Mother-of-Pearl Furniture

PRESENTING a LOVELY 19C Anglo Indian Bombay MOP (Mother of Pearl) Sadeli Mosaic Trinket Box from circa 1875-85. Gorgeously detailed and hand-crafted ‘sadeli mosaic’ inlay, from the Bombay Area, with deep greens with silver, pewter, mother of pearl, bone and ebony in geometric patterns. The box case, is made of sandalwood but completely covered in MOP, bone, faux ivory, ebony and mosaic inlay. Edged with faux ivory and banded with a different pattern of sadeli mosaic. Some minor damage to the top (repair is obvious in pics) and ivorine replacements to some edging, but it still a BEAUTIFUL BOX and of real QUALITY! The mosaic work is FABULOUS! Box opens to reveal its original blue velvet lining. It sits on 4 (recently added) silvered button feet. SADELI MOSAIC: “Anglo Indian boxes were made in India for the English residents from the early part of the 18th century. They were brought back or sent back to England usually by the people who had commissioned them. From the beginning of the nineteenth century they were imported more commercially, although not in any significant numbers until the middle decades. They were very highly valued, especially the early ones, to the extent that the designs were copied on late 19th and early 20th century tins. The ancient art of Sadeli Mosaic is said to have been introduced from Shiraz in Persia via Sind to Bombay, a long time before the Anglo Indian boxes were made. It was a technique, which required a high degree of skill and patience. It was executed very lavishly, in that the frequent cuts wasted a great amount of the precious materials used. The workmanship was however more than commensurable to the value of the materials. Ivory, silver, pewter (or other metals), wood and horn were cut into faceted rods which were bound together to form geometric patterns. When the glue has set, the rods were sliced in transverse sections. This gave the maker a number of angled circular pieces in the original pattern. Several variations of patterns could be achieved by combining the materials in different ways. The ivory was sometimes dyed green to give an extra color. The mosaic pieces in a combination of patterns, often separated by ivory, ebony, horn or silver stringing were used to veneer sandalwood boxes. In the early boxes, which date from the turn of the 18th to the 19th century, there are large panels of mosaic covering tops and sides of boxes. It took incredible skill to cover such large areas without any shakes or wavering of the pattern. The corners and joins on these boxes are impeccably matched. The makers (reputed to be Persian) of Sadeli mosaic made in the first two decades of the 19th century displayed a total understanding of the qualities of the different materials they used. They combined substances, which can expand and contract according to atmospheric conditions with others, which are hard and unyielding. The result was a sharp definition of the lines and patterns, which made up the whole design. On the early boxes the designs look deceptively simple. The fact is, they emerged from a culture, which had mastered geometry and understood how to generate a pattern from a set number of points. The patterns are so harmoniously combined that their incredible complexity is not immediately apparent. The earliest Sadeli boxes...

The Mouna Separator is a captivating example of Art Deco inspired design. Showcasing a remarkable diversity of materials to create a visually stunning piece. The cabinet incorporates...

Viceroyalty of Peru, Lima, 18th century, circa 1720-1760 Each with a moulded giltwood cornice and on a foliate carved giltwood base, possibly later and English. The cabinets, with s...

Wildly luxurious, Alexandra Llewellyn’s Jungle Marquetry Poker Set brings the rainforest to the card table. Inlaid with over 1,000 pieces of sustai...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

Our best seller! Introducing our exquisite pink coffee table! Made with resin and embellished with mother of pearl shells, quartz, strawberry quartz, and rose quartz. The gold edge...

Impressive Chinese export four panel lacquered coromandel screen featuring hand-carved soapstone beauties in a floral landscape with gilt clo...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

This exceptional matched pair of two door cabinets was made in the aftermath of the war, a time when Jules Leleu was returning to the Deco splendor of plush, exotic materials. This p...

Sculptural 18th century Italian mecca miniature fragment with fossil agate coral. The fragment was originally part of an 18th century Italian candlestick from a historic church. I...

Made of palissander, this lovely Napoleon III period liqueur box is lacquered in black, a method which became popular during Napoleon III's reign. The rose...

"Venus favors the bold." —Ovid Introducing the Abalone Siren's Sconce, the fifth release from the Fall 2023 Venus Collection, a whimsical new family of handmade fixtures inspired by...

This piece has a great story. We found this jazz musical instrument with incredible patina and added a thick lucite base and reconstructed this into a one of kind sculpture. The deta...

The LINLEY Riviera dressing table is a striking piece that adds an elegant feel to contemporary and classic decors alike. Taking design notes from vinta...

A fine and rare, beautifully restored American Classical period sewing stand work table in mahogany and rosewood. Elegantly sophisticated, this scarce antique is a wonderful example of high quality early 19th century American craftsmanship. Exhibiting fine detail throughout, the exquisitely handcrafted work table features a hinged shaped top with rounded corners, curved concave front, stunning highly figured matched rosewood inlay complimented by mahogany cross banded edge, set over a conforming shaped case. Lifting the top opens to reveal a fitted interior divided into eight compartments, including a hinged lid with built-in flip-up pin cushion, various size shaped lids are finished in mahogany accented by contrasting satinwood string banded border, a faux drawer front with contrasting mother-of-pearl escutcheon rests above a single frieze drawer with hand carved dovetail joinery and original turned wooden pull. Below, a perfectly proportioned carved, turned and fluted solid mahogany central pedestal rises from a shaped platform base, in true Empire fashion, the base is further raised on ornately carved paw feet. Beautiful, rich antique mahogany color...

Large abalone and mother of pearl icon depicting the Last Supper Jerusalem, Late 19th Century Icon: Height 78cm, width 75cm, depth 13cm Case: Heig...

Amazing piece, so much quality, inlay with mother-of-pearl and walnut wood shows beautiful baskets on the door, wonderful original hardware, just beautiful.

Hand-carved wooden box, attributed to Alexandre Noll, France, 1950s. Made from high-quality dark wood, it features sleek, organic lines. Its unique lid is a genuine polished shell, r...

Superb set of 24 fruit, dessert, cheese, or hors d’oeuvre knives, crafted by Maison Cardeilhac, founded in 1804. This set, dating from the first half of the 19th century, showcases e...

Mexican silver box with Mother-of-Pearl Inlay. Lid opens to a wood lined interior. Very nicely done and a really beautiful object!

This is an early Anglo-Indian with elaborate mother-of-pearl inlay and carved and pierced details. The wood is most likely teak. I think it could work well from wall to table.

A beautiful set of six (6) sterling silver and mother-of-pearl appetizer knives, circa late-20th century. The handle is mother-of-pearl joined to stainless-steel blade by a sterling ...

Mughal style pietra dura marble bowl - hand made - featuring a floral design with lapis lazuli, malachite, mother-of-pearl and turquoise inlay - unsigned - India - mid 20th century. ...

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

An exceptional Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon Measures: H. 16 x W. 24.6 x D. 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-16th century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the 16th century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, is, as for the last three decades, consensual and fully demonstrated, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of 16th-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique, with the thin brass sheets and pins, stylized lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape, in fact, is very old and peculiar to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of socle or pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket...

Introduce a touch of global sophistication to your home with this exquisite vintage drinks table, showcasing intricate boho inlay artistry. The octagonal tabletop is a masterpiece of...

A beautiful Mother of Pearl seashell caviar serving spoon. Spoon measures: 2.25" width x 5.13" height.

A fine pair of French enamel, brass and mother of pearl opera glasses, pink enamelled and jewelled barrels, with mother of pearl caps. Go...

Gorgeous mother-of-pearl and bronze caviar dish by Maitland Smith, circa 1970s. The piece features a MOP shell on a base of 3 bronze fish and is in very good vintage condition with ...

Antique English Victorian Mother of Pearl 24 piece dessert service in case, circa 1880.

Chinese curved melon shape hardwood garden stool or side table with mother of pearl inlay. Beautiful floral tree and bird motif inlaid top, with floral sprays at top of curved wood b...

From a Paris estate, this circa 1940s tall palisandre French cabinet with extensive wood and mother of pearl inlay is attributed to Jule Leleu. Unusual to find a Deco cabinet in this...

'The Stamford Raffles Secretaires.' A pair of Japanese Kyoto-Nagasaki style export lacquer secretaires by ‘Lakwerker Sasaya’ each with the name ‘Ol...

A highly unique and rare Italian 1930's console or vanity table; the exquisite mother of pearl surface cascades down the sides creating a waterfall effect; the apron and legs of hand...

Handcrafted Walnut China Cabinet with Mother-of-Pearl Inlay and Handle. If you are looking for an iconic piece to beautify a space in your reception or dining room, and also bring happiness, this antique bahu will do the works! Our For The Love Of Flowers...

Syrian mother of pearl inlaid wooden chest of drawers. With five drawers. The wood is profusely decorated throughout with mother of pearl and shell in intricate floral and geometric ...

Hanging lamp with one large cluster of discs attached by chains of small rings. Mounted on a wooden ceiling plate. Material: Discs are made of mother of pearl Small rings are ma...

A fine and unusual Japanese lacquer box for incense accessories, kobako, featuring a tagasode (whose sleeves?) design, Meiji Period, circa 1900, Japan. The exquisite box of simple rectangular shape worked in maki-e lacquer, taka-maki-e, and raden, all against a lush ground of gold nashiji. Fitted with silver rims. The main decorative element of the box depicts a six panel folding screen, byobu, showing an interior scene with kimono strewn over a rack, a motif known as tagasode (whose sleeves), all in raised taka-maki-e lacquer and inlaid raden. The screen depicts an intimate room with tatami mats on the floor and sliding shoji doors in the background. The foreground depicts a large clothing...

Large octagonal side table with mother-of-pearl inlay on the top and on the edges, above the shaped mirhabs and forming the base. Rich mother-of-pearl inlaid with an eight-pointed st...

A beautiful set of four (4) Mother of Pearl seashell caviar or appetizer forks. Last image shows reverse side of shell. A beautiful set that could also make a nice gift.

Pair of Middle Eastern Syrian-style (20th Century) armchairs in walnut with inlaid mother of pearl and ebony marquetry having emerald green tufted upholstery, with spindle and finial...

A stunning piece of functional decor that will enrich a classic or contemporary bedroom, this chest of drawers was handcrafted in rosewood and maple. The striking contrast between th...

An elaborate and finely detailed carved wood, and gold lacquered Shibayama cabinet (Chigaidansu). Having beautifully applied semi-precious stone and ...

Pair of side tables, Mihrab bed side tables with Mother of Pearl Inlay in Wood is inspired by the Mihrab element of Indian architecture, this simp...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

A rare and fantastical example of French decorative whimsy, circa 1890, this highly worked doré bronze basket is rich with symbolic and ornamental detail. The body features reticulat...

Mirror with columns in exotic wood, decorated with foliage and interlacing patterns, inlaid with bone and mother-of-pearl. Probably 19th-century Anglo-Indian work. Good general cond...

Classic French Art Deco dressing table/coiffeuse, circa 1922, by Maurice Dufrene in burled mahogany and ebonized wood, and with marquetry in exotic hardwoods, abalone and mother-of-p...

Large oriental-style sideboard in carved wood, with mother-of-pearl inlay; wrought iron handles; pewter wire inlay small losses of mother-of-pearl. Provenance the Old Palace Saint G...

Large Syrian mother of pearl inlaid wooden mirror. The intricately carved wood is inlaid with geometric and floral designs in mother of p...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by ...

The worlds of luxury and craftsmanship often intersect in fascinating ways, exemplifying the pursuit of perfection through design and skill. Two iconic brands that embody this union of artistry and elegance are Puiforcat, the French silversmith, and Hermès, the esteemed fashion house. Despite their distinct histories and expertise, both brands share a common thread of dedication to craftsmanship, quality, and timeless design. The House of Puiforcat (now owned by Hermes) was founded in 1820 by Emile Puiforcat, a visionary silversmith who sought to redefine traditional craftsmanship with a modern perspective. The brand quickly gained recognition for its commitment to exceptional quality and its avant-garde designs that pushed the boundaries of silversmithing. In its early years, Puiforcat became a favored choice for French aristocracy and European nobility, solidifying its reputation as a leading silverware manufacturer. Hermès, a name synonymous with luxury, began its journey in 1837 as a harness workshop in Paris. Founded by Thierry Hermès, the brand initially focused on crafting high-quality leather goods, primarily for horse riders. Over the years, Hermès expanded its offerings and ventured into the world of luxury fashion, establishing itself as one of the most prestigious names in the industry. What sets Hermès apart is its unwavering commitment to craftsmanship and its dedication to the creation of enduring, exquisite pieces. The relationship between Puiforcat (Hermès) and its artisans is a testament to the brand's commitment to excellence. While Puiforcat and Hermès operate in distinct domains—silversmithing and fashion—both brands share a deep-rooted commitment to traditional craftsmanship and quality. This commitment extends not only to the materials used but also to the expertise of the artisans who transform these materials into exceptional creations. The stories of Puiforcat and Hermès, though distinct in their origins and crafts, converge in their shared commitment to craftsmanship, tradition, and timeless design. The legacies of these two iconic brands are not just tales of luxury but narratives of artistry, dedication, and a pursuit of perfection. Puiforcat's innovative silversmithing and Hermès's enduring leather craftsmanship stand as beacons of excellence in their respective fields. Together, they remind us that true luxury is not just about wealth or opulence but is a manifestation of the enduring connection between art and craftsmanship. Puiforcat and Hermès have...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by skilled artisans, ultimately making each piece unique, designed in Paris and produced in the Philippines. The melting nesting...

Bloch & Eschwege 273pc. Flatware Set – Description 1st Dibs Direct from Paris, A Stunning 273pc. Privately Commissioned Napoleon III Sterling Silver Flatware Set with Rare Mother-of-Pearl Handled Knives, Original 5 Drawer Lockable Storage Chest and 25 Amazing Serving Pieces by Two of France's Premier Silversmiths "Bloch & Eschwege" Silversmiths to the French Elite, in Superb Condition - circa 1930s. The history of silver-smithing in France is rich and illustrious, and many prominent firms have contributed to its legacy. Among these, Bloch & Eschwege stands out as an exemplar of craftsmanship, innovation, and artistic excellence. Founded in the 19th century, this renowned silversmith firm has left an indelible mark on the world of decorative arts. Bloch & Eschwege was established in the mid-19th century by two remarkable artisans, Joseph-Alexandre Bloch and Emile-Robert Eschwege. Both men were passionate about the art of silver-smithing, and their partnership laid the foundation for a firm that would set new standards of excellence in the craft. Joseph-Alexandre Bloch was born in 1828 in the heart of Paris, a city renowned for its artistic heritage. As a young man, Bloch exhibited an exceptional talent for metalwork, earning an apprenticeship with a prominent Parisian silversmith. This experience provided him with valuable training in the art of working with silver and other precious metals. Bloch's dedication and skill earned him recognition in the silversmithing community, setting the stage for his future partnership with Eschwege. Emile-Robert Eschwege, born in 1832, hailed from a family of skilled metalworkers. His upbringing was steeped in the traditions of silver-smithing, and he showed a remarkable aptitude for the craft from a young age. Eschwege's family background and his own determination to master the art of silver-smithing made him a formidable candidate to join forces with Bloch. In 1855, Bloch and Eschwege joined hands to establish their silversmith firm in Paris. Their partnership was not only rooted in a shared passion for the craft but also a vision to create exceptional pieces that would capture the essence of French artistic expression. The early works of Bloch & Eschwege were characterized by a fusion of traditional silversmithing techniques and innovative designs. Their creations included intricately designed flatware, tableware, and decorative pieces that showcased their mastery over silver, gold, and other precious metals. Their creations soon gained recognition among the elite of Parisian society, attracting a growing client base. Bloch & Eschwege's reputation grew rapidly due to their dedication to artistic excellence and innovation. The firm's artisans continuously pushed the boundaries of silver-smithing, employing novel techniques and materials to create one-of-a-kind pieces. As Bloch & Eschwege's reputation continued to grow, they attracted the attention of European royalty and aristocracy. Their works found their way into the homes of kings, queens, and nobles, solidifying their status as one of the premier silversmith firms in Europe. The firm's most prestigious commissions came from members of the French royal family, including Emperor Napoleon III and Empress Eugénie. These commissions included exquisite pieces such as ornate candelabras, intricately designed tea sets, and opulent dining services. Bloch & Eschwege's creations not only adorned the palaces of the Tuileries and Compiègne but also graced the tables of state banquets and diplomatic events. Bloch & Eschwege's works were showcased at various international exhibitions, earning them accolades and awards. Notable exhibitions included the 1867 Exposition Universelle in Paris and the 1873 World's Fair in Vienna. The firm's contributions to these events highlighted their role in elevating French silver-smithing to the world stage. Each stunning sterling piece in this amazing set is skillfully handcraft with the fine workmanship that has made the "House of Bloch & Eschwege" a favorite amongst the French Elite. Renowned for their elegant styling and the legendary quality of their flatware sets, this set is an exemplary testament to the quality and luxury typical of early 20th century France - La Belle Epoque ! This set is in extraordinarily good condition. Each sterling piece bears the hallmark of Master French Silversmith "Bloch & Eschwege" in addition to the French Government's Head of the Minerva 1 hallmark certifying a minimum of 950 sterling silver. The sterling silver knive blades are by Charles Marseille. This set is of exceptional quality and craftsmanship - check the weights and measures below, all weights and measures approximate: 18 Dinner Knives - Mother of Pearl Handes 24.70 cm. 48 grams 18 Dinner Forks 21.50 cm. 82 grams 18 Tablespoons 21.50 cm. 88 grams 18 Luncheon Knives - Mother of Pearl Handles 20.20 cm. 28 grams 18 Luncheon / Dessert Forks 18.50 cm. 46 grams 18 Luncheon / Dessert Spoons 18.50 cm. 54 grams 18 Dessert Knives - Mother of Pearl Handles & Sterling Silver Blades 20.20 cm. 34 grams 18 Fish Knives 21.00 cm. 54 grams 17 Fish Forks 18.20 cm. 53 grams 17 Oyster Forks 12.00 cm. 22 grams 18 Ice Cream Spoons 13.00 cm. 20 grams 17 Teaspoons 12.50 cm. 19 grams 17 Cake Forks 13.50 cm. 22 grams 18 Knife Blade Rests - Sterling Silver 7.00 cm. 18 grams 1 Berry Serving Spoon 18.00 cm. 55 grams 1 Small "bonbon" Serving Knife 15.20 cm. 23 grams 1 Small Berry Serving Spoon 13.70 cm. 32 grams 1 Small Tart Server 13.20 cm. 25 grams 1 Small "bonbon" Serving Fork 13.70 cm. 23 grams 1 Cheese Serving Knife 19.50 cm. 35 grams 1 Butter Serving Knife...

Chandelier by Verner Panton manufactured by J. Luber, denmark, 1960s chrome-plated steel chandelier with mother-of-pearl decoration by Verner Panton produced by J. Luber in the 197...

18th century Italian gilded and hand-painted processional finial with baroque pearls and mounted on malachite. The piece was originally part of a processional pole...

Syrian Dresser with Mother of Pearl Inlay

Introducing the Ligurian Summer Collection, a sophisticated family of handmade fixtures in natural sea shell, coiled leather, marble, and bamboo, inspired by the faded splendor of th...