Jan's & Co Fine French Antiques Inc.

A fine and rare 19th-20th century neoclassical revival style silver plated and cut-glass centrepiece in the manner of Christofle. The boat-shaped body with ornately finely chased det...

A Very Fine French Belle Époque 19th/20th Century Louis XV Style Eight-Light Silvered-bronze and Colored-Crystal Chandelier with amethyst grape clusters and molded glass pendants of ...

A Fine Pair of French 19th-Century Louis XV-style Marquetry and Gilt-Bronze Mounted Meuble d'Appui Side-Cabinets with marble tops. Each single-door satinwood veneer side cabinet is c...

A Louis XV Style Gilt-Bronze and Lead Crystal Sixteen-Light Chandeliers, the solid bronze frames with towers, fleur de lys' and a central support, attributed to Baccarat. Circa: 20th...

A Charming Persian Qajar Glazed Moulded Pottery Tile, depicting a falconer or Bazdar on horseback holding a falcon amongst flowers and leaves, in a yellow background, Tehran, North P...

A French 19th/20th Century Empire Revival Style Mahogany and Gilt-Bronze Mounted Three-Piece Study or Office Suite, comprising of a desk with leather top, a horse-shoe-shaped armchai...

A very fine pair of French Belle Époque Louis XV Style 19th/20th century six light gilt-bronze figural wall sconces, each modeled as a ribb...

A Very Fine German 19th Century Louis XVI Style Burr Walnut Bechstein Concert Grand Piano, Serial No. 5655. The beautifully crafted Grand piano, raised on three tapered barrel shaped legs, with an intricately carved ornate music desk and original keys. Circa: 1872. Length: 80 inches (203.2 cm) Width: 59 inches: (149.9 cm) Height (top closed): 38 5/8 inches (98.1 cm) C. Bechstein Pianofortefabrik C. Bechstein Pianofortefabrik AG (also known as Bechstein) is a German manufacturer of pianos, established in 1853 by Carl Bechstein. Before Bechstein Young Carl Bechstein studied and worked in France and England as a piano craftsman, before he became an independent piano maker. His first pianos were made for other companies. C. Bechstein C. Bechstein piano factory was founded on 1 October 1853 by Carl Bechstein in Berlin, Germany. Carl Bechstein set out to manufacture a piano able to withstand the great demands imposed on the instrument by the virtuosi of the time, such as Franz Liszt. In 1857, Hans von Bülow (Liszt's son-in-law) gave the first public performance on a Bechstein grand piano by performing Liszt's Piano Sonata in B minor in Berlin By 1870, with endorsements from Franz Liszt and Hans von Bülow, Bechstein pianos had become a staple in many concert halls and private mansions. By that time three piano makers, all of which were founded in 1853, became established as the industry leaders across the world: Bechstein, Blüthner and Steinway & Sons. In 1881 Bechstein began supplying pianos to Queen Victoria. A gilded art-case piano was delivered to Buckingham Palace, followed by several more Bechstein pianos to Windsor Castle and other royal residences. By January 1886 they were among the piano manufacturers holding a Royal Warrant as a supplier to the Queen. Several British embassies across the world acquired Bechstein pianos. In 1885, Bechstein opened a branch in London, that eventually grew to become the largest showroom and dealership in Europe. By 1890 showrooms had been opened in Paris, Vienna, and Saint Petersburg. On 31 May 1901, Bechstein Hall, built at a cost of £100,000, was opened next to the company's London showroom at 36-40 Wigmore Street. Between 1901 and 1914, C. Bechstein was the largest piano dealership in London. At that time, Bechstein was patronized by the tsars of Russia, the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria and Denmark, and other royalty and aristocracy. The list of royal clients of Bechstein may be found on the soundboard of vintage Bechstein pianos made before the Second World War. The list is part of the original Bechstein trademark logo; it can be seen under the strings in the center of a piano's soundboard. The signature of Carl Bechstein The years from the 1870s through 1914 brought Bechstein their most dramatic increase in sales. In 1880 a second Bechstein factory was opened in Berlin, and the third factory was opened in 1897 in Berlin-Kreuzberg. Production reached 3,700 pianos annually in 1900, and 4,600 in 1910, making Bechstein the largest German manufacturer of high-end pianos. At that time, about three quarters of production went to international markets, especially Britain and the Commonwealth, and Russia. Carl Bechstein died in 1900, and the Bechstein company continued to operate under the management of his sons. Between 1900 and 1914 C. Bechstein was one of the leading piano makers in the world, employing 1,200 craftsmen and workers by 1913 and making five thousand pianos per year. First World War C. Bechstein suffered huge property losses in London, Paris, and St. Petersburg during World War I. The largest loss was in London. Although the company's position in the United Kingdom was initially unaffected, with the company still listed as holding a Royal Warrant in January 1915, Warrants to both King George V, and his wife Queen Mary were cancelled on 13 April 1915. Bechstein was not the only musical concern to be affected by growing anti-German sentiment: there were earlier attempts, led by William Boosey, to boycott German music altogether. In 1915, despite being a Baronet and Privy Counsellor, Sir Edgar Speyer, who was then funding the Proms, was forced to leave the country. Following the passing of the Trading with the Enemy Amendment Act 1916 the British arm of the company was wound-up on 5 June 1916, all Bechstein property, including the concert hall and showrooms full of pianos, were seized as "enemy property" and closed. In 1916 the hall was sold as alien property at auction to Debenhams for £56,500. It was renamed Wigmore Hall, and then re-opened under the new name in 1917. All 137 Bechstein pianos at the Bechstein showrooms were confiscated too, and became property of the new owner of the Hall. After a dispute with his brother, Edwin Bechstein left the company and was paid off. Eventually the Bechstein factory resumed full-scale production during the 1920s. At that time, technical innovations and inventions of new materials and tools, as well as improvements in piano design and construction, had allowed Bechstein to become one of the leading piano makers again. The most successful models were the updated "A"-185 and "B"-208 grand pianos. The upright pianos became more popular after the war, and C. Bechstein were successful with its upright pianos Model-8 and Model-9, both of which have been considered the finest upright pianos. As the company was changed into a joint-stock company 1923, Edwin Bechstein and his wife Helene, bought themselves back into the company as shareholders. In 1930 the company collaborated with German electrical goods manufacturer Siemens under Nobel laureate Walther Nernst to produce one of the first electric pianos...

Eugène Blot (French, 1830-1899) "An Evening at The Opera House" a fine and rare French 19th century polychrome and parcel-gilt spelter figure of a lady seated backwards on her knees ...

A fine pair of 19th century Japanese porcelain and French gilt bronze mounted thirteen-light celadon torchiere, floor lamp candelabra. Wired for ...

A Very Fine French 19th Century Louis XVI Style Ormolu Mounted Mahogany and Satinwood Gueridon Round End Table with Marble top, Attributed to Henry Dasson (French, 1825-1896). The si...

A Very Fine French 19th Century Louis XV Style Ormolu Mounted Satinwood Parquetry and Vernis Martin Style Lady's Petit Writing Table Desk, attributed to Louis Majorelle (French, 1859...

A Very Fine French 19th Century Louis XV Style Figural Ormolu Mounted Mahogany Center or Writing Table with a Brêche Vilolette Marble Top, attributed to Maison Millet, after models b...

A French Louis XV Style Green-Lacquered and Parcel Giltwood Carved Chaise Lounge Armchair. The rounded backrest carved and caned frame in the shape of an extended armchair, with an e...

A Large French Transition Louis XIV/XV Style Belle Époque Giltwood Carved Mirror. The nicely carved giltwood frame, crowned with a floral, acanthus and scrolled crest flanked by scro...

A Very Fine French or Russian 19th Century Empire Style Mahogany, Ormolu Mounted and Parcel-Gildwood Carved Crib & Bedding. The egg-shaped oblong rocking cradle supported at each end by columnar standards.The cradle base conforms to the rocking cradle and is adorned with laurel wreath gild bronze corner crests, all supported on cabriole legs with finely cast gild bronze acanthus leaf mounts. Turned gilded bedding and drapery support having a cast gilt bronze terminal of an eagle holding a ring in its beak. It also includes mattresses, bedding, Irish hand embroidered linens and matching draperies. One pair of Irish linen draperies measures 25" X 124". One pair measures 20" (10" with curtain rod hooks) x 124". Some ormolu bear the letters "P.R."; "N.H"; ":E.J" and other mounts bear what appear to be a name in cyrillic. Circa: 1860-1870. (Maybe earlier). Another possibility is that this fantastic quality crib is actually an earlier piece, plausible by either Pierre...

A French Louis XV Style 'Belle Époque' Vitrine Cabinet Giltwood Carved Vitrine. The three panel curio cabinet, the center one with bowed-front glass, with twin side-doors and carved ...

A Fine Pair of French 19th/20th Century Louis XV-XVI Style 'Belle Époque' Giltwood Carved Bergères, attributed to Maison Jansen (House of Jansen). The recently upholstered and resto...

A Louis XIV-XV Transitional Style Giltwood Carved Wall Console with Marble Top. The three-drawer apron wall-mounting console table with gilt-bronze pull handles, rounded corners and ...

Pair of Louis XV Style Giltwood Carved Wall Console Tables with Marble Top. The serpentine shaped free-standing wall consoles with the apron centered with an intricately carved pierc...

A Fine French 19th-20th Century Baroque Revival Style Parcel-Gilt Carved Walnut and Needlepoint Upholstered Hall Throne Armchair with raised carved scrolled armrests and fluted conjo...

A Large and Impressive French Art-Deco Mahogany, Satinwood, Stained-Glass and Gilt-Bronze Mounted Buffet Credenza Vitrine. The tall cabinet with ...

A Large and Impressive 19th Century Pair of Japanese Meiji Period Export Blue-Celeste, White and Porcelain Vases. The ornately decorated bottle-shaped celadon vases, each with feline decorations amongst tree-branches and parcel-gilt and ruby-red painted flowers. The bottom of one signed in Japanese “Dai...

A Large and Impressive French Art-Deco Mahogany, Satinwood, Stained-Glass and Gilt-Bronze Mounted Buffet Credenza Vitrine. The tall cabinet with ...

Pair of French 19th-20th Century Louis XVI Style Mahogany and Gilt-Metal Mounted High-Back Armchairs. Circa: Paris, 1890-1900. Height: 47 3/8 inches (120.4 cm) Width: 26 inches (6...

A French 19th Century Cast Iron and Metal Fireplace Mantel Wood/Coal Register Insert Grate. Circa: 1870-1880 Height: 35 7/8 inches (91.1 cm) Width: 36 inches (91.5 cm) Depth: 14 inc...

A Very Fine French 19th Century Louis XV Style 'Belle Époque' Ormolu Mounted and Kingwood Parquetry Single-Door Bombé Vitrine Display Cabinet, by Alexandre Hugnet (French, active la...

A Pair of French 19th Century Louis XV Style White-Lacquer-Finished and Needlepoint Tapestry Side Chairs, the front legs with coasters. Circa: Paris, 1890-1900. Height: 36 1/2 inche...

A French Louis XVI Style 'Belle Époque' Oval Giltwood Carved Center Table with Onyx Top. The decorated carved apron fitted with a veined light-green onyx top and raised on four flute...

A Charming Set of Nine French 19th-20th Century Louis XV Style Gildwood Carved Opera-Concert Side Chairs. The delicately carved frames feature intricate motifs including seashells, s...

A Fine Italian 19th Century Florentine Pietra Dura Inlaid Table Raised on a Giltwood Carved Pedestal Stand. The circular pietra dura inlaid top centered with a bouquet of flowers inc...

A French 19th Century Baroque Revival Style Gilt-Brass Repoussé Mirror. The ornately hammered and chased brass decorated frame, over an ebonised wooden backing, with a floral and aca...

A Large Pair of Egyptian Revival Vintage Patinated Brass Sphinxes. The impressive pair of brown patinated resting sphinxes, with an unverified...

A Large and Impressive Pair of Italian Early 20th Century Rococo-Style Gilt-Bronze Center Tables or Wall Consoles with Marble Tops, attributed to Luigi Ciampaglia, renowned for his leadership at the esteemed Fonderia (Foundry) Chiurazzi di Napoli (Naples). These tables boast intricately cast serpentine gilt bronze frames featuring an ornate apron adorned with bearded male masks flanked by swaged floral garlands, C-scrolls, and acanthus motifs. They stand on four elegantly curved cabriolet legs joined by an 'X' stretcher, all terminating in floral sabots, supporting luxurious veined green Verde Antico marble tops. Both tables are elegantly engraved with "Ciampaglia" on the apron, suggesting they were likely a special private commission by Luigi Ciampaglia, possibly crafted by either the Fonderia Ciampaglia or the Fonderia Chiurazzi. Circa: Naples, 1920-1940. Note: Another example of this model is currently on display at The Miramar Mansion in Newport, R.I Luigi Ciampaglia held the position of head artisan at the Fonderia (Foundry) Chiurazzi di Napoli. Established by Gennaro Chiurazzi (1840–1906), the Fonderia Chiurazzi originated from a modest foundry founded in Naples in 1870. It swiftly gained renown, expanding into a workshop within the Albergo dei Poveri, where a team of skilled craftsmen, known as formatori, diligently produced casts of numerous statues. Over time, the foundry secured the privilege of taking molds from prestigious collections, including those of the Museo Archeologico Nazionale in Naples, the Capitoline Museums, the Vatican, the Borghese Gallery in Rome, and the Palazzo Pitti and the Uffizi Gallery in Florence. This resulted in the creation of over fifteen hundred plaster piece molds, embodying the century-long legacy of the company—a feat that remains unparalleled today. Chiurazzi bronzes...

A Fine English 19th Century Victorian Ebonized Wood and Edged Bone-Inlaid Summer Fireplace Screen. The ornately decorated screen centered with a needlepoint tapestry of a Tarot card ...

A Franco-English 19th/20th Century Chinoiserie Style Two-Door Cabinet on Stand, the black-laquered top with parcel-gilt and painted Chinese decorations of villages and coastal scenes...

A Set of 5 English Hand-Decorated Minton Fine China Espresso Cups with Saucers. The beautifully vibrant color hand painted small espresso cups and saucers, each single handle cup and...

Fanny Sugars (British, 1856-1933) A Charming Victorian Era Oil on Canvas Depicting a Portrait of Standing Young Girl Wearing a Bonnet, within a later giltwood frame. Signed and Dated: 'Fanny Sugars / 1881' (lower right). Museums: Lancaster City Museums Miss Dalton, possibly Alzira Eloise Dalton (1889–1983) c. 1904 by Fanny Sugars (1856–1933) Lancaster Maritime Museum Miss Dalton, possibly Alzira Eloise Dalton (1889–1983) by Fanny Sugars (1856–1933) Manchester Art Gallery My Mother by Fanny Sugars (1856–1933) Fanny Sugars (1856–1933) Is recorded in Union List of Artist Names - Getty Research Fanny Sugers (1856–1933) is recorded as having exhibited at The Royal Academy Of Art in London, 1903. Exhibition No. 1160 - Portrait of a Lady. Article from Woman, Art and Money in Late Victorian and Edwardian England - The Hustle and the Scramable: Fanny Sugars was a ‘well-known Manchester artist’ who had been the only artist out of forty-one nominees to be elected to the Manchester Academy membership in 1897. ‘Women’s Doings’, Hearth and Home, 11 March 1897, 722. 64 ‘Women’s Doings’, Hearth and Home, 29 March 1900, 883. 65 Cherry, Painting Women, 70. 66 Arthur Fish, Henrietta Rae...

A Fine Whimsical French Belle Époque Silvered Bronze Four-Light Cherub Figural Hanging Chandelier. The charming cherub, scantily clad, hovers while suspended from a tied-draped tasse...

A Pair of French 19th Century Oil on Canvas "Allegory of Fortune and Virtue". The old-master style oval canvas' depicting Fortune as a classical seated elegantly dressed maiden tossi...

A Very Fine and Rare French Louis Philippe Carom Billiard - Draughts - Card - International Checkers Game Table by "THIS". The elegant rosewood table features a removable square top ...

A Set of 7 English Hand-Decorated Minton Fine China Soup Consommé Bowls with Saucers. The beautifully vibrant color hand painted Soup or Consommé bowls, each double handled bowl and ...

A Set of 36 English Hand-Decorated Minton Fine China Bread Plates. The beautifully vibrant color hand painted bread plates, each with a colorful floral desi...

A Set of 30 English Hand-Decorated Minton Fine China Dessert Plates. The beautifully vibrant color hand painted dessert plates, each with a colorf...

A Set of 22 English Hand-Decorated Minton Fine China Salad Plates. The beautifully vibrant color hand painted salad plates, each with a color...

A Set of 34 English Hand-Decorated Minton Fine China Dining Plates. The beautifully vibrant color hand painted dinner plates, each with a colorful ...

A Fine Early 20th Century 152 Piece Austrian Dinnerware Flatware Set by Berndorfer Metallwaaren-Fabrik, stamped 'Berndorf Alpacca', The Neoclassical Revival style set of Alpacca flatware comprising of: 12 Fish knives 12 Salad forks 12 Salad knives 12 Pasta spoons 12 Dessert spoons 12 Coffee spoons 12 Tea spoons 12 Ice-cream spoons 1 Ice thong 1 Soup ladle 1 Serving spoon 1 Salad spoon 1 Sauce/Gravy ladle 1 Meat carving knife 1 Meat carving fork 1 Salad fork All inside its original lined wooden storage-traveling cabinet. (See all images). Circa: Vienna, 1900-1930. The Alpacca alloy was developed in 1823 by the German chemist Dr. Ernst August Geitner (1783-1852). It was very similar in its appearance to silver, therefore, this new alloy was first called "Argentan". It consisted of 20% nickel, 55% copper and 25% zinc. The new silver-imitating alloy soon became very popular. The Gebrueder Henninger (Henninger Bros.) proposed a similar alloy (5-30% nickel, 45-70% copper and 8-45% zinc with trace amounts of lead, tin and iron) which they called "Neusilber". Later both Argentan and Neusilber were used under the trade name of Alpacca (or Alpakka). The great advantage of the use of Alpacca alloy as the base metal for silver plating is that the appearance of the objects does not change significantly with the wearing away of the silver layer and, unlike sterling silver, it does not require frequent polishing or cleaning due to tarnishing. The earliest known Berndorf Alpacca mark (No.1) was introduced around 1880 and used until 1891. I found it on the bottom of a 30 cl teapot bearing the inscription KRIEAU, which corresponds to the "Wiener Krieau", the famous race course in Vienna. The mark No.1 represents an oval of 3.0 x 3.6 mm size bearing the lettering "BMF ALPACCA" (which means Berndorfer Metallwaaren Fabrik or Berndorf Metalware Factory) with the "M" and "F" letters being fused. Inside the oval there is a profile of a walking bear looking down. This mark is quite rare. BIBLIOGRAPHY - Ingrid Haslinger, Tafelkultur Marke Berndorf, Das Niederoesterreichische Erfolgsunternehmen Arthur Krupps (Ketterl Verlag, Wien, 1998), pp.1-174, (in German). - Dedo von Kerssenbrock-Krosigk and Claudia Kanowski, Modern Art of Metallwork (Berlin: Broehan Museum, 2001), 1-598. - Musterbuch ueber Tafelgeraete in Alpacca-Silber I, Alpacca-Silber II und Alpacca, Unversilbert (Berndorfer Haus, Berlin, 1928), pp.1-53, (in German). - Waltraud Neuwirth, Bluehender Jugendstil Oesterreich, Band 2: Firmen und Marken [Art Nouveau in Blossom - Austria, Vol. 2: Companies and Marks]. Vienna: Selbstverlag Dr. Waltraud Neuwirth, 1991, 1-288 (in German). - David N. Nikogosyan, 2008, Marks of Silverplated Hollowware...

A Pair of French 19th Century Louis XV Style Gilt-Bronze Nine-Light Candelabra. The impressive pair of candelabrum, each on a floral stem base surmounted with nine scrolled candle-ar...

A French Louis XVI Style Belle Époque Trumeau Mirror Frame boasting a rich Verde Green hue accented with delicate parcel-gilt carvings. At its pinnacle rests an oval painting capturi...

A Large French Louis XV Style 'Belle Époque' ornately carved giltwood overmantel mirror frame. The intricately carved frame is crowned with a floral-leaf arrangement, featuring pierc...

A Very Fine and Palatial Pair of French Baroque Revival Style 19th Century Carved Marble Sitting Lions, the very realistic carved pair of posing lions with fine attention to detail, ...

A Palatial Set of Four French 19th-20th Century Louis XVI Style Neoclassical Gilt-Bronze Three-Light Wall Lights (Sconces). The tall elongated ormolu sconces with a back plate in the...

A Charming Whimsical French 19th-20th Century 'Belle Époque' Gilt-Wood and Gesso Carved Triptych Figural Pier Mirrors. The scrolled Rococo floral, acan...

Hans Zatzka, Austrian (1859-1945) A Fine Oil on Canvas "Portrait of Haunz Javorasky Als Knabe Dressed as a Sailor" within a carved gildwood frame. The charming portrait depicts a sea...

A Fine French 19th Century 'Belle Époque' Gilt-Bronze and Rouge Griotte Marble Table Clock by François Linke (1855-1946) Index Number 86. The clockcase modelled as a tambourine amidst blossoming roses, a mask and fan, on an oval bead-edged marble plinth with recessed panels mounted with fruiting vines, on turned feet, the reverse of the white enamel clock dial with Roman hours and Arabic minutes signed 'F. Linke, Paris', timepiece movement. Circa: Paris, 1895. François Linke (d. 1946) was awarded the gold medal for his Grand Bureau at the 1900 Paris Exposition Universelle. He was the most celebrated Ébéniste of his time. Born in Bohemia in 1855, he moved to Paris in 1881. He produced furniture of the highest quality at his workshops at 170, rue du Faubourg-Saint-Antoine, and established showrooms at 26, Place Vendme. A much simpler version of this commode, with fewer ormolu mounts and with no marquetry, is illustrated in Christopher Payne's "François Linke 1855-1946 The Belle Epoque of French Furniture" Antique Collectors' Club, 2003 Edition, Index 720, Page 498. Literature Payne, C., François Linke 1855-1946: The Belle Epoque of French Furniture, 2003, models illustrated pp. 160, 182, 247 and the black and white cliché on p. 487. Another example of this model was sold at Sotheby's New York, Sale 19th Century Furniture, Sculpture, Ceramics, Silver and Works of Art on April 22, 2010, Lot 448 'Lot 448: FRANÇOIS LINKE 1855 - 1946 A GILT-BRONZE AND ROUGE GRIOTTE MARBLE TABLE CLOCK PARIS, CIRCA 1895, INDEX NUMBER 86' Sold for $10,000 USD Another example of this model was sold at Christie's New York, Sale '500 Years: Decorative Arts Europe' (PROPERTY FROM THE COLLECTION OF RAYMOND AND MIRIAM KLEIN) on October 20, 2011, Lot 146A 'A FRENCH ORMOLU AND ROUGE MARBLE TABLE...

Carl (Karl) Everton Moon (American, 1878 - 1948) A Portrait Photograph of 'Hostin Nez." or 'Hostin Nnāez or Nez - Diné' (Najavo), depicting the head and shoulders portrait of a young man in corduroy shirt, bead necklace, hoop earrings and headband, within its original walnut frame, behind glass. Circa: Pasadena, California 1914. Stamped: 1914 Karl Moon...

A Fine French 19th Century Louis XVI Style Gilt-Bronze Mounted Meuble d'Appui Cabinet with Marble Top. The serpentine walnut and satinwood body with three front drawers and a rolled ...

A French Belle Époque Louis XV Style Gilt-Bronze Gueridon Table with Marble Top, in the manner of Zwiener Jansen Successeur. The circular Riviera Beige marble top above a three-leg o...

An Italian 19th century Baroque Revival style carved walnut figural Cassone chest-trunk. The ornately carved chest, also known as a marriage chest, with ...

Hans Zatzka (Austrian, 1859-1945) a superb quality oil on canvas titled "Spring Love" depicting a standing young maiden holding a wicker basket filled with fresh flower as she is bei...