by the simplicity of the crest rail, in which oval veneered panels are encircled by a raised molding, and by the reeded stiles which seamlessly sweep down to become first the side-rails and then the front legs of the chairs. Although the form of these chairs relates them to many comparable Boston examples of the period, none of these other chairs feature the paw feet that terminate the front legs of the present set of chairs, a feature that appears to be otherwise unknown on Boston side chairs...

An extraordinary game table from the Directoire period made in France. Frame made of mahogany in a beautiful cognac brown shade. Apron divided into rectangular parts of brass and bra...

Clock Mantle Gilt Bronze Neoclassical Empire French 19th Century France. A French mantel clock in gilt bronze. Neoclassical symbols such Cup...

Long mahogany console table with rouge Violette Italian marble top. Features inlaid table apron with brass Greek key pattern, hidden drawer and ring...

Clock Mantle Gilt Bronze Neoclassical Empire French 19th Century France. A French mantle in gilt bronze decorated with neoclassical symbols ...

Pair of French porcelain vases mounted as lamps, circa 1910.

Pair of framed Wedgwood circular plaques, circa 1875.

Berlin blue and gold vase mounted as lamp, circa 1820.

A rectangular mirror created of mahogany and French walnut panels with original glass.

Pair of Slipper, Fireplace or Lounge Chairs in dark green leather by French / Spanish designer, Pierre Lottier.The chairs are in a neoclasslical X frame form in wood with leather cov...