1770s Furniture

Important Georgian period fireplace mantel, white statuary marble and inset with Siena . The finely carved Neo -Classical attributes featuring a central cartouche relief cavings of a...

Maiolica dish, "Famille Rose" and gold decoration Felice Clerici factory Milan, 1770-1780 8.93 in (22.27 cm) in diameter lb 0.66 (kg 0.3) State of conservation: perfect, except for ...

Assortment of 12 elements with polychrome and gold decoration Pasquale Rubati Factory Milan, circa 1770- 1790. Two oval trays 10.62 in x 8.58 in (27 x 21.8 cm) Two dishes with perf...

A George III later scarlet japanned long case clock, Thomas Moore, Ipswich. The arched hood surmounted by brass finials of wing spread eagles above a glazed door opening to a twelve ...

Unknown Flemish Artist, Belgium 18th century, in the right part of the painting the artist represented a man sitting in front of a tavern. He is surrounded by Delft baroque earthenware pitchers and plates. The right side of the painting shows different types of birds, among them chicken, a swan, ducks and a peacock. The painter was here definitely inspired by the 17th century painter Melchior de...

Stunning pastel portrait representing a young Noble woman wearing a pink silk dress and blue floral corsage. Period gold gilt wooden frame with glass. It is signed *see second image,...

French serpentine marble-top gilt center table with floral carved skirts, floral cross stretchers with centered ribbon basket, and terminating on scrolled floral cabriole legs. All o...

In the style of Thomas Chippendale, a lovely American 18th century tilt-top table in mahogany that, historically, doubled as a candlestand. The square top is cut in curves at the cor...

English Chippendale mahogany broken pediment breakfront with carved floral medallions, candle light molding, four upper case glass doors with adjus...

English mahogany five-drawer chest has boxwood string inlay and boxwood diamond inlaid escutcheons. The frieze has carved blind fretwork, and the corners have fluted quarter columns ...

A pair (not identical match but from the same maker) peat or plate buckets. Mahogany and brass, outstanding construction, heavy and well made, with beautiful brass details. Made in E...

This 18th century chest retains its original hardware, ogee feet, and crown moldings. The upper section has fluted chamfered corners that terminate in lamb's tongues at the base. The...

Antique and rare Meissen low bowl in hand painted porcelain with flower basket. Dated 1773-1814. Measures: 13.5 x 3 cm. In excellent condition. Stamped. Marcolini period. 1st fac...

Four pillar Georgian dining table plus the tops and the three extra leaves in excellent condition and color. A magnificent example of a George II...

Small, rare piece of furniture, poudreuse or small desk or to be used as a console table, very finely painted on all sides. Italy Piedmont around 1760/70 With its original painting...

Pair of Venini style glass sconces with triedi crystals, manufactured in circa 1970 (late 1960s and early 1970s) featuring seven crystals clear glass "triete" prism-rods, each en-gir...

Marks: cannon (inscription, trademarks and countermark); key (punch); trigger guard (punch); medal with rope (inscription). Date: 1774 cannon; key of 1773. Author: Miguel de Cega...

Each of inverted pear shape with hemispheric lower body and raised on a circular foot, the turquoise ground handles enriched in gilt, the domed cover with gilt acorn finial, painted ...

Napoleon III candlestick angel white marble 19155, candlestick from France, circa 1860, an angel carries the candleholder and stands between a disca...

18th century Country French painted Commode features subtle rococo styling cues with the molded detail and the contoured apron with scrolled legs, but they are so subtle that this re...

The so-called ‘Crowther Plate’ dated January 1770: Octagonal, painted in blue underglaze with the monogram ‘RC’ in a floral cartouche and with elaborate scroll, pendant and cell a...

Transition commode, France 1770. Exquisite satinwood and king wood veneer with delicate green colored wood inlays framing the satinwood parts. Ori...

A fantastic and extremely rare pair of George III period gilt Carton-Pierre and giltwood oval mirrors in the manner of John Linnell. Each mirror is gorgeously hand carved with meticulous detail and fine craftsmanship. The giltwood borders are designed with foliate crests above female masks, with aprons centered by a standing or recumbent left facing lamb. It is extremely rare to find a pair of mirrors of this date and in such amazing untouched condition, the mirror panels are most probably original and date to the late 1700s. Provenance: Jeremy, Ltd., London England, circa 1770 Carton-pierre, literal translation from the French - cardboard stone, was developed in the 18th century specifically to imitate wood and stone. The Formula typically included flour, chalk, sawdust, sand and plaster and bound with wax, resin, animal glues or gum arabic. The material could be moulded, bent and otherwise formed into the desired design. Preeminent makers like Gillows and John Linnell began using carton pierre in the late 1760s. The new material allowed for lacey decorative spandrels and festoons that could be made into nearly any length or shape required. These elements and the particular foliate umbrella canopy on this pair of mirrors relates to designs of William and John Linnell. The most famous example of this crest element is on the mirror supplied by Linnell to the 4th Duke of Beaufort for the State Bedroom at Badminton House...

Antique Chinese Ningxia rug. Size: 5'0" x 8'3".

This English mahogany Chippendale tall chest has crown molding featuring the "Wall of Troy" design with a blind fretwork frieze below; the drawe...

Hallmarked in London in 1772 by Hannam & Crouch, this exceptional, George III, antique sterling silver salver, features a shaped gadroon border, an engraved crest to the centre, and ...

The letter "N" engraved by L. Vanvitelli on laid paper in 1771. They were commissioned by King Carlos III of Italy as part of a historical series. It h...

A wooden farmers bowl produced in Sweden, 1772. Signed by the artist initials "L.L.S" and dated.  

An attractive pair of colonial American mid-18th century oil on canvas portraits. The detail and rendering of the paintings is of extremely fine quality. Highly contrasted figures against the dark backgrounds references the earlier work of Caravaggio and Rembrandt. One such American artist who particularly employed this technique in the late 1760s and early 1770s was John Singleton Copley...

A Louis XVI ormolu and white marble mounted flame mahogany console desserte, stamped "I. PAFRAT," circa 1775, the shaped demilune, gr...

Doccia white porcelain caryatid sculpture. A Doccia neoclassical model of a caryatid with one hand outstretched. Italy, circa 1770s Dimension: 2" ...

An extremely fine mahogany tilt top circular pedestal table circa 1770 on a turned column with three finely carved splayed legs onto a pad foot. Excellent colour and condition.

Rare George III period rosewood and satinwood cabinet of unusually shallow proportions, the white marble top with "cookie" corners over single drawer and two paneled doors, the corne...

Chippendale walnut chest on chest, with drawers that are cross banded with mahogany. The upper section has fluted quarter columns and wall of Troy m...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

An Italian monumental sized bureau with flap dating back to the second half of 18th century. Three deep drawers and a fall-front opening to reveal a fitted interior with six small dr...

Assortment of 21 maiolica service elements Pasquale Rubati Factory Milan, 1780 circa a. Four large oval dishes or fish dishes 10.43 in x 21.25 in (26.5 c...

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...

18th century walnut and feather banded side table / lowboy, the moulded edge top crossbanded and decorated with feather banding above a selection of three oak lined drawers with orig...

George III longcase clock George III oak longcase clock standing on a double stepped base with long trunk door and brass escutcheon. Integ...

18th Century French Aubusson Louis XVI Period Carpet 15'8" x 16'10"-478 x 513 Louis XV owned this rug. Well, not really, but it certainly was made ...

George III inlaid mahogany chest with blind fretwork chamfered corners. The drawers have inlaid quarter fans and boxwood line inlay. The har...

Antique French Aubusson Carpet Louis XVI Period - 3rd quarter of 18th century 20' x 22'6" - 610 x 685 cm

A lovely quality and decorative 18th century oak lowboy, the moulded edge top having a wonderful figured top with a sunburst motif at the centr...

These framed letters make a great gift because of their history and great images. The letter "S" engraved by L. Vanvitelli on laid paper. This series was commissioned by King Carlos III...

English Chippendale mahogany one-drawer side table with the original flanking and centered brasses, Late 18th century.

Louis XV dresser, France 1770. This unique dresser was made in the period between Louis XV and Louis XVI. It still has the graceful curves and the richly decorated bronze fittings...

Painted with Oriental flowers in reserve panels with gilt edge and molded with a spray of rose leaves and buds. With fretted square Worcester mark. "The moulded pattern on this dish takes its name from the blind Earl of Coventry...

18th Century N.E. Persian Khorasan Carpet ( 8' 8" x 18' 8" - 265 x 570 cm ) Northeast Persian Long Carpet Khorasan Province Probably Qain, Birjand or ...

An extremely fine George III Mahogany sideboard in excellent original country colour and condition straight out of the house it was made for in circa 1776 it has a lead lined cellare...

American Chippendale Cherry serpentine one drawer pembroke table with original brasses, carved decorative cross stretchers, and terminating on tapered reeded legs. Late 18th Century....

With a twig handle, painted with flowers in reserve panels, edged with gilt, upon a blue scale ground. The shape is derived from a Meissen original. The mar...

The letter "Q" engraved by Luigi Vanvitelli on laid paper in 1771. They were commissioned by King Carlos III of Italy as part of a historical series. I...

Italian neoclassical silver and gold gilt carved wood & gesso wall mirror with a foliage scroll work cartouche, arched mirror plate with molded rosette surrounds, flanked by foliage ...

IT HAD TO BE "U"- The letter "U" engraved by L. Vanvitelli on laid paper. This series was commissioned by King Carlos III of Italy in 1771 as part of a...

English cast iron figural and foliage decorative beaded border fire back, Late 18th century.

A very fine quality mahogany pembroke table of unusual shaping to the drop leafs the legs having carved bedding down them showing attention to detail the color is excellent nutty Mah...

Irish plum pudding mahogany tilt-top tea table with a carved floral molded edge, original brass locking mechanism, rotating birdcage, bulbous carved acanthus pedestal...