19th Century Decorative Objects

19th century Italian Grand Tour white marble bust of Augustus Caesar. Bust sits on a round white marble pedestal base. Augustus was Julius Caesar's great-nephew, and the first Roman ...

This is an antique hexagonal spice jar. A Japanese, glazed earthenware lidded pot, dating to the late Victorian period, circa 1880. Striking colour and charming decoration from the Meiji period. Displays a desirable aged patina, some marks commensurate with age. Distinctive hexagonal form a delight of bright green glaze. Inset panels host foliate relief Tapering circular lid with concentric detail in natural finish. This is an appealing antique spice jar...

Fine Italian Carrara marble of a Nymph. The figure stood upon a rocky plinth partially nude with a draped robe seen pouring water from a large urn as she looks on. The beautiful carv...

Large and heavy 19th Century French wooden clock face. With a mechanism on the box, which could be mechanised. NB. currently for decorative use only.

A large scale and very good quality late 19th century Japanese Imari vase with exotic birds, trees and flowers. Wonderful coloring in vibrant hues of blue, red and rust.

Orrery Clock Zacharie Raingo Circa 1817 This exceptional orrery clock represents one of the most historically significant and mechanically sophisticated ...

A 19th century Spanish Colonial santo depicting the Mary, full of presence and quiet devotion. Carved from wood with all original paint, she stands gracefully on her original base an...

A charming European ornate picture frame that is suitable for most style artwork including prints, watercolors as well as oil on board paintings. This frame certainly captures that v...

Rookwood pottery was established based upon Arts and Crafts ideals positing the celebration and elevation of pottery as an art form. Both professional and amateur decorators and potters were instrumental in the success of what became an art industry and the nations first Internationally recognized art pottery. It is marked 1885, 61 and W. Rookwood's font, Form # 61 and the use of W to indicate white clay are well known to Rookwood collectors and have been identified in most publications concerning the pottery dating back to Peck's books. Sometimes we just can't figure out who decorated them. Many of the decorators were married society ladies and some used their spouse's initials or names on pots. I have been unable to identify what appears to be M AED in under-glaze initials. Nor does the pencil notation which appears M.E. Foster (or Foote) turn up in my review of the literature, including The Ladies God Bless 'em. The quality of the decoration is high and represents the interest in Japonisme and Aesthetic Movement art. The four cobalt lined vertical panels recall vertical Japanese woodblock prints and the gold tracery and rim is surprisingly present with only modest wear to the high points and minor bleed through of the under-glaze around the lip. (shown). It is important to note that unless or until the decorator is identified, it is impossible to assert that the decoration is by a Rookwood artist. Many amateur ladies and gentlemen, particularly members of the Cincinnati Pottery...

A fine quality Art Nouveau art glass vase, by Loetz the historic glass maker from the municipality of Austria featuring engraved Alvin Sterling Silver overlay. Overlay in form of op...

Quality antique Victorian walnut Vienna wall clock, having a quality walnut case with fantastic carved columns, the original turned finials to the top and bottom, a single glazed doo...

A beautiful Seth Thomas long case clock, circa first half 19th century. Features an American poplar case in Early American styling with an open pediment, c...

This 19th-century English bowl is finely turned from sycamore and features a softly rounded profile with a subtly tapering base. Its proportions are particularly harmonious—measuring...

Massive 1880 Antique Ormolu Bronze Enameled Automaton Musical Bracket Clock An important, exhibition quality ormolu bronze bracket clock of massive proportions, the case decorated in Champlevé enamels and a variety of cast decorative elements that include a large urn and four full columns topped by acanthus buds, ladies faces on all four columns, egg and dart trim, four large detailed paw feet. The arched door with beveled glass opens to the clock face topped by an iridescent bird automaton within a painted diorama framed...

Hard to find Staffordshire figure of a young boy on a goat. This would have originally been part of a pair, the other being a young girl on a goat

Morbier wall clock movement with the weights, key and balance. Strikes on the hour and two minutes after and on the half hour. This clock has just been professionally cleaned and se...

A mid-19th century bronze study of a standing horse dressed in a ladies side saddle by Jules Moigniez. Excellent hand chased detail. Signed J Moigniez to base. Dimensions: H 32cm W...

A fine quality antique Russian Imperial silver tea caddy, engraved in the Chinoiserie style, by Gustav Klingert, Moscow, dated 1894. Gu...

This 19th-century English nautical gimbal-mounted thermometer and barometer is an exceptional piece of maritime craftsmanship. Constructed of rich mahogany with brass fittings, this ...

A beautifully crafted Chinese export tea caddy made of wood with black lacquer, richly adorned with gilded motifs featuring classical Chinese scenes of people, houses, and more. The ...

A beautiful large Japanese Meiji Period patinated bronze study of an elephant with tigers, signed on the belly, Meiji period, 1868-1912, and late...

This exceptional blown and cut glass decanter is the pinnacle of regency cutting. The base decorated with sixteen ostrich feathers, arranged around a diamond ring. The body embellish...

Explore the charm of this exquisite antique German porcelain decorative vase, adorned with intricate hand-painted floral and foliate scenes on both sides. Each detail is rendered in ...

A large antique letter rack, made of carved wood. The wickerwork is also made of carved wood. With three compartments. Made in France around 1890-1...

Art Nouveau Big Vase Albert Mayer WMF Germany, 1900-1910 Silver metal with a brass removable vase inside Excellent condition. WMF mark impressed

Antique Joan of Arc Parian Bisque Porcelain Sculpture Signed John Bell C1848 Measures - 12.75"H x 8"W x 5.75"D This fine Parian bisque porcelain ...

An Exceptional French Japonisme Ormolu and Champlevé Enamel Five-Piece Clock Set, In the Manner of Edouard Lièvre, circa 1870, Paris. This extraordinary French Japonisme clock set, ...

French Bronze Sculpture of Mercury Signed F. Barbedienne Fondeur, Ca. 1850. This bronze statue of Mercury Volante is a copy of the late 16th Century bronze by the great French/Flemish/Italian sculptor Giambologna. The statue, signed Ferdinand Barbedienne Fondeur...

This rare French pale green glazed terracotta pot is a beautiful vintage collectible with a unique, time-worn patina. The exterior features a delicate pale green glaze, while the int...

Set of ten French Porcelain apothecary jars, 19th century. The set consists of five smaller cover jars and five larger covered jars. Each ...

Just wanted to share this new arrival with you. A Japanese satsuma vase The base has a mark which we didn't translate yet. Origin: Japan Age: 19th century Meiji Condition Perfec. ...

Highly Carved German 3 Weight Grand Sonnerie Quarter Strike Vienna Regulator Wall Clock Here is an excellent 3 weight driven regulator wall clock. This clock is 52-1/4" tall and 17-3/8" wide. It features a solid brass movement and chimes every 15 minutes, which are driven by three engraved weights. This clock has Grand Sonnerie striking...

This magnificent 19th Century Louis XV Style Mantel Clock Set, crafted in the style of Sèvres, embodies the opulence and elegance of French decorative arts. The set includes an intri...

Late 19th Century, Bohemian Cranberry Overlay & Gilt Bronze Hinged Casket Box A richly ornamented Bohemian casket box, dating to the latter half of the 19th century, of ovoid rectan...

An English Victorian period oak lidded biscuit barrel from the late 19th century, with large handle and brass shield motif. We have currently three available, priced and sold $295 ea...

A rare large Japanese Ginbari enamel over copper vase. The urn shaped vase is enameled with a polychrome design representing cranes, hens, roosters and other birds made in the Ginbar...

A hand made, French Copper Turbotiere, a Turbo fish Poacher with iron handles, France c. 1830-1850. Weighing a heavy SEVEN pounds! This copper and iron, diamond shaped fish poache...

This impressive glazed vessel dates to the mid-19th century and was used to store wine and spirits made from rice and other grains. The large jar has an elegant, tapered form and is ...

A pair of large antique Japanese, Meiji era vases with Pink cloisonne enamel decor. Of an elongated baluster shape with a short neck. The exterior shows...

An Important and Monumental Art Nouveau Ormolu-Mounted Ceramic "Exhibition" Vase, C. 1895 This important and monumental vase was done by four different artists in the late 19th century: Alphonse Adolphe Lamarre, French, 1837 - 1912 (Artist who designed the vase) Paul Louchet, French (founder of bronze mounts) (Founder) Charles Pillivuyt Porcelain Manufactory, French, Paris, 1853 - 1922 (Manufacturer) Louis Chalon, French, born 1866 (modeler of mounts) (Modeler) "An Art Nouveau Collaboration" The vase in this case is an exceptional example of the collaboration between numerous artists during the late 19th century. The ceramic was made by Alphone Adolphe Lamarre (1837-1922) for the Charles Pillivuyt Porcelain Manufactory; the gilded bronze mounts, modeled by sculptor Louis Chalon and cast by Paul Louchet. Spectacularly mounted naturalist vase; the base dressed and balustered, the neck finished in double openwork bulb, the surface describing sinuous reliefs. Polychrome glazed ceramic in Beige, blue, and green. The shoulder is decorated with a gilded bronze roundel with five ormolu bronze female...

19th century Anglo-Irish cut crystal footed bowl. Alternating cut prisms with excellent cutting throughout. Round stepped base on square plinth...

A finely cast image of Mellephebe, the young Eros after the antique. Very likely the Chiurazzi foundry, Naples. Sienna marble socle. The original discovered in the mid 18th century b...

Large 19th century French Majolica Pigeon wall pocket. The pigeon have a pink ribbon and carry a white card.  

Six French glass apothecary lidded jars from the mid-19th century, priced and sold individually: $295 each. Created in France under the reign of king Louis-Philippe, each of this set...

The technique of the handmade pottery in Anduse (South of France) is centuries old. The story of the Vase d’Anduze began in the 16th century under the reign of Henry IV. It is though...

This is a beautifully preserved example of a Regency period writing slope that also functions as a sewing box. The leather-bound table work box features a stepped square central pan...

Antique 19th century Gilbert (William) Manufacturing Company Ogee style weight driven American Empire shelf clock. Made of walnut featuring gold and marbled columns, reverse painted floral roses, roman numeral face and brass works. Signed and dated on back, this clock was one of the last made before the fire closed the factory and the reincorporated under a new name. William L. Gilbert was born in 1806 in Northfield, CT (a village of Litchfield) and became interested in the booming clockmaking business at Bristol in 1828. In that year he and his brother–in–law George Marsh purchased a clock factory and formed the firm Marsh, Gilbert & Co. In 1835 Gilbert and John Birge formed Birge & Gilbert. In 1839 Gilbert became part of Jeromes, Gilbert, Grant & Co. to make the newly introduced 30 hour brass weight driven clock. In 1840 Gilbert moved to Winsted, a village within Winchester, CT and with two partners bought the old Riley Whiting...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Collection of Five 19th C Spongeware Mixing Bowls. This fine collection of blue spongeware pottery bowls are in good condition and sold as a group.

19th Century Trompe L'oeil Country House Painted Oak Box This adorable box is an original 19th century box that was recently painted in the 21st century by an English artist in the ...

An impressive Hand Deep Cut full lead Irish Crystal Pedestal Turn-over Bowl of circular outline and compact proportions. Made by the Old Waterford Glass...

Extremely Rare Gold Singing Bird Box by Charles Bruguier – Geneva, ca. 1840 A stunning and very rare gold fusee singing bird box by the renowned Swiss master Charles Bruguier, made ...

Pair of Italian busts from the Grand Tour, representing the Greek philosopher Socrates and the Emperor Septimius Severus, sculpted in bronze, with a chiseled bronze base and marble c...

Antique Seth Thomas Adamantine Victorian Faux Marble Shelf Mantel Clock. Circa Late 19th Century. Measurements: 11" H x 16" W x 7" D.

A miniature Japanese Meiji period vase, 1868 to 1912. The globular vase slightly tapering to the bottom decorated in polychrome enamels and copper wi...

An Important and Monumental Pair Of French Baccarat Opaline Opaque Glass Bronze Mounted Vases and Covers. In the annals of artistry, certain creations stand as epitomes of beauty, t...

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

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

A hand-painted wood bowl produced in Sweden, 19th century.

A rare and important French ormolu/bronze and Sevres style turquoise porcelain jewelry box casket on matching French ormolu/bronze table with Sevres style porcelain plaques. Of palatial / monumental size! "The Marie Antoinette Jewelry...