18th Century and Earlier Decorative Objects

18th Century Italian Baroque Santos Figure  Italy, 18th century or older An exquisite 18th-century Italian Baroque Santos figure is a fine example of religious artistry, dating back...

This is a Japanese pottery called "Shigaraki ware". Shigaraki is a historical kiln located in Shiga Prefecture, Japan. (Shigaraki Kiln is marked with a ...

A Korean ceramic celadon bottle vase with inlay design from Goryeo Dynasty (918 to 1392AD) circa 12th century. With an elongated neck that continues dow...

Set of 4 antique carved wooden freezes, partially gilded. Originally they were solid and whole, but I found then like these: already cut in half to be able to use them more comforta...

Antique Islamic Kashan Persian 13th century turquoise glazed pottery bowl. This bowl with vertical foot has interior paint in brilliant tur...

A delightful carved sandstone sculpture of an unidentified male deity, Khmer, Angkor Period, style of the Baphuon, 11th century. The smil...

A nice strainer. Qing Dynasty - Qing Period. Central scene of flowers. Additional information: Material: Porcelain & Pottery Color: Blue & White Region of Origin: China Emperor: Qia...

These two dishes were crafted at Spode in Stoke-on-Trent, England, circa 1820. The Imari pattern is Spode pattern 1495. It is hand-painted in shades of orange, blue, and gold. The di...

This is a beautiful Chinese Export porcelain footed Bowl with fine Imari hand painted decoration, dating to the Qing, Kangxi period, circa 1700. The bowl comes with a Chinese hardwoo...

Genuine Spinosaurus (Dinosaur) tooth. Spinosaurus (meaning "spine lizard") is a genus of theropod dinosaur that lived in what now is North Africa, during the upper Albian to upper T...

Our monumental pair of 18th century candelabra of French origin depict Roman neoclassical male and female holding cornucopia, finely carved from white marble, with four light ormolu bronze candleholders of foliate design with fruits, nuts and grape bunches. Provenance: Arne Schlesch & José Juárez...

Stunning and completely original, antique oak grandfather or lantern clock, circa 1750. This very old grandfather clock is one of the tallest w...

This mysterious Ancient Cypriot Ceramic Sculpture of a Horse on Wood Plinth Base originates from Cyprus, 4th Century BCE. Features a beautifully sculpted form with carefully graduate...

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...

A pleasing lilac amethyst formation of large crystals with a large honey coloured calcite at the centre and a smaller calcite to the side. Amethyst is predominantly light violet ...

Oak sculpture of Saint Anne, 16th century. Large oak sculpture of Saint Anne. Work from the Upper Rhine, Basel region. First third of the 16th century. An arm is missing from the i...

Beautiful Turned Birch Wood Bowl from Bohuslän, Sweden ca 1750 Great patina and a timeless shape. Height: 9.5 cm/3.7 inch Diameter: 23 cm/9 inch

Two Black Basalt carved and polished Neolithic axe heads mounted on steel bases. These wonderful ancient objects are a testament to the artisans who crea...

Pair of silver form George ll cast paktong candlesticks. The candle shaft rests on square base and fitted with a gadroon edged circular bobesh. Birmingham, England, circa 1750-60.

Beautiful and rare black marble (Belgium blue stone) mortar, France, circa 1750-1850. Great eyecatcher. Weathered but good condition.

A striking collection of 7 natural mineral specimens sourced from an ex. private British collection. Each presented on exclusive custom display plinths, this set of minerals include...

This extraordinary museum piece Enthroned Virgin Mary/Madonna with child on her lap comes from the Rhone region in France. The saint symbol and protec...

These rare objets d’art feature intricately hand-cut and painted tole foliage, gracefully shaped into classical topiary forms. Adorning each piece are delicate porcelain flowers—each...

Extraordinary wine-cooler in the form of a beautifully sculpted, gilt and polychromed Swan of impressive stature, makes certainly the conversation-piece of the party. The white paint...

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 ...

NOTE: We do not keep this in the showroom. Please let us know if you're visiting and would like to see it. Rarely does a first edition Portland vase...

A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure. Circa 1st-2nd century A.D. Measure: height 24 1/4 inches (62 cm). Property from Mr. Radu Moldovan, Skokie, Illinois Provenance: B.C. Holland Gallery...

The latest edition to arrive at THE FOSSIL STORE™ is our famous and exquisite series of designed mount. The ammonites are truly exquisite specimens excavated from the high Anti-Atlas...

A stunning pair of antique 18th-Century Italian silvered wood tripod pricket altar candlesticks. These gorgeous cathedral candlesticks are a nice large size, silver gilded and ornate...

Large white crystal quartz geode with a baroque pearl. Geodes are formed as gas bubbles within volcanic lava. Over time, the lava flow weathers away to leave the quartz geode buried deep in the Moroccan desert. This was dug by hand and includes druzy white crystal formations. This is a large geode specimen...

A large red iridescent ammonite fossil dating from the late cretaceous period (100.5 – 66 million years ago). This huge plancenticeras ammonite is approximately 16 inches tall and has an iridescent lustre that showcases a vibrant red hue. Once a living creature, this ammonite has developed its red iridescent lustre over millions of years of compression, transforming into a striking gemstone. A rare find. Provenance: From the fascinating collection of Gordon Walkden (1944-2022), emeritus Professor of Geology at Aberdeen University. Affectionally known as Aberdeen’s answer to Indiana Jones, Walkden contributed enormously to research through his papers and talks on British marbles, minerals and fossils...

Pair of Italian Venetian 17-18th century giltwood carved and faux marble painted trimmed six branch floor torcheres (provenance: The Society of the Cincinnati...

Chinese, Tang Dynasty (618 AD to 906 AD) TL tested A pair of semi-human earth spirit figures seated on their haunches with cloven hooves planted firmly on...

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 Roman Marble Sculpture of Hercules, Circa 1st / 2nd Century AD The sculpture is nude except for the draped Nemean lion skin. Provenance: Sotheby's London, December 14, 1981, lot ...

Chinese bronze vase with decoration in the Archaistic style and dragon mythical beast loop handles.

Ancient Geometric Pottery Vessel – A Timeless Artifact Discover the beauty of early craftsmanship with this remarkable 1st millennium B.C. (or later) earthenware vessel. Defined by i...

The Rare and Important 17th Century Spring Driven Table Clock by the Celebrated Maker, Henry Jones. Provenance dating back to 1745. Owned by Captain Alexander Raitt A very rare an...

The 17th century putti raised on gilt bronze-mounted neoclassical porphyry bases from the late 18th century.

An antique Japanese stoneware storage jar, known as tsubo from Shigaraki kiln, circa 17th-18th century (early Edo possibly Momoyama period)....

An Irish slice cut decanter with engraved rum label attributed to Cork & Co. Ireland, 1790.

A Very Large and Rare German Ormolu Mounted Meissen Porcelain Three Piece Clock & Candelabra Garniture Set. This impressive set consists of three pieces: a center clock and two candelabras, each adorned with the most intricate and delicate details that have been executed to perfection. Each three armed candelabra is remarkably elaborate with foliate arms that are embellished with gilt-covered beautifully twisted branches and curling leaves on an ornate botanically-inspired base. Embraced by the arms of the candelabras are two 18th Century Meissen Porcelain figures of musical lovers, dressed in brightly detailed traditional clothes. The round clock face, with roman numerals, a white base, and ornate hands is surrounded by a flourish of gorgeous gilt foliage, exuding an air of elegance and refinement. Perched atop the clock is a stunning Meissen Porcelain figurine of a beautiful woman posed in mid-movement, her dress aflutter, and baring her leg as she gazes up at her left hand which is holding a bunch of grapes, while also grasping a wine goblet in her lowered right hand, representing the festivities of the moment. Surrounding the clock and extending down both sides the gilt foliate leads the eye to two cherubs each admiring tiny vases of exquisitely detailed flowers. Below the cherubs, on either side, are four white ceramic pillars...

Bronze cast with delicate serene features, very refined detailing throughout. Featuring bow-shaped mouth and downcast eyes, flanked by pendulous pierced ...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

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 ...

A nice example of a George II bracket clock in an ebonized mahogany case with brass feet made by clockmaker Edward Browne of Norwich. Edward Browne took over the shop of clockmaker J...

This extraordinary First Edition Wedgwood rendering of the legendary Portland Vase is one of the rarest masterpieces of Josiah Wedgwood, the most important ceramics manufacturer of the 18th century. A tour de force of ceramic art, the Portland Vase First Editions are regarded as one of the greatest ceramic accomplishments of the 18th century, and they are a testament to the superior skill of Josiah Wedgwood, his extraordinary ambition and his tireless dedication to perfection. One of the very few First Editions still in private hands, this exceptional Wedgwood Portland Vase is one of the most important works of ceramics on the market. The story of Wedgwood and the Portland Vase is legendary. The original Portland Vase is the ancient world's most famous decorative arts masterpiece—a cameo glass vase dating to circa 25 CE with a frieze representing the myth of Peleus and Thetis, initially thought to be carved from stone. When it was first rediscovered around 1582, it captivated the world with its opaque white cameo figures over its rich blue background. After the vase was excavated it was owned by Cardinal Barberini, whose family later sold it to the Duke of Hamilton who eventually sold it to the Duchess of Portland, from whom the famed vase now takes its name. The famed British sculptor John Flaxman was likely the first to have brought the vase to Wedgwood’s attention. In a letter dated February 5, 1784, he wrote: “I wish you may soon come to town to see William Hamilton’s vase, it is the finest production of Art that has been brought to England and seems to be the very apex of perfection to which you are endeavouring to bring your bisque and jasper…” Indeed, the Portland Vase is a masterpiece of cameo-cutting, with a stunning frieze of opaque white cameo glass over its translucent deep blue form. Its beauty and translucence would inspire Wedgwood to undertake his years-long endeavor to precisely replicate the original in porcelain. Upon closer examination, Wedgwood realized the vase was not made of stone or earthenware, but of cameo glass—a technique so advanced it remains the masterpiece of cameo-cutting. Today, the vase is housed in the British Museum, where it is the second most viewed antiquity, only after the Rosetta Stone. It then took Wedgwood several painstaking years to craft his unparalleled copy of the vase, during which he perfected the jasperware technique that would become his crowning achievement. To this day, the renowned porcelain firm regards the vase as its most momentous triumph, so much so that the vessel’s silhouette is incorporated into the Wedgwood logo. The four years it took Wedgwood to complete his vase were not without tribulations. From the start, Wedgwood encountered numerous problems with his copies, from cracking and blistering to the difficulty of replicating the translucent effects of the original. The first acceptable copy was produced in October 1789 and sent to Wedgwood’s physician and friend Erasmus Darwin, the grandfather of Charles Darwin. Wedgwood presented another copy to Queen Charlotte in May 1790 and afterward organized a private exhibition of the vase at the Portland House in London. The viewing proved so popular that Wedgwood was forced to restrict the show to 1,900 visitors. Much of London wished to see Wedgwood’s greatest major achievement. Perhaps the highest praise of Wedgwood’s copy came from the famed artist Sir Joshua Reynolds, the founder of the British Royal Academy: “I can venture to declare it a correct and faithful imitation, both in regard to the general effect, and the most minute detail of the part.” Over the next few years, Wedgwood's oven records listed 43 First Edition copies of the Portland Vase produced between 1791 and 1796, 11 of which were broken during the firing process. In all, it is believed around 30 First Edition vases were completed, though an unknown number of these were somewhat damaged—one of these imperfect examples is currently held by the Victoria & Albert Museum in London. The perfect examples such as ours have found their way into the most important museum collections in the world. The British Museum (London), Art Institute of Chicago, Birmingham Museum of Art, Museum of Fine Arts (Boston) and the Fitzwilliam Museum (Cambridge, UK), among others, all hold one of these highly coveted vases in their collections. In terms of technical achievement, the First Edition Portland Vases...

This listing features a set of 18th century style candle sticks.

This incredible fossilized brow horn belonged to the Medusaceratops Iokii: an herbivorous dinosaur that lived during the Late Cretaceous period circa 78-77 million years ago. This sp...

This piece comprises a stunning example of deep purple amethyst, elegantly displayed on a metal stand, with a naturally decorative multiple stalactite formation. The polished borders of the formation allow one to appreciate the visible grey and brown agate, green celadonite and pink jasper...

Rounded jar with flared rim and base from 2nd millennium B.C. or later. Leather texture to the body.

A sublime Chinese carved boxwood figure of the Bodhisattva of Compassion, Avalokiteshvara, called Guanyin in Chinese, mid-Qing dynasty. The an...

Monumental sculpture representing the Venus Pudica (Medici-type) 18th Century Italian (Rome) White marble Based on a model from Antiquity, the Medici Venus, currently in the Uffizi ...

Majestic 18th century Italian baroque polychrome Santos icon sculpture of a young man. The carved icon is depicted standing and wearing a flowing robe with graceful movement. He has ...

Two Neolithic basalt celts mounted on black steel bases. In archaeology, a celt is a long, thin, prehistoric, stone or bronze tool used as an adze, hoe, h...

Presenting a substantial Crystal Quartz Cluster fluorite specimen is a testament to the enchanting beauty of natural rock formations. Spanning an impressive 46cm in width, this clust...

Important Olmec figure of Olmec ethnic dignitary from the preclassic period (2500-200 BC) Important Olmec figure of dignitary of the Olmec ethnic group of...

Neoclassical gilt decorated plate with leopard. A Naples Real Fabbrica Ferdinandea white porcelain painted and gilt decorated saucer dish with leopard....