Furniture

Lofty 19th century wall hanging turtle shell created by mother nature with its iconic form and unique organic patched color scheme.

a study of a male nude ...

An antique Indian Anglo-Raj period, circa 1900 six-panel carved wooden screen featuring painted calligraphic inscriptions and floral motifs. Each tall, narrow panel - measuring 19" W...

19th century elm and mahogany window seat form England. The seat is made from two nicely grained boards and supports two hand turned arms on either end. The seat measures 17 inche...

Exceptional Viennese Biedermeier Walnut Pedestal Table – Vienna, c. 1825 We are proud to present a truly rare and exceptionally beautiful Biedermeier pedestal table, crafted in Vien...

Large Antique Victorian quality inlaid figured mahogany 3 door wardrobe having a shaped inlaid cornice above a large bevelled edge mirror door opening to reveal a fitted interior con...

An antique Victorian Eastlake marble top coffee table. Features a rectangular form made from walnut with burled panels and carved accents. The ta...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

This is an old Japanese stone carving of a phallus, believed to have been made in the late Edo period (1800s–1860s). It is a rare and valuable a...

A magnificent English Victorian tea table (late 19th century) of ebonized wood and inlaid with mother-of-pearl on the surface. Deep ebonized color ...

This exquisite Aesthetic Movement sterling silver shell-form dish, attributed to the renowned American silversmiths at Gorham, circa 1890, is an extraordinary example of the artistry...

An alluring French brasserie table, from the late 19th century with a removable white marble top on a cast iron frame of exotic ornamentation. This classic French bistro table has th...

This is an Ironstone pottery, Jug or Pitcher made by the Mason's factory at Lane Delph, Staffordshire, England and is decorated in the Table and Flower Pot Pattern, fully stamped to the base and dating to the earliest period of Mason's Ironstone production, circa 1818. This is a very rare shaped Masons Jug...

Pair of French glazed faience plates decorated with a hand painted vegetable transfer of scallions, artichokes, and insects. France, mid 1800’s.

Swiss Alpine armchair from the village of Verbier in the Valais region, a heart carved on the back as well as wheels and a signature on the back, very beautiful and rare mountain arm...

This stone pot was made in Korea during the late Joseon dynasty, between the late 19th and early 20th centuries. Its sturdy appearance, carved from a granite-like stone, emanates a p...

Annamese Blue and White Ceramic Small Box, Chu Dau kiln, Vietnam, circa 1500. A globular form with a narrow slightly countersunk base. The cover crisply decorated in a line drawing of cobalt depicting a central floral medallion from which radiate six foliate petals, the sides with six peaked cartouche containing alternating patterns of waves and leafy tendrils. The design perfectly aligning over the well fitting lid to the body. Condition: One tiny popped blister on the lid, minor rim frits, otherwise excellent condition. Measuring: 1.375 in. high x 1.9375 in. in diameter. (35 x 50 mm) Weight: 2 oz. (58g.) 15th/16th century. Provenance: Vietnam art...

Rare Loetz Witwe glass vase decoration Rubin Phänomen Genre 6893 out of the famous workshop in Klostermuehle/ Bohemia around 1899. This very early décor shows a ruby red casing, abov...

This late nineteenth century French Henri II style walnut enfilade or sideboard features four fluted half columns with scrolling capitals and a beveled walnut top. Three drawers of d...

We are thrilled to present this fantastic pair of antique Italian bookcases dating to the final decades of the 19th century. A stunning pair o...

Wonderful print of St Andrew Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

Rare Majolica Palissy oyster plate attributed to Thomas Sergent with fishs heads, circa 1880.

A monumental 19th century French oak dining table with unique decorative elements in the trestle base. Impossibly heavy, the top ...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. 19th C. Italy Ready to go on a wall. Framed Item ...

Antique Victorian quality figured mahogany three door wardrobe having a quality figured mahogany shaped cornice above three figured mahogany moulded panelled arch top doors with eigh...

This charming vintage Danish chest of drawers has been thoughtfully refinished, allowing the natural beauty of the pine to shine through while preserving its original character. The ...

This is a wonderful 19th century scrubbed pine sideboard. The piece has a warm, rich rustic patina. The drawers are dovetailed. It dates approximately to 1850. It does show age appro...

Exceptional quality antique C.Bechstein Victorian rosewood boudoir grand piano Model V (1898) having a superb quality rosewood lift up top opening to reveal an ornate adjustable musi...

A Fine and Rare Pair of Federal Carved Mahogany Armchairs. Finely carved, stained and Upholstered. Newer upholstery. Attributed to Ephraim Haines (1775-1837) and Henry Connelly (1770...

A huge primitive low table/coffee table in heavily patinated 18th C. Portuguese chestnut. Designed and built by us in our London workshop.

Antique Victorian quality mahogany 10/12 seater extending dining table having a quality mahogany top with a double moulded edge and two original extra leaves, pull out extending mech...

This exceptional pair of 19th-century Swedish Gustavian chests embodies the elegance and restraint that define the Gustavian style. Painted in a soft, muted gray tone with a timeworn...

A French 19th century ebonized wood prie dieu upholstered in vibrant needlepoint. This dramatic prayer kneeler has a plush armrest rising from turned spindles forming an arched desig...

Originally used in a French brasserie during the late nineteenth century, this white enameled cast iron bistro table or cafe table features a solid white oval marble top with grey ve...

John Charles Tunnard (British, 1873–1960) Portrait of a Chestnut Racehorse in Stable signed and dated 1895 Oil on canvas, signed and dated lower left. Unf...

A pine wedding chest from Central Europe, probably German, circa 1850. The terracotta red color scheme is typical of the style and is often seen in Swedish and German painted furnitu...

A faux-bamboo pine armoire from France, late 19th century, with a lovely amber patina in the frame. This tall storage piece appears as a rectangular silhouette, projecting a peaked c...

Outstanding quality 16 seater antique George III figured mahogany two pilar dining table having a superior quality figured mahogany top with one large extra leaf supported by turned ...

Set of six Baccarat glasses, pink overlay hand-cut crystal, Hyeres model. Antique glasses circa 1920, not signed. Hyeres is a very sophisticated cut pattern listed in 1916 tableware ...

An enchanting Louis XV style 19th century oak table de chevet, or bedside table, with expressive rococo carvings around the case. The lightly patinated top surface is framed by an un...

This handsome two door pine armoire has a broad three tier crown molding above two pivot-hinged doors. Each door has two flat panels; a long rectangular panel above one almost squar...

We have been fortunate to get hold of some truly stunning 19th century Italian frames that we have added nice quality mirror plate too. These make incredible features on any wall in ...

Quintessential 19th century country French provincial farmhouse dining table crafted from rich walnut. The table measures over 7.5 feet long and features a thick plank top. The front...

This is a large antique glazed bookcase. An English, grand walnut display cabinet with sliding doors, dating to the late Victorian period, circa 1880. Of exceptional scale and crafts...

Mid to late 19th century American Empire tallboy / highboy chest. Made of flame / crotch mahognay featuring rectangular form with scrolled front and four hand dovetailed drawers. Di...

This remarkable Ichthyosaur fossil is a stunning example of a fully articulated marine reptile from the Jurassic period approximately 180 million years ago preserved in a large, natu...

An small impressive antique style gold gilt wooden ornate frame. This small frame is suitable for most style artwork including prints, watercolors as well as oil on board paintings. ...

19th-century side table/stool. Beautiful weathered oak base and pine seat. A versatile piece, practical for a variety of uses. We ship securely worldwide; feel free to request a ...

A German Meissen yellow porcelain candy bowl with a figural knob. The exterior of the bowl is delicately adorned with oval shaped medallions with images of bouquets of flowers, geome...

A large rare example to suzanis Samarkand of Uzbekistan. It has some staining due to use and age.

9'6 x 13'6. Among the most classical of the revival period Tabriz carpet designs is that of the garden design pattern. This divides the field into small panels each with a garden mot...

A French mirror in a giltwood frame with raised scrolling foliate and shell motifs at the corners and edges. The surface shows a soft patina, highlighting the detailed carving and ag...

For Sale: Elegant Antique French Limestone Fireplace Mantel – Timeless Rustic Charm Bring timeless French elegance into your home with this authentic antique limestone fireplace man...

Large antique 19th century 12 seater quality oak refectory dining table having a large quality oak rectangular shaped top with a lovely carved edge supported by 4 turned pedestal col...

This is a monumental and spectacular 18th century, or possibly early 19th, oil on canvas of the Italian school. The canvas depicts a shepherd serenading a maiden in a wooded glen. B...

Charming oil painting, dating from around 1900 and likely originating from Belgium or France. The work depicts a tender domestic scene with a mother cat and her kittens. Two kittens ...

A fine English hall bench or window seat or stool of mahogany from the Regency era, featuring turned handles at opposing ends over a long plank seat and set upon four turned legs. D...

This late eighteenth century Louis XVI period chest of drawers is called a semainier in French due to its seven drawers. Semainier comes from the French word "semaine" which means we...

Pair of Rare Life-Sized Pilz Anatomical Flap Manikins, Germany, c. 1890 Imported by American Thermo-Ware Co., New York An extraordinary and exceedingly rare pair of life-sized anat...

A gilt-silver chalice with fine repoussé foliate decoration and three painted enamel miniatures. Two of the miniatures show scenes of Jesus' life, while the third depicts a saint hol...