Late 18th Century Decorative Objects

18th Century Porcelain Trompe-L'oeil Asparagus Spears Tureen, Probably German porcelain probably Thuringian Circa 1770-1800 The porcelain ...

Georgian Period Circa 1790 From our Tea Caddy collection, we are delighted to offer this Georgian Green Tortoiseshell Tea Caddy. The Tea...

A dark brown-glazed pearlware bough pot with pierced cover and applied decoration, made by Wedgwood circa 1785. The development of a whiteware body had been a goal of ceramicists ac...

This 18th-century French porcelain dish was hand-painted circa 1785. Crafted at the renowned Locré manufactory, also known as Porcelaine de La Courtille, in Paris the bowl is decorated with gorgeous handpainted purple roses, complementing green leaves, and small gilded flower sprigs, The border continues the same pattern. The enameled flowers create a striking visual contrast against the fine white porcelain. The small gilded sprigs add an elegant shimmer. Craftsmanship: Jean-Baptiste Locré founded this celebrated porcelain workshop in 1771. Locré porcelain...

Good quality Norwegian horse head ale bowl known as a kasa/kuksa. Dated on the base 1773, with makers marks. Hand carved decoration, with original polychrome paint. Evidence of ol...

Carl Malmsten “Tidlösa” Longcase clock in Birch and Masur birch. Case signed Malmstens Verkstadsskola 1977, Carpenter Master Artur Jönsson, clock marked Westerstrands Sweden.

Extremely fine quality Directoire/Empire gilt bronze mounted gilt brass skeleton clock with enameled chapter ring and openwork movement. Roman numerals for the hours and outer half...

Late 18th Century George III English Box. Veneered in beautifully highly figured burled ash with small inlaid shield shapes. Made in England circa 1790. A beautifully crafted late 1...

Chippendale tea caddy, c1770, burl veneered mahogany paneled front and sides with cross banded border raised on original ball and claw cast brass...

A finely bronze fire-gilded ormolu mantel clock set with matching candelabras. Rich ornate with typical Louis XVI mounts, floral garlands, scr...

A superb Chinese Export porcelain 'famille-rose' hunt motif punch bowl. Qing Dynasty, Qianlong period(1735-1795) painted with two large landscape cartouches with Hunting scenes, the...

William Taylor lived 1738 till 1801. Beautiful case with unusual fret carved sides of case. The carved broken arched pediment with carved rosettes and trailing vine, reverse glass pa...

An exceptional, fine and impressive pair of antique George III English sterling silver candlesticks; part of our Georgian ornamental silverware collection. These exceptional antique...

Unique Swedish folk-art bowl in a very unusual boat like shape. This wooden bowl is large and wide with date “1782” underneath along with a set of initials. An unusual detail is the ...

This is a rather rare pair of porcelain figures made by Derby around 1770. The pair was called the "Boy and Girl in Turkish Costumes", numbered 63 in Derby's factory list. They depic...

Sizeable and museum quality, embossed copper with brass handles bucket on feet. This stunning, sturdy and heavy antique and hand-crafted buc...

A superb 18th century George III period miniature japanned collector’s cabinet depicting Oriental scenes, exotic birds, pagodas, butterflies etc. Engl...

A pair sophisticated carrara marble and gilt bronze Candlesticks. Made in France during the 1780s. Louis XVI. Beautiful contrast between the white Carrara marble and the gilded de...

Beautifully carved with vines, grapes, Bacchus heads, acanthus leaves on a gordon base. Fine patina -end of 18th century. Probably French.

This gorgeous 18th-century Chinese plate was meticulously hand-painted in the Famille Rose style during the Qianlong period of the Qing dynasty, circa 1770. The center features a del...

A fine lacquered and gold leaf Nagamochi dating from the late 18th century or early 19th century. The exterior of the trunk and its gilded metal fittings are decorated with a folia...

This pair of Wedgwood & Bentley black basalt urns, crafted at the renowned Etruria factory around 1775, exemplifies the refined simplicity of neoclassical design. The smooth, tapered...

18th century French hand carved and painted wood statue still shows vestiges of its original painted finish. Depicting a nun reading a bible, the n...

Pair of Large Chinese Famille Rose Vases, circa 1770

A decorative pair of painted glass drinking bottles, probably originally for gin. Oil painted on the exterior, each with a fine portrait of a Dutch Nobleman along with a family bann...

18th century walnut brass dial grandfather clock, the bonnet has a beautiful broken arch swan neck pediment with brass rosettes , reeded keystone and inlaid urn finial. The brass dial with round plaque reading "James Park , Kilmalcolm'' ( according to Brian Loomes...

Authentic horse armour face mask or chanfron, dated circa late 18th-early mid-19th century from Northern Italy in wrought iron. During the late Middle Age...

Beautiful and charming Scent Box in silver in the shape of a heart with a gilded crown in Louis XVI from the late 18th Century. Probably made in Denmark. Inside in gilded silver. Own...

The circular glazed white enamel dial with Roman and Arabic chapters, set within a pierced case with ribbon-tied fruiting laurel trails, each side with a ram’s mask capped pilaster, ...

Georgian Battersea enamel box from the 18th century. A beautiful fine antique English Battersea Bilston table snuff box created in the district...

A very fine antique English creamware teabowl bat printed with scenes to two sides and attributed to Wedgwood and dating from around 1770. The teabowl is lightly potted standing raised on a narrow round foot rim with a simple raised round bowl shaped body. The teabowl is decorated to sides with black printed designs, one portraying a resting seated shepherd within a landscape with his dog and sheep...

This impressive black basalt jar, crafted by Wedgwood and Bentley at the renowned Etruria factory, embodies the refined simplicity of the neoclassical style. The jar features an elon...

PRESENTING A STUNNING little French Ring Box from the 18th Century, namely a French Louis XVI Brass and MOP Box with Miniature Portrait of Lady. Box inlaid wi...

Importante e monumentale pendola della Foresta Nera, unica nel suo genere, con calendario, suoneria delle ore e dei quarti e 19 automi che compiono 24 movimenti. Cassa in legno lacc...

A fine English Georgian Gothic style tall case clock, its bonnet with a swan’s neck broken arch pediment with Battersea enamel oval polychrome urn accents surmounting scrolled fabric...

18th Century Neapolitan Crib Figure Collection A rare collection of five museum quality late 18th / early 19th Century hand carved Neapolitan crib figures...

An exceptional, fine and impressive antique Georgian English sterling silver and glass ladies inkstand; an addition to our ornamental silverware collection This exceptional antique George III sterling silver desk Standish has a navette shaped form onto four bracket feet. This inkstand is encompassed with an applied thread decorated border, in addition to the contemporary engraved initials 'WW'. The rim of the body of the sterling silver inkstand is ornamented with a paralleling applied reed decorated border. The internal wirework style frame of the stand is divided into three rounded supports. Each internal compartment retains the original rounded glass bottles with cut glass ornamentation in addition to impressive scalloped bases. The ink, pen/quill and pounce bottles retain the original plain silver cylindrical mounts fitted with push fit hallmarked covers. The rim of each circular cover is encircled with applied moulded borders and bears the corresponding functional pierced decorated holes. This large silver ink Standish was crafted by the renowned London silversmiths Henry Chawner. Such original ladies examples, in perfect condition, are becoming increasingly difficult to locate. Condition This antique inkstand...

Chinese export armorial Nanking plate with characteristic arrow border in cobalt underglaze blue. China, circa 1790.

Exquisitely inlaid Georgian period 18th century longcase or grandfather clock. Original boxwood and satinwood inlay in late Georgian neoclassical...

This unique, interesting fruit wood "Brasero" table was crafted in Spain, circa 1780. Round in shape, the antique table stands on four chestnut barley twist legs, and is dressed with...

Very rare and hard to find in this complete condition with as many pieces (over 35), this "Gentleman's Necessaire", or campaign "Dressing Table Box" is English and circa 1795 as per the style, and confirmed by the 18th century silver marks on items enclosed. Campaign furniture, and accessories were made to tend to the day to day needs of those traveling, most often for the upper class, the military, and those in high socioeconomic standing. A very similar Campaign box belonging to the Duke of Wellington and now in the Victoria and Albert Museum, appears on page 141 (illustration #157 of "British Campaign Furniture" published in 2001 by Nicholas A. Brawer; the leading recognized historian on the subject. The furniture and accessories were designed to be easily unpacked and packed back up again, condensed and compact for minimum storage, and still fulfill luxury "needs" for the well to do. The flush inserted brass handles on this box were designed to minimize protrusions for easier transport when traveling. The necessaire contains a plethora of instruments, utensils, storage bottles, boxes, to contain pills, medicine, potions, soap, shaving needs, snuff, beverages, spirits, tea, coffee, fragrance, incense, toothpaste, ink, and anything else necessary or wanted to maintain appearance and the "Beau Brummell" type lifestyle desired by the aristocratic gentleman. These items were housed in; screw top miniature bone canisters, fine cut glass crystal vessels with silver and silver plated tops, multiple miniature vertical wooden pocket drawers, a carved wooden lidded soap dish; all "fitted" in a beautiful brass bound and hinged mahogany box. The dressing box is neatly divided into various sections to store these implements. The center front bottom drawer is independently accessed and opened by a key lock and likely utilized for personal effects, jewelry, money, and letter writing, and diary entries.; note the fitted interior, design, "cubbies", and sections (see image). NOTE: It would be advisable to NOT use the key to lock this drawer just in case it stays locked and does not reverse, thereby creating difficulty reopening the drawer. The box maintains it's original surface and there are no restorations to any of the wood or brass mounts. A non discernible script monogram on a brass plate adorns the top (see image). Worth noting is the copious provenance accompanying this piece; the original description tag from the British antiques dealer; the "condfdential" letter by purchaser to recipient "Horace" reviewing the Dressing Box attributes and description; and finally, the Customs form for entry into the United States with Santa Barbara it's ultimate destination and a valuation of 3 pounds; less than ten dollars at that time---- 1950!!!!! (see images). Dimensions: 11" wide  x 8 3/4" deep  x 5 1/2" high Contents: implements in red bag sewing hook with shell handle second smaller sewing hook with built in swivel tool to bone handle large metal tweezers rectangular bone device with center hole small hook with bone handle silver plate corkscrew...

Nevers Faience 'Pot a Oranger' adorned with painted farmhouse scenes and scrolled decoration in shades of blue (camaieu bleu). This circa 1780-1800 tin-g...

Kingwood Inlay From our Tea Caddy collection, we are delighted to offer this Elongated Hexagonal Satinwood Tea Caddy. The Tea Caddy of stretched hexagonal shape with six matching pa...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Rare antique covered round swing handled Nantucket basket attributed to Charles B Ray circa 1880. Covered 19th C. Nantucket baskets seldom come to ma...

We are pleased to offer this pair of blue and white Dutch Delft dishes with lovely chinoiserie decoration, which features an image of a vase overflowing with flowers. Around the vas...

This pair of Dutch Delft mantle jars features a charming rococo scene hand-painted in blue and white Delft. The jars depict a pair of cows resting in a fenced area, with a flock of b...

This exquisite pair of 18th-century blue and white Delft jars are hand-painted in deep cobalt blue with an all-over design of flowers and scrolling vines. The jars are octagonal with...

This is an antique wall plate. A Continental, lead display dish honouring St Hubertus, dating to the late Georgian period, circa 1800. St. Hubertus was ...

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...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

This elegant Wedgwood charger was made in England in the late 18th century, circa 1785. Crafted from creamware, the charger features a meticulously painted geometric border composed of orange and black flowerheads set within a lattice of fine black lines. Each flowerhead is centered in a diamond-shaped cell, creating a repeating pattern that radiates rhythm and precision. The inner field is left undecorated, emphasizing the clean form and enhancing the visual impact of the border. The simplicity of the cream-colored ground paired with the precise hand-painting along the rim reflects the neoclassical restraint and balance that defined Wedgwood’s aesthetic...

Rare red pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain, circa 1750 a rare piece from a Private collection. Other examples can be seen in the Museo de Zaragoza. With ...

This striking mantel clock is a fine example of the Empire style, a period characterized by its grandeur and inspiration from classical antiquity. The clock showcases a masterful com...

Pocket watch, Jaqs Blanc. gold, enamel, etc. Possibly towards the end of the 18th century. Pocket watch with a white dial and Arabic numerals for the hours and lines and Arabic num...

Pair of Antique Hand-Carved and time-worn European Church Candlesticks Anonymous Probably France; 18th century Giltwood, silvered, iron Approximate size: 21.5 (h) x 5.5 (w) x 5.5 (...

Set of Three 18th Century Hand-Made Brass Candlesticks were designed to be functional yet attractive as they would remain in plain view all day, and only be utilized at night. Back in the days before electric lighting, candles were worth their weight in silver, as the process to make them was still laborious hand-labor, and the wax itself wasn't inexpensive. Many of our trunks from this period had separate cabinets inside the locked trunk...

Made circa 1780, this 18th century Dutch Delft vase was hand painted with floral decoration of flowers and scrolling vines. A beautiful deep cobalt blue covers most of the surface....

A Period Louis XV Boulle mantle clock The case is inlaid with brass and is further decorated with Rococo scrollwork and gilded bronze mounts. The det...

This 18th century blue and white Delft plate was hand painted circa 1780. The lively scene in the center features flowers, flower buds, and a polka-dotted vase. The border is decorat...