1820s Decorative Objects

A very elegant pair of early 19th century bronze and marble candleholders with putti, an acorn, swags and bows.

A fine pair of French 19th century Empire Period Old Paris porcelain swan handle vases. Each is beautifully hand-painted with a green colored ground and further adorned with 24K gold-painted accents around the neck, handles, and bases. The vases are of a slender amphora form with git swan handles and two-tone matte and shiny 24K gold decoration throughout. Each vases body is hand-painted with landscape decoration which depicts a beautiful outdoor gazebo...

A regency tea caddy made of rosewood inlaid with brass. Bronze dore feet are a winged lion with flowers and fruit. A wonderful and desirable shape. E...

French Gilt Bronze Figural Mantel Clock with Rare Double Patina, Around 1830 ~~ Excellent condition, fully overhauled ~~ A beautiful, original ant...

A Spanish Colonial amphora vase with handles. Gorgeous oversized antique silver piece with baroque and neo-classic patterns. made at the beginning of the 19th century, during the ...

This is a Swedish Mora Clock Fryksdhl Model 100% Original paint.

This is a unique Swedish Mora Clock Norrlands Model , its been restored and repainted with Milk paints "Flint Grey"

This pair of French chenets from the Early 1800s is a stunning example of Egyptian Revival design. The chenets feature a stately dark patina bronze sphynx body on top of a decorated ...

Regency bracket clock in an arch top case with brass inlay and dentil moulding, side carrying handles and standing on four brass ball feet. Painted dial with Roman numerals and original spade hands signed ‘Memess, Trafalgar Square, London’. Glazed rear door to the fine quality eight day single fuse movement with arch shaped plates and ‘regulating’ pendulum. C.1820. ‘Watchmakers and clockmakers of the world’ by Brian Loomes...

Good early 19th-century Scandinavian paint decorated the bentwood pantry box with stitched seams, retaining original floral decoration and dark robin egg blue paint, with wonderful p...

An exceptional, fine and impressive antique enamel and English silver filigree box; an addition to our silver ornamental collection. This except...

Two elegant, simple early Biedermeier silver candle holders on a round stand with a slightly curved, smooth shaft, chased decoration on the edge of the foot, on the narrow bulge rings and on the upper edge of the slightly flared vase-shaped spout. Branded by the Wheel mark, Viennese official hallmark: 13 Lot silver, dated 1827 Master's stamp: 'LK' in oval - Leopold Kuhn, Worked as master 1818-1828 Bibliography: 'Old Vienna' dictionary for Austrian and southern German arts and crafts...

Now with brass liners. Typical form with brass bail handle tapered cylindrical form with brass banding.

Walnut veneer with ebony ribbon inlay at the lower edge. An imprint in the top center of the lid. Refinished condition. Polished with shellac by hand for a beautiful high-gloss surf...

Highly collectable pair of bronze Grand Tour busts on stands in the classical manner The busts each depict the Roman Gods Jupiter (male) and Ju...

American Federal mahogany one day tall case clock with the original brass ball finials resting on three carved upper capitals, decorative intertwined fret work, arched hood with bras...

A good antique Georgian sterling silver & silver gilt christening cup/mug, William Bateman I, London, 1825. The handled cup having a tankard shape and...

Antique pair of English Regency candlesticks in form of eagle with viper in ormolu and patinated bronze. The very well modelled Eagle with...

A fine quality and handsome George IV/Regency inlaid rosewood dressing box, with the original sterling silver and glass fitted contents, London, 1824. The box having a lift-up hinged lid, finely inlaid with brass and bone marquetry of floral garlands & swags, the front having twin locking doors with corresponding inlay. Both the top, base and door panels have 'Dutch Ripple' molding and at each corner a hand-turned 'Barley Twist' column, both to the front and rear. The interior of the box also having inlaid satinwood stringing and three fitted compartments each with an etched crystal container...

A high quality pair of Regency Bronze Tazza Circa 1820's. Each with a beaded and leaf decoration on the Bowls The tazza bowl standing on Sienna marble plinths, These are made in the...

Based upon the paintings by the French painter Eustace Le Sueur (1616-1655), the left vase depicts the Muses Clio, Euterpe and Thalia and the right vase depicts the Muses Melpomene, ...

This is a Swedish Mora clock "Fryksdhal Model" it has an original date inside on the door of 1824.

An exceptional, fine and impressive antique Austro-Hungarian silver box, an addition to the ornamental silverware collection This exceptional antique silver box...

American hanging Apothecary show globe with a mounted cast iron painted and gilded eagle. Globe was filled with a colorful green or red liquid to...

A fine regency brass inlaid rosewood twin canister tea caddy. A lovely quality sarcophagus regency rosewood tea caddy dating to 1820, inlaid with a beautiful brass Foliate design to...

French Greek Revolution or Hellenistic mantel clock of Greek hero on horseback. Constructed of the very finest cast bronze and fire gilded ormolu and ...

A beautiful and rare pair of gilt bronze Empire Appliques. Made in France during the 1820s. Some wear on the gilding exists, but also carries a beutif...

Georgian Skeleton Clock by Jones, The Strand, London Georgian skeleton clock standing on an ebonised stepped base lined with blue velvet and original square glass dome. Lyre ...

A small and beautiful inkwell in gilded and dark patinated bronze with cups in porcelain. French Empire from the 1820s. Wear consistent with age and use.

A late French Empire mantle clock in gilded bronze depicting a standing classical lady on the left side of the clock plinth with her left ar...

Splendid Viennese clock, ebonized fruitwood, with four alabaster columns in front of mirrored glass, above, flanking the cylindrical clock case, carved ...

A very fine and early pair of Roman Neoclassical Period Grand Tour Sienna marble models of the Temple of Castor and Pollux and the temple o...

A stunning and exceptional late Georgian floral painted porcelain bottle vase made by Derby and dating from around 1820. The large vase stands on a narrow round foot with slightly re...

This papier mache snuff box is decorated with a hand painted portrait of a well dressed lady of the early nineteenth century. Possibly by Stobwa...

Hand-carved in England, circa 1820, these lovely spill vases were fashioned out of burl walnut. The vases have developed a tremendous, darkened patina, particularly along the carved ...

Superb clock in finely chiseled gilt bronze from the restoration period (circa 1830) presenting a scene characteristic of the romantic movement of the ti...

A palatial 19th Century French ormolu mounted Sèvres urn, exemplifying the elegant Neoclassical style crafted from the finest hard-paste porcelain, also kno...

A rare and unusual true pair of naïve ormolu English Regency candlesticks. Set upon each rectangular base is a King Charles spaniel in rep...

A very fine antique cut glass jar with matching cover dating from around 1825. The jar stands on a thick round star cut based foot with a round bulbous body with diamond and prism cu...

A very fine antique cut glass jar and matching cover dating from around 1825. The jar stands on a thick square star cut based foot with a narrow slice cut stem and round bulbous body...

A large and impressive French Empire period gilt bronze mantel clock of exceptional quality and colour. French (possibly retailed in Italy) - Circa 1820. The finely chased and original gilt bronze case depicting Orpheus playing his lyre with an eight-day bell striking movement, outside countwheel, backplate initialled and numbered 'A C D 1516’. The dial with Roman numerals and inscribed Riccardo Pacinoti of Lavourne. It is a French movement (silk suspension) striking the hour and half hour. The case in the form of an oblong pillar cast with anthemium and cornucopia beneath a draped urn and a laurel wreath, flanked by the figure of Orpheus playing his lyre, the stepped plinth cast with wonderfully detailed underworld scenes, on leaf scroll feet. In excellent condition the clock case has been cleaned with the movement completely overhauled and serviced to the highest standard by a specialist restorer. In general 19th century French bronze clocks...

Greek Revolution or Hellenistic clock of Marmaluke. Constructed of patinated bronze and ormolu, the fire gilt/mercury gilding in excellent original condition. The Marmaluke is laying on an animal skin blanket, wearing a turban with a blue jewel to the top and has a dagger in his hand. The naturalistic base is in patinated bronze with ormolu paw feet with an ormolu acanthus swag between . There is also an applied ormolu mount of a wreath. The dial is of white enamel with blued steel hands. The movement has been changed at some point in its past to an English movement signed Townsend London. The movement is an adapted English Sedan clock...

Georgian Lyre Shape Mahogany Bracket Clock by Moncas, Liverpool Georgian mahogany English bracket clock housed in a lyre shape case with ebony i...

An early nineteenth century papier mache snuff box, japanned and bronzed. A romantic scene to the lid of the box and a "secret" sliding panel to the underside revealing a hand-painte...

A very fine and original pair of English late regency or George IV candlesticks in patinated bronze. Set on a stepped triform base the candleholder is held by three monopedia Eagles....

Magnificent and large clock, very decorative, very unusual at the time. It is composed of gilded bronze with mercury and patinated bronze. It reveals a sublime war scene with the figure of two knights, one of whom is wounded and Pierre Terrail, Lord of Bayard, the fearless and blameless knight, valiantly supporting and defending his comrade in the face of enemies. Period: Restoration - Circa: 1820. Style: Troubadour, Middle Ages - Provenance: France. Dimensions: Height: 53cm x Width: 37cm x Depth: 14cm. Completely revised by a professional watchmaker - Original movement without modification, silk thread suspensions, hour and half hour strike on an old bell...

A spirit ships decanter. England, circa 1820. Measures: Height: 20 cm (7 3/4"). Diameter: 15 cm (6").

Pair of Charles X ring holders (baguiers) with ormolu mounts embellished with small flowers. A high backing of mother-of-pearl joins a small, ormolu bowl featuring openwork interlaci...

A rare late Georgian treacle glazed flask with original carrying handle decorated with smoking scenes attributed to Rockingham and dating from around 18...

Georgian period wooden glove box with subtle Regency style inlay detailing. A discreet and elegant storage vessel sure to elevate any surface. England, ci...

A fine and stunning pair of Sevres porcelain figures, mid 19th century, of a female fruit picker and a male grape harvester, the bottoms with underglaze Sevres marks. Sevres porcelain at its best in this magnificent pair. A fine example from a New Orleans home in the lower garden district...

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

A pair of early 19th century Italian Grand Tour patinated bronze and sienna marble tazzas. A very nice and large pair of an unusual model having no side handles or side fixture decor...

Carrara marble bust of an elder. Fantastic quality marble and carving.

This is a super charming pair of spill vases made by an unknown Staffordshire maker in about 1820. In the early 19th Century there were at some ...

A very smart and stylish antique French Charles X period mantel clock in ormolu and patinated bronze with original ormolu throughout and surmounted by a fine ormolu urn on a stepped ...

Hard paste porcelain with polychrome and gold leaf - iron bolt. Impasto decoration. Lovely colors. These classical form urns are clearly a pair, but not an identical pair. Each has a...

A fine pair of French 19th century Empire Period Old Paris Porcelain swan handle vases. Each is beautifully hand-painted with a light blue colored ground and further adorned with 24K...