Neoclassical Wine Coolers

Elegant and very fine French neoclassical Baccarat style lion handle doré bronze ormolu-mounted and diamond cut crystal ice/champagne bucket. Unsigned.

This pair of champagne buckets ornated on the handles with lion faces is made of silver-plated . This is a French work. Circa 1970

Fine pair of signed Elkington & Co gilt bronze Neoclassical Jardinière/Champagne ice buckets or wine coolers. Depicting new classical Roman figures and subjects with lions and leopar...

This nice champagne bucket is made of silver plated and leather. This is a French work. Circa 1970 Additional Information: Material: Silver Plate, Leather Period: Circa 1970 Dimensi...

This is a 19th century tole water cooler by Adams & Westlake out of Chicago. It has an enamel interior with a brass spigot. The exterior shows paint losse...

A set of eight (8) black, red, and gold Champagne, wine, cocktails, etc., coasters from English luxury brand Asprey & Company in the Neoclassical-Revival Renaissance design style, circa mid to late-20th century, England. A great set for entertaining and a must for protecting furniture tops. With marker's mark on underside as shown in last image. Belgian crystal glass...

Wrought Iron wall mount wine bottle holder. Holds 12 bottles total. Perfect for that rustic barn home or modern penthouse. Great unique gift for that sommelier , home made wine maker...

This pair of small Medicis style champagne buckets is made of silvered metal. This is a French work. Circa 1940.

English Victorian period campana vase form gold-washed silverplate ice bucket with foliate handles, gadrooning at the base and waist with rim decorated with egg-and-dart motif. With ...

Elegant large silver-plated wine cooler designed to hold up to four bottles. This exquisite piece, made in England circa 1950, features a refined Neo-Classical style with beautifully...

Wine Cooler English 19th Century England. An English early 19th century wine cooler made in mahogany with a brass insert. Gilt bronze handles and...

An elegant pair of English silverplate wine coolers from circa 1900, each featuring a classic urn form raised on a circular pedestal base. The coolers are distinguished by their refi...

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...