Late 18th Century Decorative Objects

A late 18th century to early 19th century Chinese export bowl with a doré bronze French rococo base mounted onto the bowl. Bowl is decorated with raspberry...

An extremely rare and delightful pair of late 18th century mahogany wall Hanging boxes, the larger for storage of candles and the smaller for salt, Havin...

Blue and white Delft handled chinoiserie vase. Antique Dutch porcelain vase with rich blue flowers and chinoiserie fencing in a lustrous glaze; with scro...

A pair of French candlesticks in a wonderful condition. White marble mounted with bronze ornaments. The quality of the castings and chiseling is high. the design is romantic and beau...

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

Chest of drawers from the end of the 18th century. Beautiful chest of drawers in light blue with gallant scenes, 3 drawers, late 18th century. Measures: H: 23 cm, W: 30 cm, D: 20cm...

A Bugbear coconut tea caddy mounted on a silver dolphin base. Bugbear coconuts were carved by sailors on long voyages in the 18th and early 19th centur...

Masterful sculpture by the French artist Renè Rod made in terracotta at the end of the 19th century, sublimely showing us Hercules as a child, lying on a lion skin...

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...

Fine George III octagonal tea caddy inlaid with various woods on a harewood ground, the central panels veneered with coucous wood and banded by holly stringing around a kingwood band, vines and berried...

With their right angle bases and descending bobeche display, this pair of Italian giltwood candlesticks make unique light sources. Hand-carved in the late 1700’s, the Baroque period ...

Highly decorative and well executed pair of gilt wood armorial shield bearing lions rampant sculptures. Holland or Flanders 18th century. Some retouchi...

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...

Hallmarked in London in 1795 by Solomon Hougham, this attractive, George III period, Antique Sterling Silver Sugar Basket, is in t...

Hand crafted in Italy circa 1780, the antique cherub stands on a square base decorated with shell and foliage motifs. The hand carved sculpture depicts a life size young boy wearing ...

This Delft dish is hand-painted in fabulous, intense cobalt blue. The center shows a lovely garden with a songbird among blooming flowers and a willow tree with its branches draped over the garden. The border of the dish is filled with floral decoration and scrolling vines. The edge is painted with a traditional yellow slip...

A set of three Chinese rose mandarin large bowls in beautiful condition decorated with flowers and birds add a courting scene on each. Late 18th ...

Unique small pair of neoclassical wooden candleholders with their old gilding, Italy, circa 1760-1780. Weathered, small losses and old repairs. Measurement each.

18th/19th Century Chinese Wood Sculpture Of A Emperor or General. Retains Some Polychrome Decoration And Horsehair Beard, Male Figure Seated On ...

Georgian Longcase clock by John Taylor, London Finely figured flame mahogany case with stepped shaped plinth and inset panel to the bas...

American copper and wrought iron plantation cauldron with brass ring mounts, original wrought iron folding handle, and supported by the original circular fitted three leg Stand...

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...

This beautiful pair of cows was made around 1785 in the city of Delft. Since the late seventeenth century, Dutch Delft cows have adorned mantelpiece...

Magnificent antique porcelain Urn "Schauspielhaus In Berlin" This large vase (weight 8 kg/ 16 pounds) contains stylistic elements of the Re...

Great pair of neoclassical candleholders with their original silver. They are made out of wood and iron. Italy, circa 1770-1800. Weathered and small losses.

Stylish French Brass Candlesticks, Circa 1780 The large French brass candlesticks are of circular form each with a hollow base and fluted column. Each with a detachable nozzle. Th...

A Magnificent and Rare Pair of 18th Century Chinese Imari Porcelain and Louis XVI Period French Ormolu Mounted Covered Cachepots. Chinese imari porce...

An 18th century French Louis XVI marquetry secretaire, or secretary desk with bookcase. Beautifully made with book matched veneer of mahogany and fine inlay of walnut and mahogany. I...

Pocket watch, Deroches Brothers. Gilded metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass part and a composition ...

Dutch Stoelklok Arched bracket with two painted mermaids, gilded lead cresting moulded with two lions beside an armorial crest, side glazed windows ...

A scent bottle in pale blue jasperware, with original silver cap with chain, surmounted by a wonderfully wrought squirrel. Note the way the beads have been added individually; this ...

Beautiful set of 5 engravings by Jacques Renaud Bernard representing the parade hall and the apartments of the Duchess of Orleans at the Royal Palace in Paris, architectural ensemble designed by the architect of Louis XV Pierre Contant D'Ivry. The engravings represent the architectural details of the different rooms (moldings, sculptures, furniture etc.) This set of engravings...

An exceptional, fine and impressive antique English sterling silver gilt tobacco box; an addition to our 18th century collection This exceptional English antique George III sterling silver gilt tobacco box has an oval form. The surface of this antique box is plain and retains the original gilding. This antique tobacco box retains the original push fit cover embellished with an impressive shield shaped cartouche displaying the crest of a bull below the engraved name 'F Daw'. The surface of the cover is further ornamented with impressive bright cut engraved floral festoon and ribbon bow designs. The rim of the cover is encompassed with a thread decorated border. This impressive example of Georgian silverware was crafted by the renowned and collectable female silversmith Hester Bateman; such examples crafted by this lady silversmith...

Hand-Painted ceramic jug with lead lid, dated from 1762, initials G. and R. and signed at the bottom, with scenes of windmills and a house.

Slant hinged lid opening to a fitted compartment and conforming case with overall tooled decoration. Iron handle and latches.

Lovely pair of pewter candle holders with a beautiful patine. France circa 1780. Weathered condition with minor losses.

Made in the factory of "The Axe" circa 1780, this blue and white Delft charger shows a lovely garden scene hand-painted in cobalt blue. In the center, we see a pine tree, a garden fe...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

Coade Stone Mounted Caryatid Sculpture. Eleanor Coade was a British businesswoman known for manufacturing Neoclassical statues, architectural decora...

A late 18th century mahogany pad top bracket clock, the 8 day original verge movement signed in a plaque by Thwaites, London. The flame mahogany case of goo...

Antique George III quality eight day brass face oak longcase clock having an attractive shaped top with an inlaid shell, oak glazed door flanked by two reeded columns with brass capi...

These pudding molds are a set composed by three nice France pieces fine hand made in copper. All of these molds have the shape very detailed. Suitable to ...

A blue and white Dutch Delft mantle jar hand-painted in exquisite deep cobalt blue. We see a peacock in a garden filled with flowers and ferns. The cover is similarly decorated a...

This elegant portico clock crafted in transitional Louis XVI – Empire style from ormolu, white and black marble, is signed on the dial “Arnoux à Paris”. Decorative motifs of Louis XV...

Long case clock from northern Sweden made during the late 1700s. The clock has the original blue-green paint with unusual decor. Time has also created a unique patina that adds to the clock’s character. Additionally the clock also has a detailed hand-carved headpiece. Far from all clocks...

A wonderfully impressive and enchanting French Empire period mantel clock by Jean-Antoine Lépine (1720-1814), clockmaker to both King Louis XV and Louis XVI Depicting a pair of Leop...

One of the finest signed examples of a late 18th century Swedish Mora long case clock that we have seen. The decorative carving is exquisite and the paint is early and probably original. The movement does function, but would have to be set after delivery. A top respected clock conservator did go over the movement to assure functionality. The original weights and pendulum are included, as well as a key. Gustavian Mora clocks are a type of long case clock which were made in, and derived their name from, the town of Mora in Dalarna province, Sweden. Production began in the late 18th century and continued through most of the 19th century. Mora clock faces...

Large Chinese Export punch bowl in Mandarin Palette & Gilt Accents, ca. 1780.

An exceptional, fine and impressive and rare antique Georgian English sterling silver swing handled bon bon basket; an addition to our ornamental silver...

A Swedish painted tall case column clock from the late 18th century. There are two decorative brass clock hands. The face is secured behind a single hinged glass door. The top of the clock has a carved ionic column and carved dental molding...

The New Hall China Manufactory made this pair of late 18th-century blue and white gilded dishes in Stoke-On-Trent, England, circa 1790. On the border, the deep blue has exceptional ...

Beautiful Parisian table clock in the shape of a lyre in ebonized wood with gilt bronze applications. Silk thread suspension, weekly winding, strikes t...

"Folk Art" wooden carved sheep. Original untouched condition. Rust colored with natural patina. China 18'th - 19'th ctr.

This blue and white hand-painted Dutch Delft dish was made in the Netherlands in the 18th century, circa 1780. The composition has excellent movement. The ...

An 8 day mahogany cased bracket clock by Grant of Fleet street, London with ormolu caryatids to the sides of the case and original pineapple finials. The case of good mellow colour

Small fire-gilt bronze candlestick with blue faceted crystal glass and marble base. Probably "Manufacture des Cristaux et Emaux de la Reine" (Marie-Antoinette).

This antique covered jar or pot was made by the well known Meissen factory of Germany in approximately 1750 in the period Louis XV style. This lidd...

Blue and white tobacco jar ‘No. 12’ Delft, 1750-1800 The Lampet Jug pottery Mark: LPKan The ovoid tobacco jar has a protruding rim and...