Decorative Objects

An opulent pair of late 19th century French Louis XVI Ormolu candelabras. Each Candelabra is boasting seven candle arms beautifully designed with scrolls and acanthus motifs and end...

Pair of rock crystal candlesticks on a Louis XVI style gilt bronze mount. Circular molded base with gilt bronze ornaments such as beads and waterleaves friezes, also visible on the b...

Sculptural 'Sacred Heart' - 18th century Italian gilded angel mounted on a polished red hematoid quartz heart and adorned with a natural-forming baroque pearl. The piece is inspired ...

Ormolu bronze mantel clock flanked by a troubadour and musical instruments, signed 'Ferdinand Berthoud a Paris'. The end of the 18th and beginning of the 19th century was a crucial time in which new technological advances helped to make watches more accurate and more portable. During the 1790s, the production of gilded bronze increased considerably as working conditions improved. The freedom of trade initiated by the French Revolution allowed many casters to develop large factories. The new factory environment gave them a chance to execute all stages of bronze work including drawing, casting, gilding, assembly, and trade of art objects. While the bronzers took creative liberty in creating all kinds of clocks in contrast to the noble and rigorous structure carried by the movement of neoclassicism. Under the reign of Empire, the case designs started gradually to develop away from a proportionate and strict classicism towards a baroque style and revival style. The rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century, with much input from the Ancien Régime and its institutions, rites and the medieval churches in which family ceremonies occurred. This early nineteenth-century figural mantel clock is surmounted by a medieval musician. To be more precise, it is a french troubadour. Troubadours were known for composing and performing lyric poetry for the nobility back during medieval times. The clock is featuring a chiselled bronze troubadour, dressed in medieval fashion while holding a flute, playing a tune from sheet music called "Du Troubadour" that is resting on top of the rectangular clock case. In addition to that, the clock features a gilt bronze lute or vielle resting on a small stool on the opposite side of the clock’s case. The white enamel dial features the inscription Berthoud and is underlined by a bronze entourage chiselled with palmette motif, plus encompassed by c-scrolls and wreaths. The original hands are in blued steel and encircled by Roman numerals indicating hour next to Arabic numerals indicating minutes. The small details that adorn the hexagonal plinth are reliefs, depicting two water fountains or basins on both sides with a lyre in between. The sculpted image of a lyre raised above the background features also foliage garlands tied on top with ribbons. The clock rests on seven spinning feet. The clock was made in the well-known workshop of the Berthoud’s family that was recognized for their excellent work by the King. Berthoud Clockmakers History. Ferdinand Berthoud was a horologist and author of extensive treatises on timekeeping as well as a Swiss clockmaker serving the king of France, that produced many marine clocks, including a weight-driven version that inspired the first American sea-going clock. He was born in Plancemont, Switzerland, the son of an architect and judiciary. In 1741 he began a three-year apprenticeship as a clockmaker under his brother, Jean-Henri. He made his first marine chronometer in 1754 (sent for trial in 1761) and in 1764 was appointed a member of the Royal Society, London and Horloger Mécanicien de Sa Majesté et de la Marine ayant l'inspection de la construction des Horloges Marines. In 1769, Ferdinand Berthoud sent for his nephew Pierre-Louis Berthoud (1754–1813), commonly known as Louis Berthoud, a talented young watchmaker and clockmaker, inviting him to come to Paris from Couvet, Switzerland, to pursue his apprenticeship. Louis helped Ferdinand manufacture and repair the sea clocks...

A Magnificent Large Antique French 19th Century Ormolu and Rouge Griotte marble clock set of exquisite craftsmanship. This spectacular clock set is comprising a pair of very large ni...

This exquisite set of two French 19th-century hanging picture frames exudes timeless elegance and charm. Crafted from gilt bronze, each frame is adorned with intricate details, inclu...

Pair of Porcelain and Dorè Bronze Vases Sèvres Circa 1845 With porcelain vessels in the iconic Sèvres cobalt blue, encased in lavish doré bronze armatures, this pair of Louis XVI-style urns epitomizes the masterful craftsmanship and refined beauty of the famed porcelain manufactory. Each urn is adorned with three finely chased caryatid figures joined by floral garlands, resting upon a reticulated circular gilt bronze base. Since its founding in the 18th century, the Sèvres porcelain manufactory has been synonymous with the finest porcelain wares. Established under the patronage of Louis XV and Madame de Pompadour, the firm quickly became the official royal porcelain producer. Throughout the 19th century, Sèvres expanded its repertoire, designing distinct vase forms that ranged from neoclassical grandeur to Gothic delicacy. These exceptional urns pay homage to Pierre Gouthière, one of the most renowned bronze artists of the preceding century. Appointed gilder to King Louis XV in 1767, Gouthière revolutionized metalwork, pioneering a gilding technique that achieved an exquisite matte finish. Similar caryatid figures appear on vases once owned by the Duke of Talleyrand, while similar mermaid motifs—prevalent in Gouthière’s work—can be found on a serpentine marble vase in the Louvre. These vases embody the grandeur of Louis XVI-style ornamentation, blending rich materials with impeccable detail. Each: 19 3/4 high x 13" diameter Marked under bronze Sèvres Louis Philippe...

Domed oval pillbox in 925/1000 sterling silver gold plated with translucent fired enamels on guillochè, top and bottom, with fine hand-engravings. Viennese Art Nouveau style second h...

Monumental 18th Century Venetian Grotto Frame, created circa 1780 in Italy. This frame is impressive as an decorative element or the encasement for a treasured painting, mirror or im...

Collection of four beautiful polychrome majolica planters. 'Nevers' manufacture, second half of the 18th century. The planters are in the shape of 'commodes', typical French bedside ...

Set of four 18th Century Blue and White Delft Tiles Framed in Custom Iron Frame

A very good pair of antique French Louis XVI bronze, parcel-gilt and marble putti candelabra, circa 1870. Each candelabra having twin candle holders and each bobeche in gilt bronze with fruiting swags...

Dimensions - H: 13 3/4 in W: 5 in D: 5 in This antique pair of 19th century French Louis XVI style bronze ormolu and marble rams head cassolettes or urns is made of the highest qual...

A superb, large and early Ormolu clock, mounted with exquisite Sèvres style porcelain with a Bleu Celeste ground and fine overglaze gilt decoration. The richly chased foliate case is...

An antique late 19th-century French silvered bronze porte-fleur, flower vase. Design by Constant Sevin, made by F. Barbedienne Fondeur, Paris. Footed piece with side handles and plat...

Marked on the dial Furet & Bon, Hrs du Roy, à Paris Measures: Clock – Height 98 cm (38 1/2 in.), width 70 cm (27 1/2 in.), depth 25 cm (9 3/4 in.) Candelabra – Height 116 cm (45 ...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

A Fantastic and Large 19th century French dore bronze mounted hand-cut prismic crystal box. The mount is hand-chased and hand-chiseled with the finest detail. The entire mount is des...

Italian early 18th century terracotta fragment of an face mounted on stand. Ca 1690 - 1710 Italy. Measurements with stand H 15 W 9 D 6.6 cm.

Quite Impressive 18thc French Louis XVI Gilt Bronze Musical Cherub Baby Candelabra. Rare piece! and a lovely candelabrum.

This fabulous Delft jar is painted with traditional deep cobalt blue on a tin-glazed ground. The jar has six panels, which alternate between flowers in a basket and ferns with scroll...

Exceptional because it is a beautiful case of Carrara marble with black Fluted columns, with bronze dore eagle crest, framed by urns filled with fruit And flowers, white enamel dial ...

A rare figural porcelain snuff box in the form of a mouse attributed to Mennecy porcelain. Having a porcelain mounted lid with wonderfully hand-...

An impressive and rare 19th century Meissen Porcelain Musicians clock and Candelabra Garniture set. Comprised of three individual pieces, w...

19th century Austrian porcelain centerpiece bowl or jardinière beautifully enameled in rich colors with floral sprays and gilt highlig...

19th Century French Louis XVI carved pedestal is the most exquisite way to display your prized sculpture, vase or objet d'art! Hand-crafted exclusively from old-growth quarter-sawn o...

Unique piece purchased in France. Gorgeous Green Marble See detailed photos

18th century Italian gold leaf sunray mounted on a blue celestite sphere and wrapped in perfectly coordinating blue preserved coral. The 18th century gold leaf sunray was once a par...

A stunning antique, circa 1880s, Dresden porcelain figural flower encrusted candlestick - candelabra mounted as a lamp. Exquisitely handmade and painted in Germany in the late 19th century, developed by Ernst August Leuteritz, the very finest of quality, exceptionally executed in the decadent opulence and sophisticated elegance that is Meissen Rococo taste, featuring sculptural seated putti holding fruit and flower motif, having an architecturally articulated shaped baluster shaft, tripartite base rising on high volute C-scroll feet, elaborately decorated in the most intricate floral and fiolate applied and relief decoration in rich polychome and brilliant gold leaf gilt accents. Early 20th century and later light fixture elements, professionally electrified and fashioned as a large luminaire table lamp. The candlestick drilled, standard mounted with adjustable two light post, topped with removable rod retaining remnants of original paint finish with distressed chippy paint patina, surmounted with matching ornate porcelain flower bouquet...

This is a very old gilt and pale pink background urn depicting a continuous hand-painted scene of a lady sitting in a pastoral landscape holding her fan and observing nature. In the ...

Discover the timeless elegance of this antique gilt bronze-mounted urn by renowned French maker Jacob Petit, dating back to the mid-19th century. A masterpiece of craftsmanship and d...

Direct from Paris, a magnificent pair of Louis XVI silver plate 3-candle candelabra by France's premier silversmith "Christofle - Gallia Collection", meticulously restored to near new condition, includes two anti-tarnish storage wraps for easy storage, you can't go wrong buying quality, circa early 1900s. The French silversmithing brand Christofle stands as a paragon of artistry, quality, and timeless sophistication in the world of fine silverware. Founded in 1830 by Charles Christofle, the company has built a reputation for exquisite craftsmanship and pioneering innovation. Over nearly two centuries, Christofle has become synonymous with opulence, earning the favor of royalty, securing prestigious awards, and adorning homes and dining tables worldwide. From their revolutionary silver-plating processes to their dazzling silver plate candelabra, Christofle’s creations epitomize the pinnacle of silversmithing artistry. Charles Christofle’s foray into silversmithing began when he took over his wife’s family jewelry workshop. His entrepreneurial vision and artistic sensibilities allowed him to transform the modest enterprise into a global luxury brand. Early on, Christofle recognized the demand for high-quality yet affordable silverware, leading him to explore innovative methods for producing silver-plated items. This ingenuity was paired with a deep commitment to artistry, ensuring that every piece bore the hallmarks of French elegance and meticulous craftsmanship. Christofle’s philosophy of blending tradition with innovation set the company apart. In 1842, Charles Christofle obtained an exclusive license for the electroplating process developed by the English inventors George and Henry Elkington. This technology allowed the company to produce silver-plated goods of unparalleled quality and durability, democratizing the availability of fine silverware. The decision to adopt and refine this technique marked the beginning of Christofle’s ascent to global renown. The electroplating process revolutionized silversmithing by enabling the application of a thin layer of silver onto a base metal, typically copper or nickel silver. This innovation significantly reduced costs without compromising quality, making silverware accessible to a broader clientele. Christofle’s mastery of this technique elevated the art form, as their artisans meticulously ensured that every piece retained the luster, weight, and elegance of solid silver. Christofle’s silver plating involved several intricate steps, each requiring skill and precision. The base metal was first meticulously cleaned to ensure that the silver coating would adhere uniformly. The item was then submerged in an electrolytic bath, where an electric current deposited a fine layer of silver onto its surface. Finally, the piece underwent polishing and finishing, a process that demanded an artisan’s eye for detail and dedication to perfection. The company’s innovations did not stop at electroplating. Christofle continually refined their techniques, developing proprietary methods to enhance the durability and brilliance of their silverware. Their relentless pursuit of excellence ensured that Christofle pieces would retain their splendor for generations, cementing the brand’s reputation for quality and longevity. Christofle’s commitment to excellence quickly attracted the attention of European royalty and nobility. The brand’s association with regal splendor began in 1851, when Napoleon III appointed Christofle as the official purveyor of silverware to the French court. This prestigious commission marked a turning point in the company’s history, solidifying its status as a symbol of luxury and refinement. The French court’s endorsement opened the doors to further royal patronage across Europe and beyond. Christofle created bespoke silverware for monarchs, aristocrats, and heads of state, often crafting pieces that were as much works of art as functional items. Their designs graced palaces, embassies, and luxury liners, including the opulent dining rooms of the Titanic and the Orient Express. Among Christofle’s most notable commissions was the creation of the Sèvres table service for Napoleon III, a stunning collection that showcased the company’s technical prowess and artistic flair. The service featured intricate designs inspired by classical motifs, reflecting the grandeur and sophistication of the Second Empire. Christofle’s ability to seamlessly blend tradition with innovation ensured that their creations remained relevant and desirable, even as tastes and styles evolved. At the 1855 Exposition Universelle in Paris, Christofle was awarded a gold medal for their groundbreaking electroplating technique. This recognition underscored the company’s role as a pioneer in the field of silversmithing and solidified their reputation as a leader in luxury silverware. Subsequent exhibitions in London, Vienna, and Philadelphia further showcased Christofle’s mastery, earning them accolades for both technical innovation and artistic excellence. Christofle’s enduring appeal lies in their ability to strike a harmonious balance between form and function. Their pieces are not only visually stunning but also practical, reflecting the company’s commitment to creating silverware that enhances everyday life. This dedication to excellence has earned Christofle a place among the world’s most esteemed luxury brands. One of Christofle’s most iconic creations is their collection of silver plate candelabra. These masterpieces exemplify the company’s dedication to artistry and craftsmanship, serving as both functional lighting fixtures and decorative centerpieces. Christofle’s candelabra...

Oval porcelain vessel on a flat stand with slightly bulging walls, with two rocaille handles with asparagus bundles, the slightly outward-turned opening edge serving as a support for...

A fine and stunning original antique French boudoir clock. It is beautifully made of ormolu (finely gilded bronze), very well modelled and chased, and mounted with exquisite Sèvres s...

A Very Fine French 19th Century Louis XVI style ormolu-mounted amaranth, tulipwood, sycamore and parquetry pedestal "Régulateur de Parquet" Clock, after the model attributed to Jean-...

A superb quality French ormolu grande sonnerie pendule d'officier with alarm by Le Roi & Fils. The ormolu case profusely decorated with floral swag friezes and oval floral mounts to the sides, entwined serpent handle, resting on on four paw feet. The white enamel Arabic...

Early 20th century, French pair of small vases in Limoges porcelain, decorated each with a different front cameo hand painted with polychrome aqua ...

Beautiful pair of Louis XVI-inspired baluster-shaped serpentine cassolettes, with an elegant chiseled and gilded bronze mount. The lid, resting on an openwork gilded bronze frieze, i...

Louis XVI style gilt bronze and white marble figural mantel clock Origin: French Date: circa 19th century Size: 26-1/2 in x 19 in x 10-1/4 in.  

Rococo long case clock from from northern Sweden made during the first years of the 19th century. The long case clock, or Mora Clock as they are sometimes known as, is dry scraped to...

A large and stunning original antique French Cartel Wall clock in finely gilded bronze, dating from around 1880. Elegantly designed in the Rococo style of Louis XV, it is formed of b...

Sevres Style Pink Bombe Watteau Motif Ormolu Mounted Table Box Artist Signed J. Perrot France, circa 1890 An exquisite Sevres-style pink bombe Watteau motif ormolu-mounted table box...

A beautiful and rare pair of French Sèvres porcelain bronze-mounted urns, Neoclassical/Rococo design period, circa 19th century, mid-1800s, Fra...

18th C Brass-Mounted Allegorical Motif Enamel Snuff Box, Attributed to the Fromery Workshop The Cartouche-shaped bombe box, the hinged lid applied with rais...

A fine antique Dresden porcelain vase. By Thieme Potschappel. Decorated throughout with encrusted porcelain flowers and painted scenes. One side of the bottle is painted with flowers, the other with a scene of 3 children in colonial/medieval garb. With gilt highlights. Simply a lovely porcelain vase! Date: 20th Century Overall Condition: It is in overall good, as-pictured, used estate condition with no chips, cracks, or repairs. Condition Details: There are typical losses to the flowers & foliage. Otherwise, there are some fine & light surface scratches and other signs of expected light wear consistent with age. Marks: Marked to the base with a Thieme...

Pair of Louis XVI style cassolettes, in green marble with rich gilded bronze ornamentation: rams' heads, flower garlands Good general condition, regilded bronzes, old restorations a...

Louis XVI Style set of Gilt Bronze and Enamel Sconces by Gherardo Degli Albizzi. This fine set of wall sconces is crafted entirely of gilded bronze and decorated with elements typica...

Large Meissen flower-encrusted potpourri vase in the Rococo-style German, 19th Century Height 72cm, width 32cm, depth 29cm Crafted by Meissen, the olde...

A superb pair of Gilt Bronze Candlesticks cast in the form of storks holding a single candle sconce in their beaks whilst balancing on turtles backs. The bases are stamped by the mak...

I am offering you this beautiful Meissen reticulated and fluted bowl. It has a bright and colorful large flower bouquet in the center of the bowl w...

This is a magnificent lacquered wooden box, with rich polychrome decoration on a yellow background. In the center of the lid an exotic landscape has been painted with palm, flowers and berries surrounding the figure of the elegant dressed lady. The box has done following the techinque of "arte povera". With this tecnique there are less layers of lacquer and the decoration is made with a paper collage together some lacquered parts. This brighting piece hails from the Mid-18th Century in Venezia and masterfully shows the lacquered Venetian style. This box has a timeless beauty and it is a little jewel to contain jewels. One of the distinctive characteristics of Venetian Baroque and Rococo furniture and decorative objects is the skilful use of lacquers. Lacquer is a natural resin that was very rare in the past, imported from the East and used to create smooth and colored surfaces on furniture, ready to be finely decorated with refined floral designs or exotic animals. Venetian artisans became masters in lacquer processing which required time and patience because it was made with many steps. The Venetian style deeply influenced furniture design throughout Europe, but none reached the Venetian level in terms of beauty. The skillful use of lacquer and carvings defined Venice's unique style during the Rococo period, its Golden Age. The piece is in very good state of maintenance and it is guaranteed original in every parts. The surface was only cleaned not restored and it is original. The little iron key is not working. The wooden yellow lacquered box...

Meissen porcelain pot-pourri vase, Germany, 19th century.

Pair of very large floral Rococo-style Meissen potpourri vases German, Late 19th Century Height 89cm, width 44cm, depth 33cm These charming vases were manufactured by Meissen, Europe’s oldest porcelain manufactory. Each feature impressive floral and figurative design representational of the best of German porcelain wares. The pieces are topped by richly ornamented lids. Surmounted by extensively applied three-dimensional flowers and greenery, the designs create the illusion of a real flower bouquet. Below the flower bunch, the porcelain base is revealed. Decorated with rocaille motifs and coloured in pale blue, pink and shining gold, the pierced detailing enables the easy diffusion of potpourri scent. Rococo style genre scenes adorn the baluster-shaped body of each vase. Set in a woodland, the intricate paintings portray figures dressed in typical 18th century garments. On the second vase, a couple is joined by a lady in a reclined position holding a basket full of flowers. A pair of twin pale blue rocaille-shaped handles are mounted on both sides of the vases. Richly decorated with butterflies, roses, carnations and sweet peas, the design is completed with delicate floral composition on the white porcelain ground. Below the handles, a brown-haired winged putto is seen reaching towards the front. The bright blue cloth covering parts of his body stands out against his soft, pale skin. The base of the vases is shaped with further rocaille forms, the detailing highlighted in gilt. A large female figure, in a similar position to the putto, reaches forward holding a basket of flowers. The flower types are identical to the larger mounts on other parts of the vases, demonstrating the makers' exquisite skill to make intricate porcelain details in various forms, shapes and sizes while maintaining their real-life appearance. Both vases stand on porcelain stands, supported on four scrolled feet. Each is decorated with yellow, orange, blue, cream, red and purple flowers. The sides are painted with Rococo style genre scenes and floral bouquets. The pieces are marked with the blue crossed sword mark and incised ‘B.C’. Including both naturalistic and figurative ornaments, these stunning Meissen porcelain potpourri vases...

Antique French Louis XVI style sienna marble and ormolu urn Elegant 19th century sienna marble and ormolu urn converted as a table lamp. The baluster shaped urn is decorated with gr...

We are pleased to offer this Antique blue and white Delft charger with a well-painted landscape showing a house and trees. The decoration is crisp. The scene is framed by an attracti...

An elegant and most attractive pair of French 19th century Louis XVI st. Ormolu candelabras. Each three arm candelabra is raised on a circular Ormolu base with finely chased acanthus...

A cobalt blue and gold leaf porcelain box with gilt metal mounts and a decoration of fencers on the lid. Hand painted and marked inside the lid. 7.2 x 12.7 cm, height 4.7 cm.

Three-tones gold oval snuff box. The hinged lid is decorated with a country trophy medallion. The medallion is framed by a garland of green gold foliage and roses. The medallion is d...