Furniture

Beautiful freestanding Pine Shelf with Unique Round Pillars as Base. Crafted from high-quality pine wood, this sturdy construction ensures stability and durability, while the natural...

‘The Finding of Moses’ - An Important Florentine White Marble Figural Group, by Pietro Bazzanti on a carved Rosso Levanto Pedestal. Italian, circa 1870. Incised to the base ‘P. Bazzanti , Firenze’. The sculpture depicts the Pharaoh’s daughter in classical dress and wearing the Egyptian...

A rare and monumental French 19th century neo-classical st. burl ash, ebony and ormolu mounted cabinet vitrine with the original capital and fitted clock signed FOREST. This spectacu...

The exquisite art of pietre dure is at its absolute finest in this spectacular pair of Russian ormolu and malachite plinths. True works of art of the Restauration period, these plinths each feature a matching pietre dure mosaic crafted of the finest stones, all chosen to create a sense of depth and dimensionality in the final work. Depicting an onyx vase with tulips, roses, daffodils, magnolia and other flowers, these pietre dure panels are among the finest examples of this ancient art we have seen. The pietre dure is complemented by malachite panels of the highest quality, exhibiting exceptional depth through its extraordinary cellular structure. Malachite is one of Russia’s most precious stones, and its presence in these plinths indicates commission and ownership by an individual of considerable status. Mounted in an excellent stepped ormolu base, these plinths originally served as bases for vases or candelabra. The overall execution and appearance of these plinths is very characteristic of the taste associated with the immensely wealthy collector Nicolas Demidoff. As early as 1806, Demidoff had commissioned the Parisian goldsmith Henri August to supply a guéridon; in 1819, he ordered famed French bronzier Pierre-Philippe Thomire to supply mounts for a massive malachite vase (now in the Metropolitan Museum of Art, New York), as well as a console table with legs in the form of Nike. Other commissions included a table given as a gift to Grand Duke Leopoldo II of Florence, now in the Pitti Palace. Demidoff eventually settled in Florence in 1822 and became Russian minister to the Tuscan Court. Elevated to the rank of Count of San Donato by the Grand Duke, he built a magnificent villa at San Donato on the site of lands formerly owned by the Medici. The villa was later inherited by Anatole, his son, Prince of San Donato, and there are records which confirm transactions he had with the Opificio delle Pietre Dure. The 19th century proved to be the golden age of Russian malachite. The stone became a sign of prestige and a token of wealth, so much so that Russian papers of the time wrote: "To afford having a big piece wrought in malachite is synonymous to owning diamonds." Year after year the Russian (Romanov) treasury paid increasingly unreasonable prices to hoard the best malachite, much of which went into Romanov palaces and extravagant objets d'art. The Hermitage Museum possesses a collection of over two hundred examples of this “palatial” malachite...

A superb and rare pair of Louis XV style kingwood ormolu-mounted side cabinets having the original breche marble tops, wonderful marquetry inlaid panels to the doors and sides. Scrol...

A highly important Japanese export lacquer cabinet with depiction of the Dutch East India Company tradepost Deshima and the annual Dutch delegation on its way to the Shogun in Edo Edo period, circa 1660-1680 H. 88 x W. 100.5 x D. 54 cm This cabinet includes a later European japanned stand, but also a modern powder-coated steel frame. The latter can be designed and added to your specific needs. The sides and front of the rectangular two-door cabinet are embellished in gold and silver hiramaki-e and takamaki-e on a black roiro lacquer ground with a continuous design. The two doors depict a long procession of numerous figures travelling on foot and horseback along buildings and a pagoda into a mountainous landscape. This is the annual court journey, Hofreis, of the Dutch from Nagasaki to the Shogun’s court in Edo. Three horseback riders are dressed as Dutch merchants and a fourth figure, probably het Opperhoofd, is seen inside a palanquin, norimon. Just about to cross the bridge, two men are carrying a cabinet like the present one. Many Japanese figures on either side of the procession are engaged in various activities; some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers are tending to their rice paddocks. The upper part of the right door shows a large mansion, probably the local daimyo’s castle, with men kneeling before a man in the central courtyard. The court journey fits in with the foreign policy of the shogunate which accorded a role to the VOC alongside China, Korea, and the Ryukyu Islands who also had to pay tribute. However, the VOC employees were traders, having low status in Japan’s social hierarchy, and they were received with less deference than were the state embassies from Korea and the Ryukyu Islands. Nevertheless, the contacts with the Dutch were a welcome source of information to the Shogun about Europe and European science and technology. The left side of the cabinet depicts, in mirror image, a rare view of the artificial fan-shaped Deshima Island, the trading post for the Dutch in Japan. The island, where the Dutch flag flies, is surrounded by small Japanese boats and an anchored three-masted fluyt (cargo ship), flying Dutch flags, with on the stern the VOC monogram. On the bottom right a busy street of Nagasaki is shown, bordered by shops and leading up to the stone bridge. On the island the trees are beautifully painted, two cows can be seen, and the flagpole, all in very fine detail. Dutchmen and enslaved Malay are visible outside the buildings and two Japanese figures, probably guards, sit in a small hut in the centre. A maximum of fifteen to twenty Dutchmen lived on the island at any time and soldiers or women were not allowed. Restrictions on Deshima were tight, and the merchants were only allowed to leave the island by special permission. The Opperhoofd had to be replaced every year, and each new Opperhoofd had to make a court journey to pay tribute, present gifts, and to obtain permission to Margaret Barclay eep on trading. In the distance, many birds fly above the hills and a four-story pagoda can be seen. The right side of the cabinet is painted with other horse riders and their retinue journeying through mountains. The pair of doors to the front open to reveal ten rectangular drawers. The drawers are decorated with scenes of birds in flight and landscapes with trees and plants. The reverse of the left door with two thatched buildings, one with a ladder, underneath a camelia tree with large blooms; the right door with a three-story pagoda nestled among trees and both doors with a flying phoenix, ho-oo bird. The cabinet, with elaborately engraved gilt copper mounts, hinges, lock plates and brass handles, is raised on an 18th-century English japanned wood stand. A pair of large cabinets...

Harry Bertoia, Monumental Sonambient Sculpture, USA, circa 1970's. Inconel on brass plate, comprised of 49 rods in a 7 x 7 layout with cattails, unmarked. Measures H: 81, W: 16, D: 1...

'La Nature se dévoilant devant la Science', A Large and Rare Gilt and Silvered Bronze and Marble Figure entitled ('Nature unveiling itself before science') By Louis-Ernest Barrias (...

Signed E. Piat and dated 1873 Exposed under the n°3097 at the Salon of 1874 Each of these sphinges, sculpted in white Carrara marble, stands on a serpentine base made of a large s...

Pair of grand rock crystal chandeliers in the Louis XV style. Original circa 1910 Gilt bronze frame with 64 lights, with an antique finish, redressed in rock crystal by Dimitri Stefa...

A very important thirty-five lights crystal and gilded bronze chandelier. The centered stem is made up of baluster-and-bowl-shaped cut-crystal pieces, all of very high-standard quali...

Japan an important life-size , early period sculpture of a muscular working man dated to 1939 and entitled "Seaman with a Cape", by mid century master sculptor Koga Tadao...

18th C. Portuguese Grand carved Hardwood Library Table Entry center Antiques LA . This rare amazing Portuguese late 18th century center hall library table was part of the Estate of M...

Tiffany Studios Leaded Glass and Gilt Bronze Jeweled Drophead Dragonfly Table Lamp, circa 1910. At the turn of the century, Clara Driscoll, head of the women’s glass cutting department and the brains behind some of Tiffany’s most iconic shades introduced the “Drophead Dragonfly” to the world. Unable to cut the pieces of glass small enough to give the desired lacy effect to the wings of the dragonfly, Driscoll came up with the idea of using a brass filigree overlay that would be soldered over top of the glass wings, giving a much more intricate appearance. These filigrees had previously been used on smaller decorative items but were a new concept in lamp design. The Dragonfly became one of Tiffany’s first recorded leaded shades, shown as early as 1899 by Art Nouveau tastemaker Siegfried Bing at Grafton Galleries in London The design won her the bronze medal at the 1900 world's fair a year later. As the son of Tiffany & Co-founder Charles Lewis Tiffany, jewels to Louis Comfort Tiffany were as water is to a fish. It is no wonder with this background that Tiffany made the bold decision to employ Leo Popper & Sons of New York City as its producer of glass jewels Popper was founded in 1880 to produce imitation stones for costume jewelry, and Tiffany’s entrepreneurial prowess saw the possibility of using jewels in leaded glass shades. On the subject, Tiffany wrote: “Anyone who has seen the great rose windows of Chartres has, intuitively or otherwise, understood the relationship between glass and jewels. Designed to refract light prismatically, and placed to raise heads beatifically, they resemble nothing so much as magnificent celestial jewels.” It was likely for this reason that model no. 1507 was Tiffany’s favorite. More than any of its variants, the shade was spangled with a wide assortment of cabochon topaz glass jewels. This lamp features a unique example of Tiffany Studios' iconic Drophead Dragonfly shade depicting a swarm of nine descending dragonflies, each with a distinct combination of body and eye color. Dragonflies, each with wings of strikingly mottled apple green and deep red and a unique combination of eye and body color. The ground is a warm saffron yellow shaded up to rich butter yellow, punctuated by twinkling amber cabochons jewels and topped by geometric bands of purple mauve and mint green. The vibrancy and variation in the dragonfly glass...

The slender baluster shaped shaft divided by drop hung canopies. The unusual shallow candle arms are interspersed with others, shorter, surmounted with pagoda canopies, triangular no...

Executed by Michael Powolny for the Wienerberger Keramikwerkstätten, ceramic and stoneware, ochre colored, body holding a dish in her outstretched arms standing above a three-tired C...

Authentic Early 20th Century North Indian blue botanic hand knotted wool rug Size: 21'0" × 26'0" (640 × 792 cm) An early 20th century North Indian carpet, the abrashed ivory field wi...

This exquisite Tetsusabiji Uchidashi Gomai Dou Gusoku (Five-Plate Russet Iron Embossed Cuirass Armor), crafted in the 18th century, exemplifies the pinnacle of Edo-period samurai arm...

From N'Chwaning Mine, Kalahari Manganese Field, Northern Cape Province, South Africa. Rich specimen of Transparent pink rhodochrosite crystals with sugar-like microcrystals on the s...

From Rug & Kilim’s antique collection, this 13x19 oversized rug is a rare antique Persian rug of Kermanshah provenance—hand-knotted in wool circa 1890-1900. On the Design Beige-bro...

Hand-knotted in wool circa 1850-1860, this 15x26 antique axminster rug is an extremely rare collectible English palace rug—an exciting new oversized addition to our European rug coll...

Pink Travertin Mural by Olivia Cognet Dimensions: D 5 x W 285 x H 175 cm Materials: Travertine. Each of Olivia’s handmade creations is a unique work of art, the snapshot of a prec...

An exceptional pair of rock crystal chandeliers in the classical Louis XV style with unusual dimensions of 2.4m in height, 1.2m diameter. Each chandelier is composed of 45 main light...

Hollow-carved Canada Goose decoy by Nathan Cobb Jr, with applied neck and head circa 1880-1895. This decoy features a 33” L x 7 ½” W two-piece hand-scooped and drilled hollow body, c...

This vintage, circa 1920, Persian Tabriz Rug has a shaded ivory field with an overall design of polychrome palmette vine surrounded by dense scrolling delicate floral and leafy vine,...

Corinthian helmet with Bull Horns and Lotus Flower Decoration. Archaic Period, c.550-500 BC. Cast, hammered and incised bronze. An exceptionally well preserved example of one of the most iconic ancient Greek...

Viceroyalty of Peru, Lima, 18th century, circa 1720-1760 Each with a moulded giltwood cornice and on a foliate carved giltwood base, possibly later and English. The cabinets, with s...

From Planggenstock by Strausee, Goschenen, Canton Uri, Switzerland Superb, large Octahedral crystal of pink, translucent fluorite with quartz crystal. The crystal is very translucen...

From Huallapon Mine, Pasto Bueno, Ancash, Peru. This product features lustrous, transparent green fluorite crystals, complemented by the yellow-metallic pyrite crystals, brown limon...

From N'Chwaning Mine, Kalahari Manganese Field, Northern Cape Province, South Africa. Rich specimen of translucent red rhombohedral rhodochrosite crystals on black manganite matrix....

Beautiful Red Oversized Antique Persian Heriz Serapi Rug, Country Of Origin: Persia, Circa Date: 1880

A Spectacular Oversized Luxurious Ivory Background Happy Jewel Tone Color Large Scale Design Antique Persian Sultanabad Rug, Country of Origin / Rug Type: Antique Persian Rug, Circa ...

A Breathtaking Rare 17th Century Large Antique Persian Isfahan Rug, Country of Origin / Rug Type: Antique Persian Rugs, Circa Date: 17th Century

A Magnificent Vase Design Light Blue Large Size Antique Persian Tabriz Haji Jalili Rug, Country of Origin: Persian Rug, Circa Date: Late 19th Century

Antique Indian Bold, Botanic Handmade Wool Rug by Doris Leslie Blau Size: 13'0" × 23'8" (396 × 721 cm) This circa-1880 antique Indian Khorassan rug features traditional floral design...

A Magnificent Rococo Style Gilt-Bronze, Bois Satiné and Mahogany Commode. By Rosel, Brussels, After The Celebrated Model By Johann Melchoir Kambli. Of curvaceous bombé form surmoun...

When you think you've seen it all, Tynell still manages to surprise and impresss with his endless line of majestic designs. Here we have an astonishing pair of wall lamps that are ex...

A Dutch colonial ebony cabinet with brass mounts on contemporary black steel frame Batavia (Jakarta), 2nd half 17th century The cabinet has two ...

An incredible rarity of horological and astronomical significance, this stunning planetary clock was crafted by the renowned Parisian clockmaker Zacharie-Nicholas-Amé-Joseph Raingo. Raingo is celebrated as being the most important creator of orrery clocks...

VANADINITE ON BARITE Mibladen, Aït Oufella Caïdat, Midelt Cercle, Midelt Province, Drâa-Tafilalet Region, Morocco 12.7 cm tall x 14 cm wide The Drâa-Tafilalet Region of Morocco, best...

Luxurious Fine Silk Antique Persian Heriz Area Rug, Country Of Origin: Persia, Circa Date: 1870

72779 Oversized Antique Persian Isfahan Rug, 10'01 X 20'06. This antique Persian Isfahan rug, meticulously hand-knotted from wool, showcases the renowned design of the Schwarzenberg ...

LIDDICOATITE TOURMALINE WITH QUARTZ Anjanbonoina, Antananarivo Prov., Madagascar 7.1 cm tall x 6.8 cm wide Liddicoatite is an uncommon form of tourmaline. It was first discovered in ...

Antique Chinese Carved Hetain White/Celadon Jade "The Monkey Family" 3 monkeys, father, mother, and kid. They are pulling a lot of coins into a giant bag. Good use of russet skin col...

This monumental Boulle commode was crafted by Robert Blake, one of the finest and most important English cabinetmakers of his time. It is modeled after the legendary pair of commodes...

Large private collection of carousel animals, please send message when questions.

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

Meet "this is not a chair too". Unique and handcrafted piece by Dutch artist Max Jungblut. This "chair" is a sculptural interpretation of the "Searching" ...

Handmade Antique Persian Bakhshaish Rug, Size: This exquisite palace-sized rug measures 12.2’ x 15.8’ (371cm x 481cm), making it a grand centerpiece for any space. Origin & Age: Cra...

Pouf Floreale by Yukiko Nagai Dimensions: D100 x W100 x H40 cm Material: Venetian color glasses, Natural stones, Antique ceramic tiles, Marble (Nero Belgio, etc) Iron base, Struct...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

This beautiful grand piano was built by Erard in Paris in 1895. With irreplaceable original cabinet art created and signed by an artist named Finel - specifically commissioned by th...

A Rare François Linke 'Suite de Chambre À Coucher', index number 1447 Paris, circa 1905-1906. Comprising of two beds, two bed side tables and a wardrobe. Having acajou and oeil de vermeil cube parquetry, the wardrobe with two shelves and an adjustable shelf-drawer, both bedside tables with fleur de pêcher marble tops and white marble lined interior, Signed F. Linke to the right-hand sides chutes. Dimensions of beds: Height: 63 1/2 in Width 61 in Length 6 ft. 10 1/2 in. (161.5 cm; 155 cm; 209.5 cm) Dimensions of Wardrobe: Height: 99 in Width: 57 1/2 in Depth: 19 1/2 in (251.4 cm; 146 cm; 49.55 cm) Side Tables: Height: 32 in Width: 16 in Depth 16 in (81.2 cm; 40.6 cm; 40.6 cm) Literature: C. Payne, François Linke, p. 445, pl. 526, showing a slight variant of the present pair of double beds in a watercolor interior project from the Linke Archives Notes: Linke title: Lit Louis XV...

A monumental piece of history, this exquisite silver punch set was made for Czar Alexander III as a gift to British Captain Joseph Wiggins. Heavily decorated with rich engravings and proverbs in old Slavic lettering, this service is a grand symbol of celebration and a testament to the beauty of Russian Imperial silver. The punch set, a standalone treasure in its own right, was gifted by Czar Alexander III to Captain Wiggins in recognition of his pioneering expedition along the Enisei River. Driven by a desire to establish a sea route with Siberia, Captain Wiggins’ journey is notable for being the first successful endeavor by a British seaman in 300 years to extend commercial interests with the northern coasts of Russia. Even more notable is the presentation of this elaborate gift by the Russian government to a foreign national, particularly when the British government all but ignored Wiggins' efforts. In fact, the British government refused his modest request for surveying and observational instruments. Even so, the Czar was impressed, and chose to honor Wiggins with this exceptional punch service — as pictured and discussed in Henry Johnson’s book Captain Joseph Wiggins, written in 1907. The service was commissioned by the Czar from the House of Sazikov, the oldest silversmith and jewelry firm in Russia. Sazikov was established in 1793 by the merchant Pavel Sazikov, and became supplier to the Imperial Court in 1837. The firm, which maintained factories in Moscow and St. Petersburg, became renowned for its high quality silverware, silver sculptures, cloisonné enamels and statuettes with national motifs. The firm exhibited several cups and centerpieces at the Great Exhibition of 1851 in London, and from 1846, held the Imperial Warrant. The unique charm of this punch service lies not only in its craftsmanship and historical relevance, but also in the inclusion of old drinking...

Persian Kirman oriental handmade wool rug Size: 15'2" × 24'0" (462 × 731 cm) circa: 1920. Kerman rugs (also known as Kirman rugs) are a perfect choice for all seeking truly high-end ...

Standing on a double lotus above an octagonal pedestal, holding a lotus bud and leaf in the left hand, the right hand hangs down in varadamudra, the shawl covers the shoulders and cr...

Pair of very large Chinese cloisonné enamel vases with French ormolu mounts Chinese and French, 20th century Height 215cm, diameter 78cm These superb vases bring together exceptional Chinese enamelling with ornate French ormolu mounts, combining the complex cloisonné technique with sumptuously detailed gilt-bronze additions. The ovoid-form vases are applied with lavish natural designs on the main body, decorated with eye-catching birds and butterflies amongst flowers and shrubbery. The animal and foliate motifs are set on top of a cream ground with intricate geometric patterning that emphasises the elaborate design of the vases. The necks of the vases are similarly decorated with birds and greenery. The necks and feet also feature ornate geometric patterns that complement the natural colour palette of the main body, adding further intricacy to the enamelled designs. Surmounting the vases is a pierced ormolu rim, which features acanthus-style and pineapple designs which complement the foliate imagery on the vases below. Each vase is mounted on four gilt-bronze feet cast in the shape of Chinese 'Foo' winged lions, combining impressive Chinese motifs with exceptional French craftsmanship. Cross-cultural pieces like these vases were highly popular decorative wares in late 19th century Europe; likewise, this pair effortlessly synthesise the design styles of the East and the West into monumental items with ornate and colourful designs. Provenance: From the collection of Larry Flynt...

A Rare and Important Napoléon III Gilt-Bronze and Sèvres Style Porcelain-Mounted Mahogany and Lemon Wood Bonheur Du Jour, Attributed to Édouard Kreisser, This magnificent bonheur d...