Early 19th Century Decorative Objects

Charming early 19th century (possibly earlier) hand crafted copper and steel bucket with dovetailed joints and tin lining. Most likely originally used for water or milk, but would al...

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This monumental Charles X period centerpiece combines late 18th-century Chinese export porcelain with early 19th-century French gilt bronze in an elaborate jardinière/ Centerpiece fo...

With vivid cobalt decoration in Chinoiserie style.

Antique Chinese Champlevé Enamel Decorated Bronze Vase dating to the late 19th century, having twin scroll handles above a beautifully decorated body with leaves and focusing on a ce...

Unusual pair of Georgian brass tavern candlesticks with bells to ring for service. This pair is wonderfully turned and have wide bobeches at the...

Rare Ottoman hand engraved copper and bronze bowl in original condition. Fine engraving and well proportioned conversation piece. Original patina still...

This is a 100% original painted Swedish Mora clock. I have installed new battery works. The original works are offered with this clock but they do not work.

Two porcelain hexagonal Satsuma vases painted in polychrome enamels and gold. The paunch is decorated with intricate Japanese characters in a landscape, the neck and the shoulder wit...

A refined pair of Italian torchères made from mahogany, dating to the early 19th century and likely originating from Naples. The torchères rest on tripod bases with elegantly curved ...

This is really quite a wonderful dish set in solid bronze and has beautiful detail depicting two dolphins. All original. Circa 1800s.

English Regency period mahogany collectors chest with ebonized detail. The mahogany case having six drawers with turned pulls, figured mahogany top with molded edge and sitting on a ...

19th century English Romanesque antique stone pedestal has protruding lion mask carved on pedestal. Base measurement: 9.25" x 9.25" Top meas...

The miniature chest was made of walnut and dates back to the early Biedermeier period at the beginning of the 19th century. A very nice small rare furniture...

An extremely rare wave edge vase on a round foot with superb continuous landscape painting of a river scene with ruins and two figures, rich gilding on the upper edge, ball and foot....

Pair of mid 19th Century Victorian antique porcelain vases which have black tapering bodies decorated with beautifully painted birds nests, butterflies and flowers in wonderful colou...

A pair of English Oak barley twist candlesticks from the Jacobean Revival period. They would make a wonderful gift for the collector of ...

A pair of exceptionally elegant and important late Empire five-light figural candelabra ‘A la Victoire’ in gilt-bronze, attributed to Pierre-Philippe Thomire, after a design by Charles Percier. Imposing size at 81cm in height. French Paris c.1820 Superbly cast, in the Neo-Classical style, the five scrolling foliate candle branches enclosing central sconces issuing from a circular wreath supported by the winged figure of Victory (Nike), wearing diaphanous robes gathered by a sash above a long underskirt splaying out from above her ankles, with beautifully feathered wings flowing behind her as she looks straight ahead. Each figure standing on one foot, the other bent, resting on a plain sphere over a reeded palmette-cast baluster pedestal raised on square plinth. Wonderful colour and patina, pierced for electricity, old inventory label to the underside. We are delighted to have been able to acquire these important candelabra as rarely does one get the opportunity to purchase items by P P Thomire...

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 ...

A pair of George IV period fire buckets. In black painted leather with riveted construction and remnants of a white painted interior. Each one is decorated with an earl’s coronet abo...

Staffordshire Pottery pearlware model which features a child asleep in a cradle. The cradle sits on curved feet, enabling the cradle to rock from side to side.

A fine Regency period rectangular tea caddy, veneered in panels divided by fine metal stringing. Silver metal escutcheon and key. Complete with an initialled plaque on the lid and ro...

From the 1700s through the early 1800s, European aristocrats developed a fascination with ancient Egyptian culture and design that culminated in a full Egyptian Revival. Prominent figures such as Marie Antoinette and Napoleon Bonaparte commissioned rooms decorated with Egyptian motifs. This cultural moment reflects a fascination with a sophisticated civilization of great artists and pharaohs. The Regency era possessed very little knowledge of the Great Pyramids or hieroglyphics, a quality that lent Egyptian art interpretation a compelling air of mystique. This English Regency period gilt carving depicts a popular figure of borrowed Egyptian motif: the Sphinx. Recognized among educated circles as a symbol of brilliance in the ancient past, the Sphinx was well-known as a mythological creature who destroys those who failed to answer her riddle. Such a piece as this, excellent in detail and craftsmanship, may have once graced the mantle of a gentleman’s study or been exchanged as a gift between British scholars. The beautiful gold surface has been achieved by an artful combination of gilt and gesso; the art enthusiast will appreciate the intricate texture realized in the carving’s hair and tail as well as the delicate detailing of the saddle. Borrowing from the Egyptians, the Greeks had their own interpretation of the Sphinx. Greek mythology chronicled the Sphinx as being the daughter of Orthous and Chimera or Laius and attributed the riddles, which she proposed, as having been taught to her by the Muses. Crowned with a Grecian diadem and having a refined expression, she evokes an ancient yet reserved intellect. For the modern-day enthusiast of classical Greek art...

An extremely rare pair of Regency cast-iron sarcophagus shaped strong boxes. Regency, circa 1820 Painted to simulate palisander wood and with parcel-gilt, the cavetto-moulded hinged lids cast with flower sprays above foliate-cast bands over front panels relieved with river gods within canted corners cast with standing muses, the sides with lion mask and ring handles over leafy aprons on massive lion’s paw feet; the Brahmah type lock stamped “T. Davis from London” and impressed with the Royal Crown. These extraordinary pieces are modelled on Regency wine coolers. The forms are classic Greco-Roman revival with the boat-hook handles, mythic figures and the overall sarcophagus pattern. You would struggle to find one let alone a pair. Good items for any collection. Research on going into these strong boxes but we have found possible information on the lock stamped Davis….(historyoflocks ) The relationship of King George III and George Davis of Windsor, who was locksmith in ordinary to His Majesty. Davis, in 1799, invented and patented a unique style of lock, which was also beautifully engraved with a warning not to make duplicate keys. Sensitive government secrets always demanded, then as today, locks that were state of the art. Davis locks ended up on government dispatch boxes...

An artistically created sculpture table decorative objects, After Jules Moigniez (French 1835-1894), bronze figure group modelled as a bull, cow and calf on the naturalistically modelled ground before a fence, upon an oval base, signed J Moigniez. This bronze with a brown patina, entitled “Bovine family...

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Transport yourself to the elegance of the 19th Century with this exquisite English Sterling Silver Covered Top and Cranberry brilliant Cut Glass Pe...

A very handsome & tall pair of early 19th century French Empire gilt brass candlesticks. Both showing reeded columns rising up from circular bases decorated by hand with finely chiseled motifs, to similarly addressed urn-shaped nozzles with detachable bobeches. Constructed in three sections, with the nozzle and column firmly attached to the base by means of a full length threaded metal post...

This is a spectacular garniture of three vases made by an English factory between 1810 and 1815. The vases are made in the French Empire style with heavily gilded Egyptian caryatid s...

19th C. Swedish Carved Pine Wood Clock Grandmother Grandfather Long Case Antique . Freestanding hand carved pine wood clock with all the original mechanics and hardware , weights rack...

This magnificent cut glass urn stands on a Garter star cut foot, supporting the most unusual, deep scale and swirl cutting design. The corresponding lid unusually mounted with a crow...

Shaped as an Apple From our Tea Caddy collection, we are delighted to offer this superb Georgian Apple Treen Tea Caddy. The Tea Caddy carved from Sycamore as a novelty Apple with a button stalk, shaped body and shaped cut steel escutcheon. When opened the Caddy reveals traces of the original tin foil lining for housing Tea leaves. The Apple Fruit Tea Caddy...

Biedermeier portal clock in an architecturally structured walnut case with alabaster columns, bronze fittings and mirrored rear wall. The clockwork with date and sound spiral. Pendul...

Hallmarked in Sheffield in 1807 by John Roberts & Co, this attractive pair of George III, Antique Sterling Silver Candlesticks, have tapering columns, round bases, and are decorated ...

French Empire gilt bronze clock French, early 19th century Measures: Height 38cm, width 27cm, depth 10cm This fine gilt bronze man...

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...

Excellent pair of Louis XVI gilt bronze candlesticks after a model by Etienne Martincourt (master 1762, died after 1791): Candelst...

This antique square bowl by Mason’s Ironstone, featuring the classic Fruit Basket pattern in blue, is a beautifully preserved example of early 19th-century English ceramics. What mak...

Stunning quality antique Mary Gregory blue glass vase having a stunning quality Mary Gregory blue glass vase with white enamel decoration. D. 1890

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

This very elegant pair of English Regency period classical bronze urns are of small proportions and made to a very stylish and sophisticated design. They stand on plain square bases ...

A pair of Georgian period slice and diamond cut spirit decanters. England, circa 1800.

Dating from the early 19th century or Qajar period, this antique hand painted pen box is done in a series of bordered vignettes of Persian men and animals ...

French 19th century white opaline candy dish with brass snake hardware. The opaline has golden decorations on the edges.

A rare group of wedgwood creamware bowls. In the neoclassical pattern no. 892 with a cobalt blue and gold border. Diameters: just under 9 in., just over 8 3/4 in., and just ove...

Silver Swan Sugar Bowl. Italian neoclassical sterling silver lidded sugar bowl with swan/goose finial and lion head ring handles. Italian sterling ...

Shipping special update - We have negotiated a special flat rate shipping cost to the USA with our main US shipping partner for our 1st dibs clients of only £1050 export crated by a...

Early 19th Century Karl Johan Box with Inlay Ribbon Decorations in Fruitwood, Sweden. Key not included

Small 19th Century Papier-Mâché Snuff Box – Gilt Lacquer Decoration, c.1830 A small early 19th-century rectangular snuff box in papier-mâché, with gently domed lid and rounded corne...

Early 19th Century Papier-Mâché Snuff Box with Silver Inlay, c.1820 A small and decorative early 19th-century snuff box in lacquered papier-mâché, the shaped lid finely inlaid with ...

This stunning clock sits at 23.50 in. Perfect for any desk or study décor. Inspired by the early 1800's. Polished regularly.

Pair of French Empire bronze dore 6 arm candelabras with 3 ram heads and 3 claw feet supported on a 6 sided triangular base. (PRICED AS Pair)

Impressive pair of Italian Empire finely chiseled ormolu Flambeaux, on triform base, each with 25 scrolled gilt-bronze candle arms. Attributed to Luigi Manfredini the famous bronze a...

Pair of antique French Empire period gilt bronze campana form vases, each 13 3/4 by 6 7/8 inches, circa 1810, with flared neck with gadrooned bronze rim, decorated with Bacchic putti...

Ironstone Urn & Lid with Foo Dog Finial, England ca. 1820.

French brown hat box for cylinders, early 19th century. Rare old leather hat box for top hats. This old hat box in the shape of a cylinder is an original fro...

Pair of quality antique Victorian Doulton vases, quality pair of Doulton shaped vases having wonderful brown & caramel colours to the neck of the vases, fabulous embossed flowers to ...

Spode “Tabacco Leaf” Punch bowl after Chinese Export design, England ca. 1820.

Of rectangular shape, decorated with gothic cathedral arcades, with two wells and two pen holders, raised on a Siena marble base raised on scrolled feet. Between the twelfth and six...

We have a Chinese wooden sculpture. A fisherman who is carrying a fish. The teeth and the eyes are made of glass and, for the eyes, they are p...