Late 18th Century Decorative Objects

This elegant bust of Marie Antoinette was sculpted in Paris, France, circa 1790. The sculpture, signed in the back by French sculptor Lecomte, depicts the queen with her elaborate well-known coiffure, numerous Fleur-de-Lys on her dress, and a Louis XVI portrait...

Small bird plate. Hand-painted small dish / vide-poche with birds and insects in a landscape with soft gold rim. Underglaze blue crown marks for Ludwigsbur...

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

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

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...

Here we offer you the chance to own a unique piece of history circa 1787. Here is a turret clock face and most of the movement reclaimed from rosendal palace in sweden. 'rosendal p...

Dating from the mid-19th century, this pair of silver plated candelabras were made by the renowned silversmith, Mathew Bolton of Sheffield England. As presented in the photos, this s...

Wedgewood encaustic painted , matte finished black basalt stone urn. Hand painted decoration with 2 scenes. Egyptian Revival style. Circa 1790-1820.

A Louis XVI Ormolu Figural Cartel Clock, the circular white enamel dial signed "Baudoin A Paris" within a cartouche-shaped case surmounted by an urn and ...

The Faulkbourne hall cased tea caddies. An important and very unusual pair of George III tea caddies made in London in 1793 by William Frisbee, all contained within a contemporary velvet and silk lined satinwood case. The hinges and handle also hallmarked for 1793. The pair of tea caddies are of an unusual oval form with upwardly curved rim. The sides are beautifully engraved with an upper and lower band of bright cut scrolls and foliate motifs on a scratch engraved and prick dot ground. Each side is engraved with an unusual bright cut cartouche with incuse corners. One cartouche is vacant and the other is engraved with a contemporary Scottish Crest with the motto "Nil Conscrire Sibi - Consious of no Wrong " above. The curved, slightly domed, cover is engraved with an outer band identical to those shown on the sides and terminates in a Neo Classical urn finial, also engraved with bright cut designs. The caddies are most unusual as they open from the side, not in the usual manner from the front. The caddies are each in excellent condition and are fully marked in the foot and with the maker's mark and sterling mark on the cover. The pair of caddies are contained within a most breathtaking satinwood case with hallmarked hinges and escutcheon shaped handle and reeded oval mounts. It is most unusual to find fully hallmarked hinges, and handle, which accurately date the case, as the same date as the caddies. The interior is lined with the original silk, velvet and gold braid. The Crest and Motto are those of Lieut-Col Jonathan Bullock of Faulkbourne Hall, County Essex. He was M.P. for Essex in many parliaments and, in 1763, married Miss Elizabeth Lante. He died without issue in 1809 and his estates devolved upon his nephew Jonathan Joshua Christopher Watson who, in 1810, assumed the surname and Arms of Bullock by Royal Licence. The Bullock family were descended from Robert Bullock of Herburghfield, County Berkshire. He was Sheriff of County Berks and Oxford under Richard II. He died in 1405. Faulkbourne Hall is a Grade 1 listed Manor House in the village of Faulkbourne in Essex, the manor being first mentioned under Edward the Confessor. The earliest surviving parts of the Hall, a red brick building with turrets, date from the 15th century. Sir Edward Bullock, Knight, purchased the Hall and Manor of Faulkbourne in 1637. The hall is considered a fine specimen of early Tudor red...

Bronze standing duck. Standing neck raised and mouth open with detailed feathers. 14.5 high.

Unusual late 18th century patinated and gilt bronze girandole form clock. Two removable arms with different branch and leaf form motif, thistle and rose stems. Crystal drops surrounding center fluted column. Clock with gilt dial set in rotating frame mount. Movement signed James Stoddart...

One of the national symbols and emblems of France is the Coq Gaulois (the Gallic Rooster) and it was decorated French flags during the Revolution (1789-1799) . It is the symbol of French people because of the play on words of the Latin Gallus meaning Gaul and Gallus meaning coq- Rooster. This late 18th century ceramic...

Ebony neoclassic box is an original biscuit object realized in Rome during the second half of 1700 and the beginning of 1800. Very good conditions. This refined box represents...

This nice mortar is made of white marble. This is a French work from 18th Century

This charming engraving is the work of Jacques Philippe, after the one by Nicolas Lancret. This work is the one that was used for the reception of LeBa...

A Japanese lacquered wood fubako (a box to store document or small scroll painting) circa late 18th century of Edo period. The rectangular box features a deep lid with rounded corners and recessed mid-edge and a lower box with two bronze medallion rings and tasseled silk ties. The surface of the fubako was elaborately decorated with hiramaki-e and a low takamaki-e on a mottled Mura-nashiji background. The motifs on the lid depict branches of Japanese pine with finely rendered needles on the lower part; on the upper part, it showcases fruited persimmon branches. Two different shades of gold fundame were used to contrast the design and augmented by scattered gold kirigane to highlight some of the leaves. The design continues and cascades down to all sides of the lid as well as the walls of the box. The two bronze medallions appear original to the box and the silk ties show significant fading from the age. This Fine fubako is signed on the lower wall "Kanshosai" in Kanji with a kao mark. All the trims were finished in gold fundame and the interiors a dense nashiji in gold. Kanshosai is the mark of the distinguished lacquer artist Lizuka Toyo I who also signed his work "Toyosai". He was active in the second half of the 18th century during Edo period, employed by Hachisuka Shigeyoshi (1738-1801), daimyo of Awa on Shikoku Island. Although most survived work bearing his marks are inros, he was also known to decorated trays and other larger objects...

Special faience vase with lid, German, circa 1780. The rare vase is white glazed and very nicely shaped. The lid vase is an very decorative object.

The white painted dial signed Cappy A Paris, 1773 within a laurel wreath carved case on a delicately carved flower entwined ribbon backplate ending in a tassel.

Pair of torchères in gilded and carved wood, dated from the middle of the 18th century in Portuguese, the base is a triangular shape that rests on three small feet. retains its orig...

The four beautiful models, called Bozettis, portray the four elements fire, water, earth and air. They are of good quality and wonderfully fine carved with a love for details. For ex...

An elegant 18th century 8 day verge bracket clock in ebonised case by James Evans London. The back plate beautifully engraved. The movement has ...

Pair of George III sterling silver candlesticks. Made by John Scofield in London in 1790. Each: Tapering socket with detachable bobeche mounted to tapering and knopped columnar shaft...

Vinovo white soft-paste figure of a recumbent lion on a canted rectangular plinth, Italy, circa 1780. Incised cross and V mark. See similar example in the collection of Palazzo Madam...

18th Century Wet Drug Jar, with spout and handle in remarkable condition. Named A Sabiosa. Dutch, Circa 1780.

The clock with laurel wreath and torch finial over a clock set in a rectangular case, bronze feet. Together with a pair of two light candelabra.

A fine example of an English tall clock with japanned case by clockmaker Phillip Avenell of Farnum (d. 1783). Avenell was part of the renowned and p...

Italian Empire Silver Inkstand. Roman sterling silver inkstand of sober neoclassical form comprising double pots for sander and inkwell with acorn fini...

George III Mahogany Tea Caddy with Inlay & Burled Crossbanding, ca. 1790

Thanks for looking at this superb object of vertu. This box is in the form of a boat, the cover and base of translucent blue enamel on a peacock-feather engine-turned ground, the cover further enamelled with a variety of sea shells on a grass bank in bright colours of red, pink, yellow, green, blue etc. All around the cover and the base there are 64 emerald cabochons set in as a decorative border. The sides are covered in blue enamel with a gold chequered design with a white enamel border all the way around the corners of the base. The curved shape grille is expertly pierced and bright-cut with foliage. The overall condition is faultless it opens and closes effortlessly and the very important enamel is in perfect order no excuses and has never suffered any restoration. The box is stamped with a makers mark in the base but we have never looked up the maker please look at the images and see for yourself. This is a very good example of a solid gold Box...

The oval base raised on toupie feet, centered with a panel of hunting dogs with hunting trophies on each side, the case supported by a landscaped scenery of water and rocks and surmo...

A Continental magnum decanter of tapered shape with ten matching large wine glasses all engraved with swags. Portugal, circa 1785. Measures: heig...

A rare papier-mâché jug, skillfully crafted to model a 15th-century stoneware jug. Wear consistent with age.

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice 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 which Antonio Ferretti introduced in Italy. This 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 had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had 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, could 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...

Beautiful pair of large church crib sculptures in wood and painted terracotta with glass eyes depicting a peasant girl helping a beggar woman, typical Nea...

Beautiful 18th century Italian candelabra, painted and gilt. Probably a religious candelabra. Provenance: Italy.

18th Century French Pewter Pitcher is an elaborately decorated example of fine craftsmanship in everyday items, using techniques that were passed down fr...

Hallmarked in London in 1797 by Robert Sharp, this rare and exceptional quality, George III, antique sterling silver tea caddy set, comprises two oval tea caddies and a sugar caddy...

French terracotta bust of young man resting on circular marble plinth. Signed Houdon, Late 18th century.

In fine condition with eagle finial over an enameled clock dial signed Degre, a fine Paris maker listed in Tardys book of French clockmakers. Flanked by two pairs of urns one white marble and the other black over marble columns wrapped in spiraling gilt bronze vines...

A magnificent, fine and impressive pair of antique George III English cast sterling silver candlesticks made by Edmund Vincent; an addition of our ornamental silverware collection These magnificent antique George III cast sterling silver candlesticks have a baluster shaped form with a waisted knopped stem onto a shaped base. The waisted capitals of these exceptional antique silver candlesticks are embellished with gadroon decorated borders. The capitals are fitted with the original hallmarked detachable sconces ornamented with six-shell ornamentation, in addition to further gadroon decoration to the curvilinear-shaped rim. The upper portion of the waisted shaped column features a shaped knop embellished with six shell designs, reflecting the decoration to the sconce. The waisted column is further ornamented with fluted decoration, in a swirl design, with a gadroon decorated knop to the lower portion The shaped bases of these Georgian silver candle holders are embellished with a swept fluted upper portion to six large shell designs, alternating with convex oval bead motifs. The decoration to each base incorporates a bright cut engraved crest of the bust of a man in profile couped at the shoulders. The shaped rim of each candlestick features an impressive gadroon decorated border. These magnificent candlesticks feature a stunning and ornate variation of six-shell decoration and are the finest of their type you could hope to acquire. Condition These antique 1700...

An antique Neoclassical carved limestone fragment. Dating to circa 1780, this fascinating, intrinsically worked antique, would be a brilliant display piece for a traditional home own...

A Dutch colonial box from Batavia in the former Dutch East Indies. Hand-carved with floral motives in ebony, used for jewelry or letters, ca. 1800. Origi...

18th to 19th century lidded oak low stool with interior storage Measures: 22" wide x 8.5" deep x 15" high The interior measures 17.5" wide x 6.5" d...

Late 18th Century french glazed porcelain apothecary/pharmacy jar with lid - 'BUTYR: CACAO' By: Charles-Antoine Acloque Material: ceramic, porcelain, paint, enamel Technique: molded...

An early Georgian mahogany box from the late 18th century. This exquisite English box is made of a rich mahogany wood seemingly stained to perfec...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

Cirac 1970. We offer this Wrought Iron Candle Holder in Brutalist Giacometti Style. Fantastic Patina.

This hand-thrown 3-handle confit pot, originating from Grottaglie, Puglia, and dating back to the late 1800s, is a beautiful example of rustic Italian farmhouse pottery. Made from th...

Traditional pair of Famille Rose bowls made in China in the Late 18th Century, decorated with fruit illustrations around each. They are made from fine enamel porcelain and also inclu...

This exquisite Louis XVI table clock showcases the neoclassical elegance of its time, crafted by renowned clockmaker Antoine Crosnier in Paris around 1780. The clock features a strik...

A rare 18th century to early 19th century Louis XVI miniature ormolu mantle or table clock depicting a lion. The piece is surprising heavy for such a small clock, which is always a s...

Set of four Italian Neoclassical angelic silver gilt tin prickets with central bulbous fluted columns, acanthus foliage, decorative medallions, interior iron supports, and resting on...

Presentation Snuff box from the 18th century French School. A very important and rare Neoclassical oval box, made in Paris, France circa 1790. It was crafted with translucent natu...

Herb Box (Yerbera), Upper Peru, possibly Potosí, c. 1775–90, cast, repoussé, and chased silver, the design is very intricate, with lions, cats and some other animals, and a women on the lid, it is made in a shell shape with a classical women on top of the lid, the body is all hand made with lions and wild cats with leafs designs, the inner part is divided into two compartments, as usually in this type of boxes. lock is not working but it is very nice and "primitive" looking. Boxes have a long history across cultures and time. In Spanish America, containers of many types, styles, and materials were cherished as gifts. Known today as yerberas (herb boxes) or coqueras (coca boxes...

An antique English Georgian statuary white marble bust of a scholarly gentleman circa 1790, on an associated period breccia violette marble socle. Exceptionally carved, the gentlema...

A rare and important pair of late 18th century quartz lidded vases, each with wonderful gilded classical ormolu scrolling foliate mounts and handles, te...