Loveday

A one off masterpiece by Amulet Berton (1875 - 1967). Italian carved wood faux bois vine branch polychrome centre table parcel gilt with onyx top in the Venetian style. Italy circ...

An exhibition quality grand Italian walnut armchair carved in the Baroque style after Andrea Brustolon, possibly by the great Florentine carver Luigi Frullini (1839-97). Italy circa...

A fine and decorative pair of large Mid 20th Century Chaty Vallauris sunburst mirrors with the original convex plates French Circa 1950-60’s One of the iconic mid century designs ...

An Important Regency period mahogany, ebonised and parcel gilt partners writing table on monopodia legs of exceptional quality and design, in the manner of George Smith, stamped Chas...

A Identical Matched Pair of Jean Royère adjustable Iron standing Floor Lamp France Paris circa 1940’s Both in wonderful original condition by one of the most sought after mid 20th ...

A rare early 18th Century Louis XV provincial burr elm shaped front mazarin commode of excellent colour and proportions. French Circa 1710. Constructed with thick cuts of tight...

A fine George III Serpentine Mahogany Commode, Firmly Attributed to Henry Hill of Marlborough with wonderful original colour and patina. English Circa 1770 Of outstanding colour an...

A Remarkable Torch or Cone-Shaped Table Lamp, Attributed to Jacques Adnet, French Circa 1955 This striking design, utilising a folded torch or cone-shaped linen shade is firml...

Decorative 19th Century Silver Gilt Italian Console Table with Shaped Marble Top Italian circa 1880 Of sumptuous rococo form, this fine console table centres on an cartouche, surro...

The Coilsfield House Set of Three Late 19th Century Silvered Green Painted mirrors by Gillows Provenance: The Earls of Eglinton, at Coilsfield House, later Montgomerie House, bui...

A Fine Quality Late 19th/Early 20th Century Gilt Bronze and Marble Two Tier French Gueridon with Neoclassical Detailing French Circa 1900 Conceived in the late Louis XVI style, thi...

Fine Pair of Italian Gilt Bronze Wall Lights or Appliques in the French Empire Style Italian - Circa 1880 These lovely wall lights are conceived as notched arrows with lion mask pl...

An Extremely Fine and rare Rosewood and Brass Inlaid Writing Table Attributed to the Oxford Street Workshop of Gillows. English c.1820-1830 With a raised back comprising a thre...

A Set of Eight Mid Century High Back Lisse Dining Chairs Designed by Tim Bates for Pieff England Circa 1970’s These fine chairs, unusual for being a set of 8, are a mid century de...

A fine pair of black leather and brass simulated bamboo table lamps attributed to Jacques Adnet. French Circa 1955 These fine lamps are conceived in the mid-century chinoiserie man...

A Pair of Fine Parisian Club Armchairs, Mid 20th Century In the Style of Jean Royère and Jean-Michel Frank. French most definitely Parisian circa 1940-50. The chairs of deep and comfortable form with cloud-shaped rising seat backs and arm supports of rounded profile. The chairs are fully upholstered in bouclé, including the separate cushions, and stand on square plinth feet. Taking some of their design inspiration from the seat furniture of the Art Deco period, these chairs are of mid century date and undoubtedly of French origin. These chairs are of a peculiarly French form known as the club chair. Chairs of this sort were designed by many of the great French designers of the Art Deco period and later and the present chairs incorporate stylistic elements which relate to designs from two the 20th century's greatest furniture designers, Jean Royère and Jean-Michel Frank. Royère's Ours Polaire or Polar Bear chair...

A Very Fine and Extremely Large Mahogany Empire Period Console Dessert With Finely Cast Gilt Bronze Mounts French Paris Circa 1815-25 The present piece of furniture is rather ...

An Extremely Fine and Very Important 17th Century Japanese Lacquer Cabinet on French Giltwood Stand of Regence Period circa 1680-1690 Provenance Likely acquired by Herman Willem ...

A fine 18th Century George II Period Giltwood mirror with swan neck pediment and central cartouche retaining its original vauxhall soft bevelled mirror plate. English, c.1730 This...

A Very Fine and Unusual George III Period Mahogany Serpentine Tea Table of Exceptional Colour and Patina English c.1780 This fine table is a riot of serpentine curves. Broadly spe...

An Important French Mahogany and Gilt Bronze Commode in the Louis XVI Style by Henry Dasson (1825-1896) after the design in 1788 for the Kings Cabinet at Saint-Cloud by ebeniste Adam...

An impressive and opulent mahogany console table inspired by the Rococo designs of Matthias Lock having a simulated marble top. Probably English circa 1930-40. This exuberantly c...

A Fine Matched Pair of 19th Century Italian Scagliola Columns in Imitation of Siena Marble, of Excellent Quality, Colour and Proportion...

An Exceptionally Fine Early 18th Century French Regence Commode Attributed to Thomas Hache of Grenoble French Circa - 1720 The rectangular moulded geometrically top banded wit...

An Exceptional and rare pair of 17th Century Spanish Baroque gilt bronze and metal mounted ebonised and tortoiseshell cabine...

A wonderful pair of gilt bronze mounted kingwood marble topped commodes with Vernis Martin painted panels, late 19th century. Provenance...Cambridge, Esq. Paris made circa 1880...

Ceylonese 19th Century Carved Ebony Side Chair with Specimen Inlay Galle District Ceylon circa1840 This outstanding chair was conceived in the early rococo revival style and e...

An extremely fine octagonal carved Anglo Indian ebony centre table with specimen inlaid top Ceylonese circa 1840 This outstanding specimen table exhibits all the best characte...

A finely cast large scale bronze of the Borghese Gladiator with exceptional patina French c.1830-50 Due to the particularly fine casting of our piece, it seems likely that it is ...

A fine quality late 19th Century / early 20th Century envelope card table with ormolu mounts by Lampre of Paris French Paris Circa 1900. Of envelope form this card table is twiste...

Impressive and Chic Mid Century French Ceramic Lamp of Monumental Size and Scale French circa 1970 This table lamp measures 138cm in height and 37cm in diameter and is of truly eno...

A George IV Period Rosewood Library Table With Carved Lions Paw Feet English Circa 1820- 1830 This handsome table would have been commissioned for a grand library or study. The ov...

A quality leather upholstered buttoned back armchair. This well-proportioned armchair has been upholstered in a hand-dyed leather Hyde. The unique design is a one-off and very comfortable and will work in a traditional and contemporary setting. Having a feather cushioned seat and deep buttoned back with individual brass nailed finished. Standing on turned wooden front legs and antiqued brass castors...

A Fine and Important mixed stoneware vase with flaring lip by Dame Lucie Rie one of the 20th Century’s most important and pioneering ceramic artists. Made c.1985 and signed with the ...

A Fine and Important beautifully minimalist vase in the Japanese style with wavy rim and dripping manganese ‘bronze’ glaze by Dame Lucie Rie one of the 20th Century’s most important ...

Wonderful French Art Deco Tripod Floor Lamp In Gilt Bronze by Mason Ramsay French Circa 1940 Although of relatively conventional form, what makes this lamp so interesting is the tw...

An extremely fine, elegant and rare late 17th Century Japanese lacquer cabinet, from the Eco period, on later lacquered black stand. Japanese circa 1690 Provenance A private Scottish collection This outstanding cabinet is a fascinating fusion of east and west. The cabinet itself would have been made in Japan, c.1690, and is decorated to the outside with hiramaki-e lacquer. This technique involves the use of sprinkled gold powder which adheres to the lacquer surface. On the best pieces, as with this example, many layers are added in order to create areas of high relief and give depth to the surface decoration. The taste of the Japanese workshops in this period was often for quite restrained pieces with plenty of the black background visible, unlike some of the busier Chinese lacquer or European japanned examples produced around the same time. The Japanese makers seemed content to rely on the outstanding quality of the lacquer itself, regarded by most experts as the finest lacquer ever produced, and did not see the need to cover every surface believing that less was more in this respect. The lacquer here is used to produce a mountainous scene with buildings on the bank of a river, the other side of the river with more buildings and a contrasting flatter and forested landscape. The fine perspective achieved is the result of the clever use of raised and flatter areas in the lacquer itself in combination with the drawing of the design itself. Another remarkable aspect of this piece is the fine metalware throughout, but particularly the lockplate / hasp, hinges and foot mounts to the front. This is all beautifully cast and engraved contrasting against the black background. Interestingly another cabinet on stand with near identical metalwork was advertised in the Burlington Magazine, November 1913, with the dealer W. Williamson and Sons of Guildford. The lacquer on that piece is similarly refined and it seems likely that both pieces came from the same workshop. The European influence in our piece can be seen in both the later ebonised stand and in the japanned decoration which has been applied to the inside of the doors and is also very fine indeed. This consists of two panels with birds of prey perched on branches in colours set against a golden background. The cabinet has a recent Scottish provenance and so it is likely that the ebonised stand was made in Britain though such pieces were made throughout Europe as a way of quite literally elevating these imported pieces of eastern lacquer as in Japan these would have been used on the floor. Inside the cabinet there is a combination of more Japanese lacquer and lock plates and European drawer handles. Most of the lacquer drawer fronts incorporate mountainous scenes and birds in combination, with a few purely one or the other of the two subjects. Again the lacquer is in excellent condition and is of exceptional quality with multiple layers of relief used in one single scene in many cases. As mentioned above, Japanese lacquer is the most technically brilliant of the eastern lacquers and, as such, was highly prized by collectors and connoisseurs throughout Europe when this piece was made. The acquisition of such pieces would only have been possible for a small group of incredibly wealthy individuals, largely royal or high ranking courtiers or merchants connected with the East India trade...

An Extremely Italian Rare Bronze Locking Vessel With Latin Inscription, Possibly with Maritime Associations. Italy circa 1780-1820 This very unusual bronze...

A very finely made pair of Mid Century chandeliers after a design attributed to Andre Arbus, most probably made by Maison Jansen French Circa 1950 These chandeliers take cupid's ar...

Mid 18th Century Italian Rococo Armchair in Walnut with Extravagantly Carved Head Rail Italian Circa 1760 This beautiful armchair is executed in walnut and, in its basic form, is h...

An extremely rare model Charles Dudouyt mid 20th Century French Art Deco oak sideboard. French circa 1940 This fine sideboard is signed to the back by the great designer Charles Du...

A Huge Italian Grand Tour Rosso Antico Marble Tazza Attributed to Benedetto Boschetti Mid 19th Century Italy - Probably Rome Circa 1840-50 Provenance The private collection of Will Fisher, antique dealer and connoisseur and the founder of Jamb Ltd This beautiful marble tazza is carved almost entirely from Rooso Antico marble, the exception being the base section which is made from contrasting Grand Antico instead. The tazza has an egg and dart carved outspreading rim of campagna design, with wrythen snake form naturalistic handles which twist over themselves in the most virtuosic fashion. Designing the handles alone would have required the skills of a master craftsperson. The body of the tazza is strongly gadrooned and then to the front and back there are Medusa masks, the Gorgon illustrated in fearsome detail with her snake hair...

A Fine 18th Century German Walnut shaped oxbow-fronted Commode inlaid with Ivory and Pewter German - Probably made in Braunschweig Circa 1740 A masterful example of a fine 18th ce...

A rare and important pair of French Mid 20th century wall appliqués / wall lights from the French Art Deco period attributed to André Leon Arbus and Gilbert Poillerat. Two pairs available. French Paris Circa - 1940 These fine wall...

A Fine and Decorative Pair of French Grand Tour Bronze and Siena Marble Tazzas of Large Scale French circa 1820 These fine tazzas retain an impressive patination and are of a well ...

A Fine Pair of Early 19th Century French Grand Tour Bronze and Siena Marble Tazzas of Interesting Design French Circa 1830 These beautiful tazzas stand on round bronze bases, cast...

A Pair of Early 19th Century French Bronze and Marble Tazzas of Particularly High Quality and Large Size French Circa 1820 These tazzas are incredibly finely detailed and of the fi...

A rare and important set of Four French Mid 20th century wall appliqués / wall lights from the French Art Deco period attributed to André Leon Arbus and Gilbert Poillerat French Paris Circa 1940 These fine wall...

A pair of exceptionally elegant and important late Empire five-light figural candelabra ‘A la Victoire’ in gilt-bronze, attributed to Pierre-Philippe Thomire, after a design by Charles Percier. Imposing size at 81cm in height. French Paris c.1820 Superbly cast, in the Neo-Classical style, the five scrolling foliate candle branches enclosing central sconces issuing from a circular wreath supported by the winged figure of Victory (Nike), wearing diaphanous robes gathered by a sash above a long underskirt splaying out from above her ankles, with beautifully feathered wings flowing behind her as she looks straight ahead. Each figure standing on one foot, the other bent, resting on a plain sphere over a reeded palmette-cast baluster pedestal raised on square plinth. Wonderful colour and patina, pierced for electricity, old inventory label to the underside. We are delighted to have been able to acquire these important candelabra as rarely does one get the opportunity to purchase items by P P Thomire...

An Unusual and Rare Mid 20th Century Walnut Sideboard / Enfilade with pyramid doors and drawers. Probably USA - Circa 1960 Of rectangular form with fo...

An exceptional pair of grand scale 19th century French gilt bronze wall lights after the Rococo Model by Jean-Claude Duplessis of c.1749. French - Paris Circa 1880 These outstandi...

Very fine late 18th Century Italian gilt wood console table with marble top possibly from Florentine. Italian Possibly Florentine - Circa 1780 This exceptionally fine table, of rec...

A Rare and Unusual Pair of 18th Century Spanish Colonial 'Enconchado' Mirrors Veneered in Tortoiseshell and Inlaid With Bone and Mother of Pearl Made in Lima (Peru) or Mexico Circa 1720 Provenance One of the mirrors with a fragmentary label printed with "Bodmer", possibly relating to one of the branches of the Bodmer family in Switzerland, some of whom were renowned collectors of South American art The mirrors of rectangular form with ripple moulded outer borders framing tortoishell veneered inner borders inlaid with fine bone stringing and sinuous floral motifs inlaid in mother of pearl. The sight edges also veneered and inlaid with a repeating geometric motif. The mirrors are notable for the fine quality of the inlay, their unusually large size for this date, in particular the size of the plates themselves (possibly original) and the fact that they are a pair. The term 'Enconchado' comes from Spanish colonial art, particularly associated with Mexico, comprising of oil paintings inlaid with mother of pearl and other iridescent minerals. This form of art is discussed in great detail by Miguel Arisa in his essay Luminosity in Mexican Enconchado Paintings and Conceptions of the Sacred in Visual Culture and Indigenous Agency in the Early Americas, The Early Americas: History and Culture, Volume: 10 Chapter 4 (October 2021). He argues that the development of this style was an attempt to combine pre-Hispanic indigenous South American traditions regarding the sacred properties of "shiny objects" and "Baroque concepts of the miraculous", the sparkling inlay adding to the power of the European religious imagery. Mirrors such as the present pair are likewise cross-cultural objects, fusing European form and aesthetic concerns with indigenous craftsmanship to create objects of great prestige and decorative appeal. The ripple mouldings are clearly the result of a 17th century Dutch...

Extremely fine marble group of Bacchus and Ariadne after the antique attributed to Carlo Albacini (1734 – 1813) Italy Rome circa 1800 Provenance A French Private Collection Carved in the round of white marble, the young couple shown walking and apparently exchanging words, his left arm gently wrapped around her shoulder, upholding part of her drapery, a wreath of fruit-bearing vines placed on his head, while hers shows no berries, from her right shoulder suspended a suggestive skin of a goat. In excellent condition having a restoration on Ariadne's left index finger. This finely carved sculptural group is one of a number of known examples of this subject, all inspired by a Greco-Roman classical original 1st and 2nd centuries A.D which is now in the Museum of Fine Arts in Boston (inv.68.770). Demonstrating the beginning of Bacchus' courtship of Ariadne and illustrates the “Return to Antiquity” which was expressed in numerous archaeological works in Rome at the end of the 18th Century. The subject matter made it perfect for a wide variety of settings and fine copies of the subject which survive in such collections as the Rothschilds at Waddesdon Manor, the Pitti Palace in Florence, the Musée des Beaux-Arts de Nantes, the Musées royaux des Beaux-Arts de Belgique and the National Trust property Erddig in Wales. This marble is exemplary of neoclassical aesthetics, by its ancient origin and by the creativity of the sculptor who perfectly links these two figures in the manner of Antonio Canova's standing groups (see Daedalus and Icarus or Venus and Adonis). This marble represents a moment of tender complicity illustrating the ability of neoclassical sculptors to detach themselves from ancient rigour in order to introduce an ideal of softness into their works. These two figures are not simply next to each other, but marry through the fusion of their drapes, through the play of glances and through the embracing gesture of Bacchus. Of the surviving 18th and early 19th century examples of this group, the finest are signed by or attributed to the Italian master Carlo Albacini (1734-1813). Albacini was a restorer of ancient marbles who worked extensively on such aristocratic assemblages as the Charles Townley collection, later to form the basis of the fine sculpture collections at the British Museum, whilst also creating copies of these antique pieces for his elite clientele. Aside from Townley, one of the most interesting and important English collectors of this period was the Earl of Bristol who had a fine house in Naples, a London townhouse and his Suffolk family seat Ickworth which he intended to fill with exceptional examples of art of all kinds. Bristol was a great patron of Italian artists and a chimneypiece from his collection that was supplied for his Italian home and later fitted at Ickworth was sold at Sotheby's on the 26th of November 2003 lot 87. This exceptionally carved chimneypiece...

Wonderful Quality French Aesthetic Period “Japonisme” Faux Bamboo Hall Stand of Grand Proportions with Central Mirror French Circa 1890 Of b...

An Exceptional Boulle and Ormolu Mounted Games Table in the French Louis XVI style attributed to Thomas Parker (active 1805-1830) English Circa 1825 C...

A very fine and interesting late 17th century English work box or travelling case English Circa 1680 Of conventional form with slightly domed lid, this piece has acquired a magnifi...

Impressive Pair of Huge Italian Portasanta and Rosso Antico Marble Obelisks Italy circa 1910. Of choice cuts of Portasanta marble, visually supported on spheres carved of Rosso A...

An Exceptional and Highly Important Micromosaic Gold Mounted Jasper Snuff Box, most probably by Gioacchino Barberi with the box likely by Moulinié, ...

A Fine Burl Amboyna and Marquetry Centre Table Attributed to George Blake and Co and Probably Retailed by Edward Holmes Baldock English London made Circa 1845. An exceptional table of wonderful colour, utilising the finest amboyna veneers as a background for a complex pattern of floral marquetry on the stem, feet and table top. The tilt-top with segmented veneers and central floral inlay within an inlaid floral scroll surround and with a conforming inlaid outer border. The triform pedestal base with foliate inlay, carved leaf scroll feet with carved lateral flower head roundels with recessed castors. The basic design for this table comes from the work of the designer Richard Bridgens and was published in 1838 as plate 16 in his Furniture with Candelabra. As can be seen from the image of Bridgens' design, the outer scrolling border on the top of our table is very much in the style of that suggested in the design but the other marquetry is of a sophisticated floral type popularised slightly later, suggesting a date of c.1845 for our table. Marquetry of this sort was a speciality of the Blake family, marquetry experts and associates of the great dealer Edward Holmes Baldock. Baldock was responsible for building some museum quality collections of fine 18th century French furniture during this period for some of his famous aristocratic clients but he also supplied new furniture in the French taste, often incorporating marquetry by the Blake firm. The use of exotic amboyna as the ground for this marquetry is also in keeping with other pieces known to have been supplied by Baldock, for whom it appears only the best was good enough. The sinuous lines of this table and the exotic veneers give the piece a more timeless feel than many other examples from this period and the colour means that it would work equally well in a contemporary interior or alongside pieces of Art Deco furniture as it would in a more traditional room. This is a piece of sublime quality that somehow manages to be both decorative and yet understated and as such is exactly the sort of piece we enjoy sharing with our clients. Edward Holmes Baldock (1777-1845) Born on the 14th May 1777 he established his business in 1805 in Hanway Street which over the years he expanded at this location. He soon was a prominent London furniture dealer to several members of the Royal Family and is responsible for supplying French-fashioned furniture to the 5th Duke of Buccleuch. Edwards Holmes Baldock’s pieces have become a prized possession amongst collectors, museums and dealers alike. The use of a variety of specimen woods can often been seen on attributed and signed tables by Edward Holmes Baldock, reminiscent of those on the present table. Baldock was thought to have worked very closely to with the master of marquetry and inlay of the 19th Century Robert Blake who had workshops adjacent to Baldock’s retail premises. Pieces in public collections with likely links to the Blake Family include a piano in the Metropolitan Museum of Art, a writing desk in Goodwood House, a centre table in Syon House, a circular table in Alnwick Castle, an octagonal table in the Leeds City Art Gallery at Temple Newsam House and also signed works in the Victoria and Albert Museum. Baldock's works often imitated the important pieces of 18th-century French furniture that Francophile collectors including George, Prince of Wales, later George IV, William Beckford, Francis Seymour Conway, 3rd Marquess of Hertford and George Watson...