1820s Decorative Objects

A fine George IV silver-gilt vinaigrette, slender rounded rectangular form, engine-turned decoration, the silver-gilt interior with a finely pierced and engraved foliate grille. M...

Rare George III cobalt blue bottles, circa 1820. Three total, Rum, Rum, and Brandy. In great condition for their age, each with a silver and cork st...

Small regency bracket clock. Mahogany chamfered top case surmounted by a brass pineapple finial with brass inlay, standing on a raised plint...

The central frieze silouetted in dark green animal with gilt details with cavoting putti, set within a beaded border, the collar and stem also applied with beads, the handles with bi...

Very beautiful Charles X period box in rosewood and light wood inlay. A beautiful quality of bronze handles. Excellent condition.

Each with large center still life panel.

Decorated with dolphin handles, and swans within a gilt and puce lined cartouches and the reverse with caryatid figures balancing fruits.

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...

Pair of French early 19th century Empire gilt-bronze candlesticks, circa 1820 Pair of Empire gilt bronze candlesticks, each with a fluted stem, highlighted on top by a finely chas...

Circular with copper liner. Finely and beautifully decorated with Asian inspired gilded pavilions and landscapes in subtle colors and fine patina.

Early 19th century Regency hand-painted rosewood workbox with brass inlay, Circa 1790.

A French Charles X period ormolu mantel clock. The drum case flanked by a young couple standing under a palm tree with flowers all around, while the lady touched the man's hand. The...

Traveling desk box from Georgian England. With Italiante metal carrying handle and lock, hand-painted faux bois siding and verdirgis demi-lune accents, the ...

A very nice and charming carved gilt wood and faux painted malachite empire clock. Probably Russian. Ça. 1820-30. The figure probably of the Greek goddess HYGIEIA. She was one of the daughters of the god of medicine...

The fox's prey is the rabbit, and in the 19th century, rabbits abound in the countryside, so it is no surprise they are find in porcelain toys. Adorable Chamberlain Worcester porcela...

Fine antique Regency inlaid marquetry mantel clock having an outstanding inlaid marquetry case, octangular shaped top with pretty ornate brass mounts, b...

Caribbean mahogany hinged pedestal tea poy with fitted interior, foliate carvings, and resting on the original scrolled feet. Early 19th century.

Early 19th to mid 19th century Chinese, Iron, water bath. With the patina of decades, this cast-iron sarcophagus-shaped bath has its original handles and exudes a timeless floral de...

Bronze Mounted shagreen inkstand, English, circa 1820.

English Porcelain cottage pastille burner, circa 1820.

Staffordshire Pottery pearlware bocage figure with a musical theme which features a man playing a bagpipe, his dog beside him, seated on a shaped base. Decorated 'in the round', deco...

This pair is unique in that the one on the left depicts 'The Chainbridge', one of the first suspension bridges designed by Thomas Telford-Over the Menai Strait in Wales, circa 1870. ...

Empire style mantle clock with gilt bronze and bronze adornments of an eagle and cherubs, circa 1820-1840.

Marked with blue crossed swords. Modelled standing in a long coat, the base impressed "Goethe 1828".

This is a set of three little spill vases made by an unknown Staffordshire maker in circa 1820, which was the Regency era. Two of the vases are cobalt blue, one is salmon, and all three have beautiful gilding and hand painted flowers. Spill vases were used for match sticks to kindle the fire. Match sticks in 1820 weren't what they are today: they were short hand-cut sticks of wood and came in bundles. Everyone had a "spill vase" on the mantle piece or on a little side table next to the fire, so that the fire could be kindled at any moment. In the early 19th century there were at some point 300 potteries in Staffordshire, and artists would move from pottery to pottery, attracted by competitive wages. Unless items are clearly marked, it is often difficult to identify them and I have not been able to clearly identify these three spill vases as everyone made them. The two cobalt blue vases are clearly from the same maker; the salmon colored one is slightly shorter and different in shape, but basically the same. All have nicely shaped rims and three charming lion's claws as feet. There is beautiful gilding and stunning hand painted flowers in the reserves. Condition report: All vases have some wear; one of the cobalt blue vases had a foot broken and restuck (this is stable and not very visible when in position) and the salmon vase...

Pair of French bronze and agate candlesticks, circa 1820.

Exceptional pair of swirl cut Regency decanters with swirl cut stoppers.

We are delighted to offer for sale this lovely Portrait of the Infanta Margarita Teresa Juan Bautista Martínez del Mazo (Queen of Spain) A very sweet ...

British Campaign water proof leather traveling trunk with leather fitted interior compartment, brass banding mounts, Royal coat of arms brass plate, brass side handles, and retains t...

Antique Russian Gothic style gilt bronze and brass candle holder screen.

A magnificent, fine and impressive, set of four antique George IV English sterling silver candlesticks; an addition to our antique silverware collection. These magnificent antique...

A gorgeous and rare neoclassical pair of patinated and doré bronze Empire period covered urns with doré bronze cupid masks and foliage scroll doré bronze handles. Each is beautifully...

Rectangular and scalloped snuff box in gold and fine stones. The hinged lid is decorated in the center with a naval scene; Steamboat; standing out against a translucent and opalescent background revealing a fine guilloche pattern. This scene is framed by flower motifs whose hearts are set with stones: rubies, emeralds and old cut diamonds. The scalloped box...

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

Pair of 19th century Empire ormolu and patinated bronze candelabra attr. Thomire Each with a tapering leaf tip cast partially gilt and patinated bronze stem supporting three folia...

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

Bronze, dark-brown patina, unmarked. Measures: Height: 23” Width: 14” The notion of an “American Rococo” seems a contradiction in terms. The very word rococo is as French as Camembert. It connotes a style that reigned along with Louis XV in the aristocratic decadence of the 18th Century. It was garlanded, nonchalant, associated with erotic marshmallow nudes by Francois Boucher and foppish courtiers costumed as shepherds pretending they understood Jean-Jacques Rousseau when all they really wanted was romantic dalliance in the formal gardens of Versailles. In the history of painting it produced but one great artist, Antoine Watteau. By contrast, Americans of the period are remembered as the flinty inheritors of New England Puritans, full of rectitude and having not a moment for furbelow or frippery. Such few painters as were around included hard-nosed realists like John Singleton Copley and Charles Willson Peale. Well, as it turns out, life once again acts according to the principle of paradox. There was an American rococo. It came to us indirectly via England disguised under the name Chippendale. Now for the first time the style receives comprehensive survey in the exhibition “American Rococo, 1750-1775: Elegance in Ornament.” Jointly organized by New York’s Metropolitan Museum and the Los Angeles County Museum of Art, it opens here Sundaywith a spread of some 170 works of decorative art and a conscientious catalogue with essays by Met and LACMA curators Morrison H. Heckscher and Leslie Greene Bowman. There are at least two ways of looking at the decorative arts. Connoisseurs appreciate their design and craftsmanship. Those of sociological bent examine objects of material culture for their revelations of history and the temper of the times. Actually neither view is complete without the other. Stylistically the rococo reveals a longing for intimacy in its small scale and an urge to organic nature in its love of stylized vines, tendrils, tiny flowers and seashells. If it were a new manner being promoted by Madison Avenue today it would probably be called “Baroque Lite.” There is an ease about the style that makes it airy, but it has an underlying formality that bespeaks lives of gentrified cultivation rather than beer-bellied sloth. It’s fascinating to examine the flintlock firearms on view and find these weapons of death shaped and decorated with the most exquisite care by wood carvers and metal engravers. All of this is completely consistent with the main currents of 18th-Century European thought. In France, Rousseau sang the virtues of nature and the noble savage like a present-day ecologist. In England, John Locke...

Pair of Italian gilt carved wood, gesso, and painted hanging wall cherubs . Early 19th Century.

Antique statuary Carrara marble bust depicting a male in the classical Roman portrait style. Life-sized and beautifully carved in the purest of white statuary marble. The bust is o...

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 bronze and ormolu tazzas having beaded and leaf decorated rims and unusual dolphin carrying handles, supported on Sienna marb...

With a removable cover with gallery and finial, tapered body with spigot lacking handle, all above the rectangular basin.

Refitted Georgian satinwood four footed sewing wood box with working lock and key, circa 1825.

A fine and impressive antique George IV English sterling silver vinaigrette; an addition to our silver boxes collection This antique George IV sterling silver vinaigrette has a ro...

With floral inserts on gilt bronze base. In Sevres-style painted on either side with birds perched on branches.

A stunning pair of Regency cut glass storm lights the radial cut bases with step cut foot supporting strawberry diamond cut eggs mounting fan ed...

A lovely 19th century mahogany eight day long case clock by Todd of Hull, having an arched painted dial with a seconds dial, the mahogany case has a pagoda shaped hood, the mahogany ...

Pair of Anglo-Irish cut crystal mantel (fireplace) vases circa 1820. Cremelated Diamond and sawtooth cut tops with strawberry diamond panels and Gothic arches. Multiple stepped plint...

Staffordshire Pottery pearlware bocage figure with a musical theme which features a couple seated before a tree, playing musical instruments. Sheep and dogs around them, seated on a ...

A magnificent, fine and impressive antique George IV English sterling silver three-light candelabrum centrepiece; an addition to our ornamental silverware collection. This magnificent antique English sterling silver three light candelabrum has a cylindrical tapering, shaped form. This antique silver centrepiece...

A fine and impressive antique George IV English sterling silver vinaigrette in the form of a purse; an addition to our silver boxes collection. This antique George IV sterling silve...

A fine and impressive antique George IV English sterling silver vinaigrette; an addition to our silver boxes collection. This impressive antique G...

A fine pair of step and diamond panelled cut glass magnum regency decanters.

Hand carved Marble Bust of Sarah Siddon with original pedestal. United Kingdom, late 19th century.

Venus de Milo is an original Carrara marble sculpture realized in 1820 by French sculptor manufacture. The beautiful sculpture represents a copy of the famous Venus De Milo, the a...

Pair of Charles X period gilt and patinated bronze candelabras featuring a roman couple holding four light candleholders.

A French brass Capucine Officers clock with alarm, circa 1820. The case of typical form, with doors to the sides and rear, urn finials to the top corners and flanking a polished s...

Pair of French Empire bronze doré three-light candelabra with nautical motifs, dolphins and shells.